GROW & GLOW STUDIO AIR GE YAN 692176
PART A
PART
A.0 Author Introduction
B.1 Res Field
A.1 Design Futuring
B.2 Cas 1.0
A.2 Design Computation
B.3 Cas 2.0
A.3 Composition / Generation
B.4 Tec Develop
A.4 Conclusion
B.5 Tec Prototyp
A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches
B.6 Tec Proposal
B.7 Lea Objectiiv Outcome
B.8 App - Algorit Sketches
TB
search
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pendix thmic s
CONTENT
PART A CONCEPTUALIZAT
TION
A.0 Author Introduction My name is Ge Yan, one of students in the University of Melbourne, majoring in architecture. As an international student, studying in the university, especially with architecture major, I was continually challenged, not only the language but essentially the high expectation from each subjects. · At the first year, I considered architecture as a problem-solving method which have capacity to bring new ideas. Along with time, even I was totally exhausted with fihishing assignment, I realised I should put myself together and looking at it in a different way. Now I’m still on my way to find who I really am and what I want to achieve through studying in architecture. I’m trying to think differently and deeper, and and to put myself into a designer’s position. I am getting close to my real self and express my pure feelings and understanding through design.
A.1.0 Design Futuring As is decribed by Fry 1, our human beings are sacrificing the future to sustain current life. Human centredness is regaeded as main problem leading to being unsustainable. And the diversity of design have the responsibility to work as one the world shaping forces. What is more, what the designer designed keep on designing in the future. That is, the design ethic was proposed, starting with changing our thinking, then what and how we design. That is how the architecture contributes to effect with its theory. 1Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16
Image: http://www.designboom.com/architecture/jenny-sabin-studio2017-young-architects-program-lumen-moma-ps1-02-17-2017/
A.1.2 Lumen - Jenny Sabin Studio
The winner of MoMA PS1’s 2017 young architects program
The project has been designed to evolve, providing respite from the sun during the day, and emitting an ethereal glow after sundown. This is not what makes the project one that enables sustainability, it’s made of tubular structures in a lightweight knitted fabric, with a canopy of recycled, photo-luminescent, and solar active textiles that absorb, collect and deliver light. The fabric also host a misting system to cool off visitors taking refuge from the sun. It will serve as a temporary urban landscape for MoMA’s outdoor music series.
Image: http://www.jennysabin.com/lumen/
Image: http://www.jennysabin.com/lumen/
A.1.3 Glow - Prof. David Mainwaring & Leanne Zilka Installed by RMIT master student Leanne Zilka. The researchers improved longlife phosphorescent glow material so that there is now a persistent visible afterglow that lasts many hours after light exposure. The extended afterglow means new opportunities have emerged to reduce energy use in lighting public spaces, in architecture and in the arts. The use of knitting machine and nylon into fabric tube to improve the long-life afterglow. The tubes can then be installed in various arrangements in cities. Along with this project, the designer is passing a message of renewal and sustainability.
Image: http://architecture.rmit.edu.au/projects/glow/
A.2.1 Design Computation In the architecture world, the current concept of architecture design is a blend of both the traditional methods of hand drafting and the use of design computation. In this era of rapid technological society, there is the need for architects to lay a solid foundation on the latest advancements of technology and computing in the built environment design.
Image: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart
Image: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart
A.2.2 Dragon Skin Pavilion - LEAD Back to the early 1960s, people started to use the computer aided architectural design tools (CAAD) in the production of drawings from inception to 2 completion. It increased productivity instead of hiring many draftsmen. People can quickly created different alternatives and identifying the best 3 ones to save effort, time and costs. Just like the Dragon Skin Pavilion, which is an architectural art installation. It is also a combination of digital fabrication and contemporary digital design. It allows the architect to execute an accurate construction process by using a computer programmed 3D master model to generate all the cutting files for the dragon skins. Those design computation simplfy algorithmic procedures and gives the most precise calculation slot.
2 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1-10 3
Department of Architecture, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana, The Impact of Computer Aided Architectural Design Tools on Architectural Design Education, (Journal of Architectural Engineering Technology, 2015)
A.2.3 Arbour - Josh Haywood
Architects rely on drawings and models of their projects to aid in their work. The contemporary computational design softwares help them to get the precision to develop a precise model and get the scenario visualisation. For example, the Arbour is the digitalisation of geometries in parametric models. Architects can manipulate their 3D design by using computation softwares to confirm their plans and design quaility. They also can collect accurate as-is data on sites to create pinpoint models for real spaces in order to improve the structural integrity.
Image: https://www.kickstarter.com/projects/1188258724/ build-the-arbour-at-burning-man-2015
In brief, models are really essential to architects and engineers. Computation design provide them a more convenient way to finish projects quickly, efficiently and within budget.
A.3.1 Composition / Generation
A
lgorithmic thinking means to understand the results of how to modify the code to explo ing on further design potentials. where architects use software to ware.
4
Brady Peters, Computation Works: The Building of Algorithmic Th
s taking on an interpretive role f the generating code, knowing ore new options, and speculat. We are moving from an era o one where they create soft---Brady Peters
hought, (Architectural Design, V. 83, NO. 2, 2013), pp. 08-15
Image: http://icd.uni-stuttgart.de/?p=12965
A 3.2 Research Pavilion 2014-15 - ICD/ITKE
Biomimetic architecture is design that is influenced by biological processes5. This multidisciplinary technique of architectural design is what informed the 201415 Research Pavilion by ICD/ITKE. The pavilion demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider. Through a novel robotic fabrication process an initially flexible pneumatic formwork is gradually stiffened by reinforcing it with carbon fibers from the inside. The benefit of this project was that it came up with a way to construct complex structures while minimising material bulk. 5 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1-10
A 3.3 Situation Room - MARC/THEVERYMANY
In the project of MARC/THEVERYMANY, digital and material utilisation scaled from a unit, to a system of units, and then an entire project, where each nature of unit is tested at 1:1 scale. The algorithmic think inspire the designer go beyond the intelligence of art or design, in contributing to multidiscipline research and collaborative environment. As structure, materials or environmental perforemance can all work as a basic parameter to general a variable architectural form. The computational simulation tool enable architect to design more responsively and adaptively to explore new design options.
Image: https://theverymany.com/14-storefront/
A.4 Conclusion Part A gives us insight into the foudations paving the way of the future of design. It allows us to recognise and describe the direction in wich design is headed, and the techniques, tools and approaches shaping design in the 21st century. Design Futuring, Design Computation and Composition/Generation have allowed for this foudational analysis. Computerisation is the future of design. Through an understanding of algorithms and a multidisciplinary approach, optimisation of materials and design can occur. With greater understanding, future design can aim to help the environment through eco-friendly ideas that are sustainable and sensitive to the environment.
Image: http://www.suckerpunchdaily. com/2017/02/01/skin-hides-mass/
A.5 Learning Outcomes Under the extrodinary development of computational design, geometry and production are in great potential and possibilities to be variably actualised. Regarding increasing digital continuity of morphogenetic concept, creation and material production as a digital continum, the realisation of the non-standard can be reasonably predicted by fitting with typology, biology and paramedic design. Thus, design have a great capacity to become a mode of architectural generation under the logic of algorithm. In this process, parametric, not only work just as a digital design tool, but merged as a new way of digital deaign thinking.
A.6 Appendix - Algorithmic Sketches Week 1 - Lofting
Week 2 - Pavilion
Week 3 - Point Attractor Single Point Attractor
Multiple Points Attractor
Single Point Attractor
A.7 Bibliography Brady Peters, Computation works: The Building of Algorithmic Thought, (Architectural Design, V. 83, NO. 2, 2013) Department of Architecture, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana, The Impact of Computer Aided Architectural Design Tools on Architectural Design Education, (Journal of Architectural Engineering Technology, 2015) Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008)
Image Source http://www.designboom.com/architecture/jenny-sabin-studio-2017-young-architects-programlumen-moma-ps1-02-17-2017/ http://www.jennysabin.com/lumen/ http://www.jennysabin.com/lumen/ http://architecture.rmit.edu.au/projects/glow/ http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart https://www.kickstarter.com/projects/1188258724/build-the-arbour-at-burning-man-2015 http://www.suckerpunchdaily.com/2017/02/01/skin-hides-mass/ http://icd.uni-stuttgart.de/?p=12965 https://theverymany.com/14-storefront/
PART B CRITERIA DESIGN
B.1 Research Field Strips / Folding
Strips and folding is the algorithmic technique in which a single surface is transformed into a volumn. It is a ‘succesion of transformation’ in which the continuity of the material is emphasised. There are many different techniques for organising folds. These can be parallel, intersecting or overlapping. Each technique changes the visual aesthetic and the spatial experience of a shape. In terms of fabrication, the strips and folding technique is econimical, in that is reduces waste by utilising as little material as possible.
http://www.suckerpunchdaily.com/2012/11/05/ loop_3/
Practical application of this technique sees facades created purely of folded strips, which as a method of design. becomes the structure itself, meaning less need for material. This application is both financially and timely economical. Strips and folding has an inherent complexity in which the fluid lines express speed and dynamism. This is furthur enhanced through the function od light and shadow. The complexity of this can be increased by increasing the number of strips. This increased density, blurring the image, futhering the senen of speed and velocity.
B.1.1 Loop_3 -CO-DE-IT Loop_3 is a project conceived and realized by Loop_3 design team, at Università di Bologna, for an installation on invitation by the 1st Architectural Biennale of Thessaloniki – “Architecture and the City in South-Eastetrn Europe” (18.01-26.02 2012). - Strips form the curvature of the form - Horizontal and vertical elements inside created a stable structural sequence - Has a sense of fluidity and movement through the use of continuous planes of strips - Trigonometric function to derive curves
https://futuresplus.net/2012/11/05/loop_3-universita-di-bologna/
https://theverymany.com/12-atelier-calder/
B.1.2 Double Agent White - Marc Fornes / Theverymany This project was created as part of the Artist Residency at Atelier Calder in Sache, France. - Continuous surface composed of an intersection of 9 unique spheres - Achieving a maximum degree of morphological freedom with a minimum amount of components - ‘Prototypical architecture’ - Uses object oriented computing to generate developable parts for fabrication of double curved surfaces - The project achieves structural continuity, visual interplay and logistical efficiency.
B.2.0 Case Study 1.0
Seroussi Pavilion - Biothing Seroussi Pavilion was “grown� out of self-modifying patterns of vectors based on electro-magnetic fields. Through logics of attraction/repulsion trajectories were computed in plan and than lifted via series of structural microarching sections through different frequencies of sine function. Additional feature built into script allows for local adaptation to the site in regards to the section. Six different geometrical systems were used for design and are all steaming out of primary trajectories. Distribution of lighting/shading and programming of views is achieved through sine-wave functions driving parametric differentiation of angle, orientation and the size of the aperture as well as the relationship of metal and glass components within each cell.
B.2.1 Matrix Species 1 Curve Divide
1.1
1.2
Species 2 Graph Mapper 2.1
2.2
Species 3 Extrusion 3.1
3.2
Species 4 Extrusion + Offset 4.1
Species 5 Pipe + Graph mapper
5.1
1.3
1.4
2.3
2.4
3.4
3.3
4.2
3.5
4.4
4.3
5.2
1.5
5.3
5.4
2.3
3.3
4.3
5.4
2.3 Adaptablity Aesthetics Interactive Potential Constructability
3.3 Adaptablity Aesthetics Interactive Potential Constructability
B.2.2 Selected Criteria 4.3 Adaptablity Aesthetics Interactive Potential Constructability
5.4 Adaptablity Aesthetics Interactive Potential Constructability
B.3.0 Case Study 2.0
Voussoir Cloud - Iwamotoscott Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system. The design fills the gallery with a system of vaults to be experienced both from within and from above. The edges of the vaults are delimited by the entry soffit and the two long gallery walls. Spatially, they migrate to form greater density at these edges. Structurally, the vaults rely on each other and the three walls to retain their pure compressive form. The fourteen segmented pieces also resolve to make a series of five columns that support the interior and back edge. The form finding process involved a digital chain hanging method and others to find a form purely of compression. The vault is made up of cells that are found with a Delaunay tessellation. The cell both dissolve and articulate the structural forces but the cells can be seen to get more dense and small in areas where more strength is required.
http://www.mintdesignblog.com/2012/04/voussoir-cloud/
B.3.1 Reverse Engineering
STEP 1
Creating few points on a plane according to the number of vaults and colums and quote the mesh.
STEP 4
Use ‘Brep Components’ to access each individual surface and tranlate the geometry into a mesh. Join the meshes together and weld coincident vertices.
STEP 7
Extract all the meshes in a flat plane and number them for laser cut and assemble.
STE
Subdivide the space usi create cells around poin curve representing the p
STE
Edges with one ‘valence around the perimeter cu the columns. Create a se end points.
EP 2
ing a 2D voronoi and nts, then trim with a perimeter of the room.
EP 5
e’ will be those urve and at the base of et from the combined
STEP 3
Scale and move down the subdiv curves to be the bottom of the vaults. Loft to the original curves to create the base surface using graft.
STEP 6
Turn the internal mesh edges into springs, with the goal length set as the length of the original curve. Apply a unary force to all vertices in the mesh. This is upwards but represents the inverse of the effect of gravity.
B.4 Technique: Development
Species 1 Basic Geometry
Species 2 XYZ Forces Toggled
Species 3 Stiffiness
S=110 X=-75 Y=-80 Z=100
S=200
S=206 RL=5
S=100 RL=8
S=400 X
Species 4 Rest Length
Species 5 WB Mech + Offset
S=100 RL
X=-53 Y=-45 Z=500
L=2
S=300 X=-53Y=-45 Z=500
S=300 RL=10
S=129 RL=7
Species 6 WB Window + Toggled X=34 Y=19 Z=10 D=3
X=91 Y=75 Z=100 D=10
X=100 Y=1
X=88 Y=21 Z=100 D=-3.7
X=88 Y=21 Z=100 D=-1.5
X=22.8 Y=
Species 7 Stellate + Toggled
Species 8 WB Picture Frame + Thicken X=0 Y=0 Z=100 D=-5 D-Thicken=0
X=-12.5 Y=-7.5 Z=7 D=5 DT=0.33
X=0 Y=0 Z=100 D=5 DT=0.59
100 Z=100 D=0
=0 Z=0 D=-1.9
X=100 Y=100 Z=100 D=3
X=100 Y=20 Z=20 D=7
X=0 Y=0 Z=0 D=0.85
X=22.8 Y=0 Z=70 D=1.25
X=11.2 Y=0 Z=100 D=-4.6 DT=0.43
B.5 Technique: Prototypes
Photo credit: Anni Wei
Photo credit: Joseoh Cheng
1. Fabric pocket with cable Used with PVC –coated polyester fabric or PTFE-coated fiberglass fabric( must be restricted by the length of the fabric stream)
2. Edge cable with clamps Used mainly for PTFEcoated fiberglass fabric, but also for PVC-coated polyester fabric when edge spans are longer than 20m
Photo credit: Anni Wei
Photo credit: Joseoh Cheng
Photo credit: Anni Wei
Photo credit: Joseoh Cheng
3. Tube in cable pocket Used for PVC- coated fabric. Forces travel perpendicularly to the tube and movement prevented along the length of the tube
4. Moment resisting mast base plate The lowest cost method, but all converging forces must be absolutely accurate and fabrication must meet high tolerances, ultimately a trade-off in cost.
Photo credit: Anni Wei
Photo credit: Joseoh Cheng
B.6 Technique: Proposal
SITE ANALYSIS CLIENT: C E R E S
LOCATION: STEWART ST & ROBERTS ST, BRUNSWICK
K EAST VIC 3057
B.6.2 Sun Path Diagram BEFORE
9 AM
3 PM
6 PM
12 PM
Photo credit: Joseoh Cheng
These images show what the resulting shade is during different times of the day from the existing buildings and vegetation. This affects the circulation of people on the site and where they tend to gather and stay.
AFTER
9 AM
3 PM
6 PM
12 PM
Photo credit: Joseoh Cheng
B.6.3 Activity
This image shows the current distribution of people on the site according to our site visits. Thus, we decided to put an interactive structure that provides shading and an interactive play space for children.
B.6.4. Circulation
Photo credit: Anni Wei
The circulation of the site further supports our intention to place a pavilion on this area because people tend to stay around the existing buildings and trees, and so we would activate this space by attracting them here.
DB.6.5 ESIG N P Process ROCESS Design POSITIONING DIVIDE CURVE & LIST ITEM
GLOW PATTERN ‘ANEMONE’
FORM FINDING
POINT CHARGE &GRAP
SHADE PATTE VORONOI & CULL
G
PH MAPPER
ERN PATTERN
CREATE SURFACE PARTITION & LOFT
MESH RELAX ‘KANGAROO’
Photo credit: Joseoh Cheng
Y USE & RM STUDIES
Photo credit: Joseoh Cheng
Photo credit: Joseoh Cheng
NIGHT USE & FORM STUDIES
Photo credit: Joseoh Cheng
Photo credit: Joseoh Cheng
B.7 Learning Objectives and Outcomes In Part B I have developed my skills considerablt. To begin with my skill in computational design have grown and I am now capable of reverse engineering designs and exploring the possibilities for extending the algorithm. Sketching using parametric modelling is something that is new to me and is becoming more familiar with. It is a very useful and helpful tool and completely unique. Also, more grasshopper definitions have been further understood, allowing me to be more familiar with the plug-in and being more comfortable to generate more parametric forms. Boundaries are pushed a lot further compared to the previous Part A, as more iterations are produced hence more thought is involved in the different ways a design could be developed further. I found it interesting and more exciting when combining with different definitions to produce a single form. In Part B me and my team worked on creating a proposal and we learnt many things. We had an idea but we learnt how to formulate it and fine tune the idea to present it and to get our idea across clearly to an audience. It is difficult getting an idea across that is so clear in your mind but pass to others. It was also an important part of our proposal to find out the site and try with a unique way to implement our design within the site.
B.8 Bibliography http://www.suckerpunchdaily.com/2012/11/05/loop_3/ https://futuresplus.net/2012/11/05/loop_3-universita-di-bologna/ http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/ http://farm2.static.flickr.com/1100/1367750998_26d8c68522_o.jpg http://payload.cargocollective. com/1/2/65604/803913/_0009_810.jpg http://www.mintdesignblog.com/2012/04/voussoir-cloud/ http://www.co-de-it.com/wordpress/loop_3.html
PART C DETAILED DESIGN
C.1.0 Interim Crit Feedback
Design Form - The prototypes does not show enough demonstration of parametric design due to its detached characteristic. Structural System - Rigid frame with attached membrane or self-support structure? Site - How to respond to the site? Glow Pattern - Is the glow pattern buildable in real life? After interim crit we are informed that we need to regroup and push Joseph and Natalie’s design further, to create a umberalla shape structure to provide shading at organic groceries at CERES.
C.1.1 Design Concept
CERES is a not-for-profit, community organization which focuses on providing environmental education programs, agriculture projects and green technology demonstrations. The site of our proposed pavilion is in the organic groceries store. It is the space visitors will come to explore the site and stay for a rest or something to eat. There is a lot of movement in this space, with children running around and playing in the area. With these factors in mind, we wanted to create something the patrons could engage with, as well as providing a resting space in the shade. With a high number of visitors every year, we wanted to expand the space’s usability and functionality, providing an extra space of shelter without affecting the traffic of the site. We wanted to provide users of CERES access to a shaded area that gives people somewhere to rest without inhibiting the circulation of the space, as well as providing visitors with a new perspective on how something can draw from the natural environment even though it is not a natural form or natural materials. This is something most would not have seen or thought of before. Parametric modelling is a good way to show this because it provides a new way of thinking; most people who frequent the site probably don’t know what it is; we can build something that doesn’t look completely out of place in the site and still be in tune with the CERES’s values.
C.1.2 Design Technique
The research field we chose in Part B is Strip/Folding, and did two case studies Biothing Pavilion and Voussiour Cloud. While Biothing Pavilion is more focus on using point charger, and we are attempted to create a umbralla shape pavillion to provide shading, we chose to use technique of point charger to make it more like rooting on the ground and gradually growing out to find the form. Moreover, this concept also match with the idea of CERES - organic and natural.
FIELD LINE
GRAPH MAPPER
JITTER & CULL PATTERN
C.1.3 Design Process
FORM FINDING
Point charger & Graph mapper
COMPLEXITY Mirror rotation
CONNECTION Flip matrix
GENERATING Spin force
SHADE PROVIDING
INTEGRATIO Add Climbers
ON WITH PLANTS
C.2.0 Tectonic Elements & Prototype
C.2.2 Prototype - Connection ISSUE 1 - How to connect interactive steel wire? SOLUTION 1 - We use 3D printing to make the connector, although the connector is more visible, it has better effect with glow spray.
SOLUTION 2 - We tried to weave the steel wire in different ways to connect them. This way the night effect is bit weaker, but it can create the mesh we tried to achieve. SOLUTION 3 - We used a trip command in grasshopper to get those holes to let wires go through the tube, and sent them to 3D print. Then combine the 3D print tube with holes and weaving together.
C.2.3 Prototype - Bending Test
C.2.4 Prototype - Screw Connection
C.3 Final Detail Model While we were doing our prototype, we didn’t expect how complicated the final model would be, since the prototype only need to weave 4 to 5 wires with 3D print tube, but when it came to 40+ wires the situation became out of our control and didn’t go as we thought. Lindy was suggesting us that our model might not be able to build in real life, and client gave us the similar comment during final presentation. After presentation, guest critics suggested us to add rigid supporting member to the tube to act as frame then weaving, so we offset curves into rigid members and it seems worked. However, after we laser cut these curve members, we found it really hard to notch into the tube since its spiral shape. We should do more test before final priting out the sipiral members with its bending tolerence.