STUDIO AIR 2017, SEMESTER 1 TUTOR: MANUEL MUEHLBAUER NOUR EL-LEISSY
PART
T C...
Table of Contents C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS + PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES
C.1.1 DESIGN CONCEPT
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CONCEPTUALISATION
FEEDBACK: After reflecting on my part B design proposal I began to notice how minimalist my design was. However, this was as the main details were in the waffle aspect, its connections, its flexibility and most importantly the beauty of combining two types of grids; waffle grid as the main structure and lattice grid as the second grid (Seen in lighting model photo). I do believe however the structure should be more ‘host-able’ for the performers in terms of creating a physical platform for both the performers and the guests. This can be done through extending the waffle grid to the ground so that it creates a platform while still being apart of the structure. The idea of flexibility in terms of a structure that can be viewed/ experienced differently from different angles is something i should push further into my part C.
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C.1.2 DESIGN CONCEPT: DESIGN PROPOSAL MAIN CONCEPT 1: LIGHTING/ GLOW IN DARK MATERIAL
One of the main concepts of my part B design proposal was the integration of lighting/ glow in the dark material in the structure. Here, the position of the lighting would work as a second lattice grid to show the different structural connections that could be adapted. However, the lighting/ glow in the dark material could be pushed in many ways, for example, it can be used in panels, painted onto the structure as integrated into or attached to the structural elements. Lighting is an important concept as it fits well with the theme of a performance pavilion. The lighting as discussed in part B can be used not only for aesthetics but also as a part of the performance.
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MAIN CONCEPT 2 : MOVEMENT Another concept of my part B design proposal was the technique of movement. This related to ‘movability’ of the structure as when you move around it is as-if the structure is moving. This is possible due to the shape of the structure which allows it to be viewed from multiple angles. The structures movement is also related to its waffle grid as this aids in giving a ‘moving’ hallucination. This is because the waffle grid is made up of the interlocking of many curves which creates a sense of movement.
Direct view
Right corner
Seated bottom left
MAIN CONCEPT 3: EXTENDABILITY Another concept of my design proposal which can be pushed further is expandability. Due to the simple shape of the structure and the building technique it is simply to add to this structure through connecting another waffle grid to the extending waffle grid and later removing some grids thus making the structure flexible through simple extensions. These additions can also work through different curve patterns so long as they follow the waffle grid.
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C.1.2 DESIGN CONCEPT: DESIGN PROPOSAL
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DESIGN INTENT Through combining our individual concepts our group was able to come up with a main group concept: differential growth. This was combined with themes including: lighting, extendibility and low foot prints. A pavilion which would be used mainly for performances, relaxation/gathering spaces needed to be created. The relationship between the pavilion and site was also needed to be considered. Considering the slope of the site a flexible structure had to be created in the sense that it could be viewed from both the top and bottom of the site. The installation is designed in a sense that it could be placed anywhere on the bottom of the slope and still would have a low foot print. Making it a lightweight structure. However, it is recommended it be placed on a solid surface to ensure maximum loads can be transferred onto a small footprint. The shape of the pavilion also ensures that no views of the creek/ greenery would be blocked out. Allowing the visitors to experience the performance in a natural habitat. The wavy shape of the pavilion also correlates with the pattern of water in the creek nearby, while the up and down pattern correlates with the site topography. Due to the fact that the pavilion is slightly hidden it is suggested to use lighting to connect both the pavilion and the studio together. This gives the visitor a sense that they are meant to be together and are not randomly placed. The use of lighting also plays a major role in the aspect of a pavilion for performance. CONCEPTUALISATION 9
C.1.3 DESIGN CONCEPT: TECHNIQUE
STRUCTURE/ CONNECTION
Initially, our design was found to be incapable of being built realistically. We found our design did not reflect differential growth, not only this, but it was structurally impossible to built and therefore major changes had to be made to the design to ensure its stability. We found that in order to apply the nodes to the structure a stiffer shape had to be created, as a result the sense of a wavy shape was lost however, this was replaced by the element of growth. This element was applied both through the position of nodes (expanding from the centre) and the shape of the entrances which drag the visitors to the centre.
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MATERIALS CHOSEN/ LIGHTING
Three different materials have been considered for the entire structure. The main structure which is the frame will be made up of aluminium or acrylic tubes, these will connect to the 3D printed connections which will be made up of plastic. The pattern will then be printed on cardboard to reduce the costs, depending on the budget. Another potential is clear plastic sheets to which the frame will be laser cut into or glow in the dark fabric which can also be laser cut into and attached to the frame. The led lighting will be placed either in the acrylic tube or wrapped around the aluminium tubes.
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C.1.3 DESIGN CONCEPT: CONSTRUCTION PROCESS
BIOMICICRY Construction begins by a defined shape, originally inspired from an organic form. In this case it is a coral form.
GEOMETRY The formal attributes of the shape are then determined by the geometry team. Here the shape must be ensured it is build-able.
FINAL
To construct the final pavilion th taken off grasshopper while the from grasshopper. The pattern material and attached to the fra
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STRUCTURE After the shape is determined, its structural shape is determined. In this case it is through the program karamba.
PATTERNING After the structure/ frame is determined, the patterning is created to suite the shape of the frame. The patterning pannels are designed to fit onto the frame.
L MODEL
he measurements of the frame are e 3d connections are printed directly n is then laser cut onto the desired ame.
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C.2.1 TECTONIC ELEMENTS + PROTOTYPES: BIOMICI
The initial stage of Biomiciry began with emulating a natural form/ ecosystem to create has been used for artistic inspiration in many cases. In this situation biology was looked to the presence of the creek near by and thus marine ecosystems were the main source upon as the main source of inspiration. The shape of the coral reflects the main theme of structure of the coral being used as an inspiration has its advantages as it is responsiv different functions. The images below show the development/ prototyping of the coral s shapes as precedents for geometry.
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CONCEPTUALISATION
ICRY
te a more sustainable design. Nature d to for inspiration, this is mainly due of inspiration. The coral was decided f the pavilion ‘differential growth’. The ve to its environment while providing shape in order to produce a variety of PLATE-LIKE CORAL
CELOSIA CRISTATA
LETTUCE SEA SLUG CONCEPTUALISATION 15
C.2.1 TECTONIC ELEMENTS + PROTOTYPES: GEOMET
After the final form of Biomiciry was determined it was upon geometry to develop this shap Geometry naturally interconnects with structure and patterning, as a result it is difficult to stage. As seen below a development of geometry is created based on the original coral f is then passed to the structure team to make it feasible. The shape of the geometry had al by the design intent, a shape which would cater for audiences/ performers while also dr had to be created.
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TRY
pe to suite our brief. o finalise at an early form, the final form lso been influenced rawing an audience
FINAL GEOMETRY BY GEOMETRY TEAM
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C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUCT INITIAL PROTOTYPES The initial stage of prototyping included creating/ modifying scripts for 3D nodes which were later 3D printed to experiment with its physical properties. At this stage of prototyping the final geometry of the structure had not been determined so no specific nodes could be created. The nodes as seen below are universal nodes to which we used in an attempt to create surfaces between them (Seen in diagrams on next page). The joints cost and fabrication were feasible as the universal shape of the joints allowed them to be easily printed.
INITIAL PROTOTYPE 1#
INITIAL PROTOTYPE 2#
INITIAL PROTOTYPE 3#
INITIAL PROTOTYPE 4#
INITIAL PROTOTYPE 5#
INITIAL PROTOTYPE 6#
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CONCEPTUALISATION
TURE ASSEMBLY
INITIAL PROTOTYPE 6 CONNECTED TO FRAME ELEMENTS
The circular shape of the nodes was found to be unsuccessful in creating triangular/ square panels which were required for the structure. This problem was due to the irregularity of the ports to which the frame was connected to. As shown in the diagrams above the frame would end up overlapping each other if it were to be connected to the node, as a result the node can only be used as a stand alone figure and thus holds no structural integrity. This was found to be the problem with majority of the nodes with irregular ports. CONCEPTUALISATION 19
C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUCT MAIN PROTOTYPE ONE During the second stage of prototyping the shape of the structure had been semi- determined and it was determined that triangular panels were needed. As the structure was not finally determined universal nodes were also used to experiment wit. Similar to the previous prototypes, the joints cost and fabrication were feasible as the universal shape of the joints allowed them to be easily printed.
INITIAL PROTOTYPE 1#
INITIAL PROTOTYPE 2#
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CONCEPTUALISATION
INITIAL PROTOTYPE 1#
INITIAL PROTOTYPE 2#
TURE ASSEMBLY
INITIAL PROTOTYPE 1#
INITIAL PROTOTYPE 2#
Although this type of node provided the triangular shapes its limitation in ports (where the frame attaches too) meant that only a small closed off shape could be created as seen in the diagrams below. This also meant that the type of geometry we needed could not be achieved. However, after experimentation it was found that these types of nodes could be simply modified to allow for a bigger and different geometry. The nodes also provided a strong / stable frame as the pipes could be tightly fitted to them and secured. CONCEPTUALISATION 21
C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUCT MAIN PROTOTYPE TWO: FINAL NODE After we had a brief idea of the type of node we wanted to use, which would also function structurally, we decided we need to modify that node to suite our geometry and concept of irregularity. In order to create a specific shape we had taken the basic principles of the previous node and developed it so that each shape was unique to its panel connection, as seen in the image to the right. This was done through finding the connection points through karamba then specifying an individual node for each (Also through grasshopper). Through developing each shape individually irregular shapes were possible.
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FINAL PROTOTYPE 1#
FINAL PROTOTYPE 2#
FINAL PROTOTYPE 3#
FINAL PROTOTYPE 4#
CONCEPTUALISATION
TURE ASSEMBLY
Unlike previous nodes these nodes were easily able to connect to tubes as each node was created specifically for its connection. However a problem we encountered with 3D printed was that the nodes were too delicate to be printed at a small scale and thus some ended up breaking at weak points, however, this is not a problem as the nodes will not have to hold any structural loads and this will no longer be a problem when the nodes are at a larger scale. Another problem we might encounter is the time it takes to print these nodes due to their irregularity, however, this is justifiable. CONCEPTUALISATION 23
C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUCT CONCEPT DEVELOPMENT
STRUCTURE ONE The geometry of the original structure meant that it could only be produced through 3D printing. The structure was able to function structurally without nodes as it did not require to carry loads and due to its scale. However, realistically such a geometry can not be 3D printed at the scale needed for the pavilion and thus it needed to be modified to make it constructable. 24
CONCEPTUALISATION
STRUC
In order to ensure its co surface was split into p the structure a stiffer functions. A node was c pannels through karamb middle node/ largest nod
TURE
CTURE TWO
STRUCTURE THREE: (FINAL STRUCTURE)
onstructability the structures pannels. These pannels gave form in order to ensure it created to join these irregular ba. To reduce the costs the de had to be taken out.
Despite the success of the previous structure the geometry had to be changed again due to a problem with the patterning team. Due to the irregular panels they could not create a pattern to fit on it and as a result the pannels had to be changed to a triangular shape. The nodes were then changed to suite the triangular panels. This is an example of the way the structure changed depending on the needs of different teams. CONCEPTUALISATION 25
C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUCT CONSTRUCTION METHOD: DIAGRAM
After the node was determined, a way to connect/ secure both the nodes and the pipes had to be det
CONNECTION METHOD ONE The first method of connecting suggest was glueing both the node and pipe together. However, after protyping it was found this was not the best idea as it was time consuming and labour costly as well as not providing a rigid connection. Also there was potential for a more efficient method to be explored.
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CONCEPTUALISATION
CONNECTION M
The second option incl connection. This however modify each node and pipe bolts to connect as seen in th this was possible as the no impossible for the aliminium
TURE
termined. This process was explored as seen in the diagrams below:
METHOD TWO
luded creating a bolted required to create us to e to create a surface for the he diagram above. Although odes were 3D printed it was m pipes.
CONNECTION METHOD THREE (FINAL) The final option was the most feasible and rigid as well as the cheapest. It included the 3D nodes being printed with a hole in them (where the screw will connect) and when connected to the pipes the screw would secure both as seen in the diagram above. There is also an option of adding a fastener at the end for extra security.
CONCEPTUALISATION 27
C.2.3 TECTONIC ELEMENTS + PROTOTYPES: STRUC
28 CONCEPTUALISATION FINAL CONNECTION WHEN ATTACHED TO PIPES
CTURE- FINAL NODE
FINAL NODE WITH SCREW
FINAL NODE (HOLES FOR SCREWS)
FINAL NODE CONNECTION CONCEPTUALISATION 29
C.2.4 TECTONIC ELEMENTS + PROTOTYPES: PATTERN
After the structure had been determined the final step came the aesthetics of the pavilion. I case the patterning was used to create panels between the frames and as a result they bot to be compatible. This resulted in a change in the geometry in order to apply the patterned p the change from trapezoid panels to triangular shapes ensured an easier fabrication and ap method. As a result the patterning was interconnected with other factors, an example of this wo looking to corals for natural inspiration relating back to biomicry.
PRECEDENT: LINK OF PATTERNING TO BIOMICIR
PRECEDENT: CONNECTION OF PATTERN TO PAVILLIO
CONCEPTUALISATION PROCESS OF PATTERN FINDING ACCORDING TO GEO
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PRECEDENT: REPEATED PATTERN WAS MAIN INSPIR
NING
In this th had panels, pplying ould be
RY
FINAL STRUCTURE INCLUDING PATTERNING
ON
RATION
CONCEPTUALISATION 31
C.3.1 FINAL DETAIL MODEL
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C.3.1 FINAL DETAIL MODEL
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C.3.1 FINAL DETAIL MODEL
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C.3.1 FINAL DETAIL MODEL
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C.3.1 FINAL DETAIL MODEL: NIGHT SCENE
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C.3.1 FINAL DETAIL MODEL: LIGHTING
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C.4 LEARNING OBJECTIVES AND OUTCOMES: FEEDB After the presentation i was given valuable information to which helped me reflect/ further consider my design process. These points included: - Assembly of the pavilion. How long will the pavilion take to be built? How long will it take to disassemble? -The pavilion is not difficult to construct as it consists of screwing pipes to pre drilled nodes. However, it is labour consuming and needs a large team to construct. This can be avoided by constructing the panels in transportable panels, this may need a small truck to transfer, however will save time in return. - How can the pavilion be made into a permanent structure? Can patterning panels work as tension/ structure? -The structure can be made permanent by lengthen the aluminium pipes so that they extrude into the ground and work as a type of footing. The patterning panels can then be extruded off the building and to the ground to work as a tension element. - What other uses can the pavilion have? The pavilion can also work as a picnic spot, a gallery, a relaxation space etc as well as its main job of working as a performance pavilion to hold dance performances, concerts and shows. -Reflect more on the idea of differential growth... -Growth can not only be seen in the shape of the structure and the forms found in the patterning but also in the users. Music and performances provide a platform for growth both for the performers who grow through developing their skills but also through the users who experiences the performances in different ways each allowing them to reflect and grow internally. 44
CONCEPTUALISATION
BACK
- How can the idea of lighting be further pushed? Types of lighting? Patterning as lighting? -Lighting can work not only for aesthetic/ performances but can also be pushed to be apart of the patterning patterns itself. This idea was originally considered, however, it was cut out due to cost limitations.
We had some comments on the structure of our presentation. It was Only during the presentation that I realised we had poorly organised Our presentation and there were many concepts we failed to make clear. This will help me as I realised the importance of clearly structuring your ideas to get your design intent across.
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C.4 LEARNING OBJECTIVES AND OUTCOMES Going into this semester I had a strict view that design and computational design did not go together, that computational design took the beauty out of architecture. However as the semester went on I began to see more and more of the benefits of it, I was fascinated by the types of designs that could be created through it. Through changing simple variables infinite numbers of iterations can be created. Although some may see this as a limitation (deviating from original concept etc.) I believe part of architecture is to have changing goals and the beauty of designing is starting with something and ending with something else so long as you are able to document and justify this. This change in goals gives the structure value as it is a result of modification which shows growth and development. I realised computational design was a great tool for efficiently and uniquely designing to the point where I questioned why we bother designing without it. Contrary to my original thought computation is not as limiting as I thought it would be, however, I do admit is quite challenging when you are still new to the program. Part C of the project really helped me to understand how computation can be used to create tangible structures, something I thought only master students would be able to do. I was surprised at how I went into the semester not knowing about grasshopper and leaving it with a physical pavilion built through it. I realised how efficient the program through how easy it was to modify the structure based on different needs/ design intents.
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What I found most interesting was the creation and 3D printing of the nodes my team member and I had designed. I was fascinated by how putting scripts together would create a tangible node, which would literally function as a structural connection. By being given the opportunity to design and 3D print this I was able to reflect on the endless opportunities computation and 3D printing could give us in the future.
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C.4 LEARNING OBJECTIVES AND OUTCOMES - ARCHITECTURE REVIEVED, ‘GRIN GRIN PARK, ISLAND CITY FUKUOKA JAPAN’ <ARCHITECTUREREVIVED.COM/ GRIN-GRIN-PARK-ISLAND-CITY-FUKUOKA-JAPAN> - ARCH2O, ‘ICDITKE RESEARCH PAVILION (2010) <HTTP-//WWW.ARCH2O.COM/ICDITKERESEARCH-PAVIL- ION-2010/ARCH2O-ICD-ITKE-RESEARCH-PAVILION-2010-16> - ARCH DAILY, ‘GARDENS BY THE BAY GRANTS ASSOCIATES’ <HTTP://WWW.ARCHDAILY. COM/254471/GARDENS- BY-THE-BAY-GRANT-ASSOCIATES> - BULDINGS UK, ‘KAZAKHSTAN BUILDING THE WORLDS LARGEST TENT’, <HTTP://WWW.BUILDING. CO.UK/KAZAKH- STAN-BUILDING-THE-WORLDS-LARGEST-TENT/5002813.ARTICLE> - DESIGN BOOM, ‘SOMA MUSIC PAVILLION’, (2011) <HTTP://WWW.DESIGNBOOM.COM/ ARCHITECTURE/SOMA- MUSIC-PAVILION-SALZBURG-BIENNALE-2011/> - DESIGN BUILDINGS, ‘KHAN SHATYR ENTERTAINMENT CENTRE’ <HTTPS://WWW.DESIGNINGBUILDINGS. CO.UK/ WIKI/KHAN_SHATYR_ENTERTAINMENT_CENTRE#STRUCTURAL_DESIGN> - EVOLO, ‘REPETITIVE ASSEMBLAGE IN SALZBURG’, (2013) <HTTP://WWW.EVOLO.US/ARCHITECTURE/ REPETI- TIVE-ASSEMBLAGE-IN-SALZBURG-TEMPORARY-ART-PAVILION-BY-SOMA-ARCHITECTURE/> - FOSTER AND PARTNERS, ‘KHAN SHATYR ENTERTAINMENT CENTRE <HTTP://WWW. FOSTERANDPARTNERS.COM/ PROJECTS/KHAN-SHATYR-ENTERTAINMENT-CENTRE/> - FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 - GARDENS BY THE BAY, ‘SUSTAINABILITY EFFORTS’ <HTTP://WWW.GARDENSBYTHEBAY. COM.SG/EN/THE-GAR- DENS/SUSTAINABILITY-EFFORTS.HTML>
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