STUDIO AIR 2017, SEMESTER 1, #2 Fin Peilin Cao 783864
Contents Introduction Part A Conceptualization A1 Design Futuring A2 Computaion Design A3 Convention / Generation A4 Conclusion A5 Learning Outcomes A6 Appendix & Algorithm
Part B Criteria Design B1 Research Field B2 Case Study One B3 Case Study Two B4 Technique: Development B5 Technique; Prototypes B6 Technique: Proposal B7 Learning Objectives & Outcomes B8 Appendix & Algorithm
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Part C Detailed Design C1 Design Concept C2 Techtonic Elements & Prototypes C3 Final Detailed Model C4 Learning Objectives & Outcomes C5 Appendix
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INRODUCTION
My name is Peilin Cao, born in China. Currently, I am a third year of student studying Bachelor of Environment, architecture major, at University of Melbourne, who is passionate in coming up fancy ideas, problems solving and pursued a visual arts level. Since the pleasant education has introduced me to various communications of architecture, I always enjoy creation process, and get plenty of interest in design logic, which enlightening human life. I have the experience doing intern-ship in NASD art design company in China for a brief time, which innovated me to wonder what do a nice architect do. During intern-ship, while chasing after a restaurant project, Perhaps, there is a preliminary recognition, that an architect systematically considers spatial design, functions, exterior and interior design as a whole, and pursues for a best balance among these demands with a pleasant outcome. As back to study life in university, I did researches for personal space and a serious of basic form, such as, point/line/plane, mass, and secrete project in courses. Additionally, AA Visiting 12-day intensive project ‘enabling city intelligence’, also enhances my understanding materiality and structure through form-finding process. Looking forward, Studio Air trainning for an algorithmic thinking is expected to bring me more excited inspirations and various logics in design process.
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AA Visiting School Enabling City Intellegence | 2017
Digital Design & Fabrication Second Skin | 2017
Studio Earth Keeping Secret | 2017
Studio Earth Mass | 2017
Studio Earth Point/Line/Plane | 2017
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A 6
CONCEPTULIZATION
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A1 Design Futuring
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‘How can a future actually be secured by design?’ Tony Fry [1] As the results of design, expressed anthropocentrically, people celebrate the advantages and success of revolution of industrialization, and intelligent technology. Yet, we also unwittingly come to the situation that serious global issues due to the accelerating urbanization recklessly, threatening the future of human beings and ecology. More conflicts between increasing human demand and defuturing condition of unsustainability, were exposed to global consideration, such as a surge of population, climatic change, ecological damage, etc. It is time to confront the consequence of modernization sacrificing the possibility of nature. But the future cannot be presented as a subjective idealization independent of natural ecology. Here Tony Fry [1] offered us a ‘proposition that we only have a future by design’. Currently, people could notice the significance of design process for human. As Tony Fry [1] mentioned, ‘design, has to be understood anthropologically’, which intensively influences our living method, circumstance, and quality both at present and in the future. We could all enjoy the omnipotent practice and desirable outcomes consciously or unconsciously, not only intelligent machines, amazing architectures, neoteric substance, but also more appropriate plans or systems in urban, country, or even worldwide scale. To trigger this enormous power of design, as a part of design community, we have to think thoroughly about the balance of creation and destruction, which are the inevitable binary effects of design.
While sustainable design does not blame to the technological development, scientific victory and civil booming, for global issues. On the contrary, these advanced methods provide us an infinite possibility of design intelligence to establish the sustainable artefactual world. This redirected capability of design has applied in many architectural cases and involved in education for young designers. Various digital model making software really simplifies our design method and translate more complicated idea into reality. I have the experience of own, not only do the software, such as rhino, grasshopper, accelerate my design process with more opportunities to test effect, yet assist me to complete design in a more accurate and fancier expression.
9 1. Tong Fry (2008). Design Futuring: Sustainability, Ethics and New Practice, pp.1-16.
Case Study One The Truffle Ensamble Studio // 2010 // Spain The Truffle is a piece of nature built with earth and air, which defines a space inside a massive concrete stone that blends with the territory [1]. The design emulates the process of natural formation in its structure, and complies with law of natural environment. Its stunning building procedure strongly responses to sustainable design. Firstly, they dug a hole in the ground and flattened floor with concrete. The topsoil removed was piled up around the site and used as a retaining dike. Then, the building volume was materialized by hay bales, while they poured concrete wrapped the solid of hay bales synchronously. At the moment they removed the earth for retaining, there was an amorphous mass gained. After cutting off a few parts of the mass, it was interesting that they invited a calf, Paulina, to enjoy and explore the core of hay bales inside. The interior space was left for a shelter for vacation.
10 1. Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle>
The architecture contributed to idea of sharing same living environment within the planet ecosystem. It restored an architectural condition of truffle, vegetation and animals, which also fit for human habitat. The design broads the concept of architecture which is not the merely the privilege for human beings, yet all of the creatures in the world are the potential masters. Even though, the straw bales were used as a building material for centuries for thatch roofing and vernacular architectures, what Enamble Studio has done innovated this traditional architectural method intelligently, and enhanced the durability and sustainability of the shelter with concrete mix. It provides a remarkable possibility for future design that there remain diverse practices for different combinations of traditional method and new material.
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Top. the view from truffle house inside accessing natrual senery through cuting opening.
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Midel. Hey bales crreate cave-like veins on the ceiling and wall sufaces.
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bottom left. Truffle house onstruction process shows in plan with further interior design.
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bottom right. Panorama prespecive overvewing entire truffle project.
Image Source: Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> 11
Overal. Truffle House
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Image Source: Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> 13
Case Study Two 1Hotel Paris Kengo Kuma & Associates // Unbuilt // Paris It is a planning Parisian project which is scheduled to be completed by 2022, The practice reveals a fancy design of wooden architecture incorporating with the idea of sustainability and modernism into one innovative eco-luxury hotel, which is proposed to sit above the railways in Paris river neighborhood [1]. The building itself will be overflowing with greenery that plants spill out of the wooden blocks. Those wooden blocks fragment the building and blur the shape of structure, while making contrast with reflective metal panels to materialize the space inside.
They developed a sculpture design form by natural erosion, allowing light to reach the avenue below repetitive volumes. And landscape nicely communicates with the building system by playing with visual transparency on ground floor. To some extent, architecture and urban planning show consistency. In comprehensive understanding, the design displays the power of architecture balancing the relationships of human aesthetic value, comfortable living experience, natural communication and sustainable
14 1. Eleanor Gibson (2017), â&#x20AC;&#x2DC;Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Parisâ&#x20AC;&#x2122;. Published on Dezeen. <https:// www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
urban demands. Sustainability as a popular talk today, this greenery building has a potential to function as a ‘green lung’ for city system.
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Top. lanscape fully communicates with building overlowing with greenary.
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Bottom left, Kengo Kuma’s eco-luxury 1Hote proposed project.
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Bottom right. Open visual transparency through ground floor curtain wall, and repetitive volumes hanging on the ceiiling.
Image Source: Dezeen Magezine, ‘Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Paris’ 2017. 15 <https://www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
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Left & Right. Wooden blocks, waterfall, landscape harmonly blend together, fulfil a home sence for customs.
Image Source: Dezeen Magezine, â&#x20AC;&#x2DC;Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Parisâ&#x20AC;&#x2122;, 2017. <https://www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/> 17
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A2 Design Computation
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‘Parametric deisgn … is a new form of the logic of digital design thinking.’ Rivka Oxman and Robert Oxman [1] In the contemporary society, design is no longer a personalized ability, that can be merely well expressed by extremely limited persons previously. That all credits to the evolution of digital technology which enables the performative combination of design process and think method. These innovative softwares can be widely educated as a personal skill to present various creative formulations. Specifically, for architectural design, parametric design merged as a modern process which focuses on the complex mathematic of the creative objects and the varied relationships of each element and integration of the design [1]. It simplified the multiple uncertainty of variations of the design as single or composite parameter, by changing which the digital program can generate several series of configuration. Moreover, the ability to analyze and model the landscape, structure and material as a topological system shows the comprehensive functions of design computation, which blurs the boundaries between design and modelling construction and material fabrication.
Design computation, informed by performative design, tectonic model and digital materiality, has become a mainly popular theory of design in architecture, and never stopped developing. As one of the beneficiaries, I rely on and celebrate the convenience and variation brought by digital design process, such as rhino, grasshopper, and laser cut digital fabrication etc. But, hand craft is also a traditional and powerful method we should not forget. To some extent, computation digitalizes the creation and design, meanwhile losing a bit of emotion as well.
19 1. Rivka Oxman & Robert Oxman (2014), ‘Theories of the Digital in Architecture’. London; New York: Routledge, pp.4
Case Study One Guangzhou Opera House Zaha Hadid // 2010 // Guangzhou The white Opera House is designed as unique twin boulders. it hormonally sits by the riverside, quietly demonstrating the story of the pebbles in a stream smoothed by erosion. This concept derived from a natural landscape and fascinating communication with background buildings and environment. The design emphases Hadid’s great interest in the rigorous interlink of architecture, landscape, geology and urban form. Continuing her consistent style, Opera house is a pair of organic form with dome and curtain wall. As a whole, the building design is a volume within a volume, that the outside is defined by fragmental skin, while the fluidly voluminous auditorium and lobbies naturally fluctuate inside the space. There is no doubt that this irregular piece of design was not conceived
planimetrically with notions of from, back and elevations, but rather were modelled dynamically in 3D. As Schumacher mentioned, they worked the curvilinear facade, dramatic cutting internal space, smooth transition of disparate elements in Rhino, the more complex and more fluid surface inside the grand auditorium in Maya [1]. So, this organic formulation was achieved by algorithms, through various splines, blobs, Nurbs, and particles were organized by scripts of the dynamic system of parametric design. The digitalization gives the design full of possibility, that encourages designers become more creative and inspired.
20 1. Josphe Giovannini, (2011), ‘Guangzhou Opera House’. Published on Architect. <http://www.
architectmagazine.com/design/buildings/guangzhou-opera-house_o>
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Top. The grand autitorium with the latest acoustic technology to provide exciting nejoyment for art performances, opera, and concerts on the round.
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Bottom left. The project at night, triangulated steel mesh were exposed with light effect.
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Bottom right. From overhang balcony, looking into the lobby and geting attracted by danamic curtain facade.
21 Image source: ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen. com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
Overall. Guzangzhou Opersa House
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23 2. Image source: ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen.
Case Study Two Voussoir Cloud Lwamoto Scott Architecture // 2008 // Los Angeles Lwamoto Scott Architecture // 2008 // Los Angeles This project is a temporary installation at SCIArc Gallery in Los Angeles, which explored the structural paradigm of pure compression with ultra-light material susyem [1]. The installation fills the gallery with a system of faceted vaults using lightweight petal of paper-thin wood laminate, which materializes the light, and redefines the received notions of space. Spatially and structurally, they migrated to form greater density at edges to the walls, and the bottom of every column to achieve its pure compression form, aesthetical variation as well. Basically, fragmental structure needs four types of vaguely triangular petals with no, one, two, or three curved edges, to act as wedge-shaped masonry blocks for compressive arches of Voussoir. They also designed flanges along each score to fold 3D petals. The curve
seams produce an inflected form holding tension on the internal surface for stability. Overall design is mostly a digital generation. It began from hanging chain models to find an efficient form. Then, they translated the hanging chain model into computation to refine the profile lines as pure catenaries and determine the compressive vault shape by computer script. For material fabrication, the thin wooden sheet was nicely laser cut, which rise its elegant finishing level.
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Top & Bottom right. Voussoir Clound fills the gallery with a systan of vaults to be experienced from inside.
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Bottom left. Analysis and tessellation diagram show the algorithmic design process to assist determing the pure compressive configuration.
24 1. Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
25 Image Source: Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
Overal. Voussior Cloud Installation
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Image Source: Lwamoto Scott Architecture, ‘Voussior Cloud’ 27 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
A3 Computation / Generation
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‘The most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from them.’ Mark Weiser [1]. Digital technologies have been embraced in architectural design process in many ways for the praised benefits of developing, modifying, fabricating, constructing convenience. There is a fresh working mode of computerisation as the main working pattern where in practice architects mainly rely on digital modelling tools, such as Revit, Rhino, Grasshopper, etc. Meanwhile these utilities create opportunities for developing, evolving in the process of design, fabrication, construction. As Brady Peters noted, more and more of us noticed ‘we are moving from an era where architects use software to one where they create software’. Computation, defined as a process dealing with the intersection of information and elements through algorithmic system, extends the horizon of architects towards highly complex generation [2]. It distinguishes from, yet also merges from computerisation which simply translates into digital language without recreation. Computation process collecting information through understanding design, can be expressed as algorithm, where architects communicate with computer by mathematic code. Then, further thinking and examination happens spontaneously during modification for both design and program.
Not only do architects need advanced technique support to fulfil the diversity of our increasingly sophisticated ideas, computational designing knowledge appears necessity and influence for architectural practice as well. There are enormous requirements for algorithmic specialists from architectural firms and design research fields, to stimulate all design outcomes that generation performance, functional diversity, material fabrication, construction innovation, etc. However, computation is not understood by all designers enough, that it holds expecting potential for fancy generation to be fully explored. Despite of the fact that human intelligence is restricted by advanced computational tools, which distance us from computational abilities with traditional geometry and theory, it is worth consistently exploring computational future.
1. Weiser Mark. (1991) ‘The computer for the 21 st century’, in Scientific American, Sep 1991, pp. 104. 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 29
Case Study One Seed Cathedral Heatherwick Studio // 2010 // Shanghai The pavilion built for 2010 Shanghai World Expo, is composed of thousands of translucent rods to achieved powerful memorable focal experience from both inside and outside. In the way building manifest its content for visitors in distance, the wooden box is densely pierced by fibre-optic rods, of which collect 250,00 plant seeds casting into the glassy tips [1]. There are interesting performances for the design that, these fibre optic filaments are particularly responsive to the sunlight penetrating into pavilion internal space, while at night, interior artificial light illuminates pavilion cover with tiny points of light that fluctuate and tingle with breeze.
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In the case of Seed Cathedral, as architect generated initial concept by the priority in sketching and crafting, design becomes more accurate and accelerated through computational model. Digital modelling tools take advantages in ensuring constructability and alternative examination through algorithmic program. The holes need to be drilled in great density on aluminum sleeves, which allow fibre optic filament with 20mm square section passing through. The extremely precise operation was achieved by milling machine following 3d computational model data. With digital assistance, design object experiences structural optimization for construction and final display.
1. Heatherwick studio, â&#x20AC;&#x2DC;UK Pavilionâ&#x20AC;&#x2122; 2010. <http://www.heatherwick.com/uk-pavilion/> 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming. MIT Press.
‘We live in a very different world now but we can reconnect with the spirt and develop new methods for today’s world’ [2]. While for Seed Cathedral design process not going through generation, architects got innovation and modification from computation for accurate fabrication and construction. For this reason, computation mediates and translates between conceptualization input and generation output through algorithmic thinking process.
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Bottom left. Suprising outlook of Seed Cathedral.
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Bo.ttom middle. Close focuses on different plant seed within the end of each fibre optic filament.
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Bottom right. Translucebt fibre optic filaments respobse to the daylight inside
Image Source: ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily. 31 com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>
Overall. Standing at the sactum of the cathedral, to experience an atmosphere of reverence and a moment of introspection.
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Image Source: ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily. com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>
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Case Study Two Situation Room Marc Fornes & Theverymany // 2014 // New York Situation Room as a light-weight, self-supported thin shell installation in tension, refines the concrete internal space and circulation. The overall structure breaks traditional shell regulation into perforated pink aluminum panels combining together to form an envelope, that irregularly sinuously swells through an exhibition area. Conjunctions with narrow aisle, undulating spherical shapes, and filtered lighting streams create interaction between spatial known yet further unknown. In term of its tensile structure, where the spheres meet, the overlapped spheres for joints generate double curvatures that provide structural rigidity. Algorithmic design method results situation room performance that sculpture-parametric form is generated from Boolean operations. Such analysis was digitally programmed in an algorithm process, where variation in stresses upon the structure modifies its shape flow. Through that mathematic information chain linking the input parameters, diverse form outcomes were explored computationally simulate more efficient structure. However, there exist conflicts between antigravity digital configuration and stability for real installation work, where they solve the problem by a series of distributed agents walking along the morphology, to assist flow of stress from structure and convergent sphere points connecting to the ground. Digital fabrication method also offers innovations for more possibilities for more applications of materials.
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1. Marc Fornes & Theverymany, â&#x20AC;&#x2DC;Situation Roomâ&#x20AC;&#x2122;, 2014. <https://theverymany.com/14-storefront/>
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Front left & middle & right. Interesting exploration for space known and unknown, sence comfort and uneasy within the structure.
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Back. The thin shell envolope refines the exhibition space.
Image Source: Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
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Left top & bottom. Algorithmic design model utilized to analyse stress flow and determine en structure efficient configuration.
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Right. Exploring experience for kid within installation.
Image Source: Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
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A4 Conclusion
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With the insight for a series of architectural design theories and approaches under the background of technology and computer evolution, A1 readings lead us critically concerning the sustainable future as an aspiration, design might be the most necessary approach to make it achievable by changing human thoughts and creation norms. Stemming from that view, computational design, which offers greater acceleration and precision in fabrication and construction, provides opportunities that allow our design to reach better communication with environment.
However, focusing more specifically on our ceiling design task, I intend to explore form through amounts of algorithm practice process, meanwhile, figuring out the digital file conflicting with physical restriction for material available for me, such as think timber sheets in precedent Voussoir Cloud. Personally, there is a long way to go towards more flexible algorithm creation in grasshopper, yet I have already realized the charms and challenges of parametric design.
Coming along the consideration above, there are further researches for architectural precedents reflecting my understanding that how algorithmic and parametric process in architecture has transformed our design method, as well as the increasingly complex configuration. Involved in such an advanced society prevailing various digital technologies, I feel computer should be taken full advantage of and applied for my further project, which require the capacity to deal with more comprehensive information, more complicated system, and stronger connection with physical production.
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A5 Learning Outconmes
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Viewing back 3 weeks of study in air studio, my understanding of design and architecture has been further enriched. I used to regard rhino, grasshopper merely as a tool to build digital models, rather yet, those programs categorized within algorithm design method, that not only translate idea in to 3D, modify and test design in the process as well. Algorithm thinking exercise the capacity of problem solving that encourage us instantly approaching better outcomes.
However, there exist difficulties for application. While the algorithmic scripts in tutorials are understandable, I cannot figure out the logic of algorithm resulting what I want freely. To overcome this issue, numerous exercise for program and logical thinking both are necessary. Cooperating with grasshopper, it opens up splendid opportunities enabling me to do professional and rigorous design.
While grasshopper occupies certainly important workflow in design, it invites me to instruct computer generate desired result by mathematic language, and think algorithmic principles rather than conventional shapes and standard aesthetic. With the plenty of online tutorials support introduced to grasshopper, the practice is full of fun and interest, to explore unique form with various parametric definitions.
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A6 Appendix & Algorithm
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Bibliography Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Weiser Mark. (1991) ‘The computer for the 21 st century’, in Scientific American, Sep 1991, pp.94-104 Dunne, Anthony & Raby, Fiona (2013), Speculative Everything: Design Fiction, and Social Dreaming. MIT Press.
Image Source Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> Dezeen Magezine, ‘Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Paris’, 2017. <https:// www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/> ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen.com/2017/06/28/eco-luxuryhotel-kengo-kuma-paris-france-plant-covered-news/> Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoircloud> ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily.com/58591/ukpavilion-for-shanghai-world-expo-2010-heatherwick-studio> Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
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B 48
CRITERIA DESIGN
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B1 Research Field
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‘Hiding without isolating’, the nature of the is acoustic pond is that it both defines the distinction and connection of the places it sits between. According to the research field, a series of design criteria are provided for diverse research directions to character projects to narrow down our exploring options. Due to the requests for privacy and voice, a semi-open space with an office is projected to design. ‘Hiding without isolating’, this idea should be experienced spatially for both the people inside and people outside. Therefore, the enclosure of this space not only needs acoustic patterns or voids to meet sound reflection and absorption, the access to sufficient light, but also the comfortable inside experience and aesthetic outlook. The innovative application of parametric design approach is an easy and convenient method to embrace the inspiring and brave concepts by varying the patterns, structures, and forms through changing algorithmic definitions.
Tessellations consist of amount of geometric repetitive shapes which are utilized to form patterns without overlap and gaps, in either periodic or nonperiodic form[1]. It has broad vison for future design and fabrication based on regular or irregular geometries for organic form. My research for Tessellations will start from case studies, where designers explored a part in tessellation forms by enhancing the geometric performances and empowering the visitors experience.
51 1. David Celento and Edmund Harriss, 2011. Potentials for Multi-dimensional
B2 Case Study One
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VoltaDom |Skylar Tibbits
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Case Study One VoltaDom Skylar Tibbits // MIT campus // 2017 VoltaDom is an installation, filling thing space of MIT concrete and glass hallway with hundreeds of vaults reminiscent of more characteristic constructive way, and more organic form of historic vaults. Clusters of vaults compose the surfaces to create an effect of boundary where the ‘oculi’ become the release of light and glace. As my first tessellation research, voltadom is an organic form mixing the functions of structure and surface together, which worth to explore for both ornamental decoration, and structure form. However, Collaborated by Brady, ‘ornamentation as decoration is not what we are trying to achieve, the results are not primarily vision driven’[1].
primary driving for this process, but rather the sketching of parametric design. Taking inspiration from VoltaDom, algorithmic script uses cones that have been trimmed off the intersections to create oculi at top and clean connections at bottom. The limitation for this script is cone as basic shape to generate patterns. In order to test various geometries, including polygon, irregular closed nurbs, I changed the algorithmic definition slightly to loft surfaces which get trimmed together, which show in B.2 30 iterations. .
Aesthetics and ornamentation are not
54 1. Brady Peters, 2013. ‘’ Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design.
Image source: http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits 55
B2.2 Iteration Matrix
Pop2d randomly producing point, triangular and hexagon grind generating regular points to vary more forms by adjusting cones â&#x20AC;&#x2DC;density. Changing algorithmic definition from cones culling to moving, lofting to vary the from by adjusting circle radius.
Other geometric pattern for lofting to vary the forms by free combining triangle, square, polygon, and circle.
Closed nurbs within irregular nurb surface to vary the forms by adjusting density, adding attractive points.
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B2.3 Selection Criteria
1. This model demonstrates an interesting poss using loft definition. It can be applied on the s ceiling of our acoustic pond, which create a s the external sight, yet also allow ventilation. Ba kind of curve surface contribute to effectively it is one of potential shapes of acoustic pods t
2. By changing the basic pattern to voronoi po cells is more proper for hiding ceiling services can reflect sound in the room, but have open
3. This type comp the opening of ce different function density to keep p cells to construct match with irregu
4. Since our proje acoustic form for well in disturbing fits for nurb surfac
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sibility of cell shape with smooth curvature by surface of enclosure, such as partition walls, or sense of visual depth. The small voids prevent ased on the research on acoustic shape, this y reflect sound weave in parabola. Therefore, to keep conversation private and quiet.
olygons, the space covered by this kind of and spread illumines. Meanwhile, the pods nings to share sound with outside environment.
prehends the advantages of previous two. Through using attractive points, ells has variations, which allows different density of cell to cover the ned area. For instance, the conversation area requires cells arrange in high private, while access and glazing area simply covers with generous size t relation with external surrounding. Moreover, it over comes the difficulties ular surface, which broad the possibility of ornamental variation.
ect is to design a space within office space. There needs antir external application. This sphere shape of cells performs sound weave to protect quite space within volume. It also ce, which can be consistent with the cell inside.
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B3 Case Study Two
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South Pond Pavilion | Gang Studio
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Case Study Two South Pond Pavilion Gang Studio // Lincoln Park // 2010 With the designâ&#x20AC;&#x2122;s improvements to water quality, landscape, accessibility, and shelter, the project functions as an outdoor semi-close space in which the co-existence of natural and urban surroundings [1]. Somehow, our proposal acoustic pond performs quite similar functions that keeps the talk private in certain extent, yet shares contact with external surroundings. The timber elements are bended and assembled in an elegant and neat sine order. This innovated me to startm structure research, which can act as a bridge to support our acoustic cells or patterns, as
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1. Kelly Minner, 2010. Lincoln Park Zoo South Pond. Archidaily: http://www.archdaily.
well as weaving in many void forms, done by my gro
One hard thing was to apply the sine curve to match problem finally solved through panelizing the single c
For fabrication, initially, I tried to use notches for poly clips for etched boxboard, but all failed. Then, to take flexibility of polypropylene which is easy to fabticate shape, I simply connected poly strips by eyelets, whic It has the potential to support the patterns, bend or w Moreover, cane as a flexible and plastic material is q the sine grid and connections through bending and
oup mates.
h with irregular surface. This cosine pattern defined within -2Ď&#x20AC;.
strips or rectangular e advantage of the by laster cut in any ch is clean and strong. weave in many forms. quite ideal to satisfy bonding.
Image Source: Archidaily: http://www.archdaily.com/83676/lincoln-park-zoo-south-pond-studio-gang-architects 63
B3.2 Computerisation Process
1. Create an arc and divide in 10 segments, dispatch the point and move one group of points.
5. Connect start and end point of sine segmental curve, based on that straight line, rotate one of sine segments, then loft three curves to get surface.
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2. Build bi-curve cross going through points referencing the tangent with arc to create sine weave.
6. Move sine curves to get grids
s.
3. Mirror the sine curve with the arc as axis
4. Offset curves and loft to get sine strips.
7. Move surface in the same way to get South pond model.
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B4 Technique: Development
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Parametric Design Matrix
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B4.1 Iteration Matrix
Diamond & Triangle grids to vary forms by using kangaroo, scale region, loft. Cross arc structures to vary forms by set different move parameters.
Mesh semi-closed Polysurface to vary form by move parameters, loft, brep to mesh,
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Sine curve with sine lofted surface tovary the form by projecting to nurb surface, dispatch
Single components for sine grid, square grid applied to irregular nurb surface by morph
Rectangular grids to vary form by lofting, scaling lines.
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B4.2 Selection Criteria
1. For further structure exploration, this structu more interesting surface, due to its specific he sure the it is stable to support patterns, and rigi
2. This iteration reserves the original sine structur nurb surface, with different surface system. The for this structure requiring to be flexible for wea
3. I tested with simple This structure has bee and stronger since ea
4. The simple grids st effect. Its perspective is proposed to be ligh
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ure form has the potential to cooperate with eight difference. Corssing arc elements make id to keep form.
re, meanwhile testing its possibility to apply on ere exist the concerns that the strips or cables aving, bending and keep stable in sine shape.
e rectangular grids which apply on nurb surface with half-open surface. en widely used in design for developable surface, which is more rigid ach stick bonding with more chords ant crossing nodes.
tructure cooperates with bending surfaces, making contrast in visual e is more drastic due to undulating plane. The material or bending panels ht and thin sheets, which allow the form playing with light and shadow.
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B5 Technique: Prototypes
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Balloon Vault Sine Structure Triangulated Form Hexagon Patterns Open-Close Patterns
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B5.1 Prototype| Balloon Vault
The design varies from digital design to fabrication. To reach the organic tessellated cells derived from VoltaDom, the relation between various cells and entire configuration can be abstract. Noticing the flexibility of material are required, we tested single void and grouped void by balloons, strings and glue. Balloons are acted as temporary formwork to keep strings in shape until it is hardened. Strings are proposed to create linear surfaces with temporary form work of balloons, and hardening by glue. The voids naturally generate while wrapping string around balloons, which create interesting patterns and visual filter.
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This prototype shows the producing method is workable to make and connect cells. The strings perform as surfaces and structure at the same time through wrapping in certain density. However, due to producing process which is entirely handcrafted, it is difficult to control each form of cells, which will also influence much the whole configuration. For further development, we need to think about a removable formwork for recycling or find better surface material that could replace strings.
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Balloon used as temporary formwork for strings to form a cone shape.
B5.1.1 Fabrication Process 78
Cotton strings which contains more fiber are ideal for hardening in a frame surface.
Wrap the strin create tessella glue to immo Puncture ball and strings ar the clean fixe
ngs around balloons to ated voids, and apply obilize the pattern. loons until glue is dry re hardened to get ed frame surface.
Use string and glue or wax to make connection between cell elements.
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B5.2 Prototype | Sine Structure
The structure exploration is based on sine curve referencing to South Pond Pavilion. To experiment the structure possibilities. Initially, there were failed attempts for plate clips with boxboard and notches with polypropylene. Box board strip with etches still behaves rigid and is really easy to exceed its bending property, which cause the failure of experiment. Notches for polypropylene are not fixed where the smooth poly-strips become loose frequently. After a few tests for different joint functions, taking advantage of the flexibility of polypropylene which is easy to fabricate by laser cut in any shape, our second prototype resembles the digital model well. Eyelet connections fix the structure successfully to achieve sine grid pattern created by stretching the grids is pleasant. The tructure can stand independently while the boundary bottom is attaching in place.
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I tried to use notches for poly strips or rectangular clips for etched boxboard, but all failed. Left top: boxboard is regid which does not allow it weaving in sine grids smoothly. Left bottom & Right: Polypropylebel strips with notches. This connection is loos, so that the structrue can not apply for variable patterns and forms.
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Left top: arc section for sine structure.
Left Middle: top view for sine structure
Left Bottom: perspective for sine struc
We chose the simplest curvature surfa variation of sine grids while the extra
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Above: Eyelet joint to connect poly strips in a neat and strong way that always promise the structure follows sine order in different variations.
Above: strips smoothly weave to form sine structure.
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ace â&#x20AC;&#x201C; arch, to test the opening stretching forces are applied.
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B5.3 Prototype | Triangulated Form
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B5.4 Prototype | Hexagon Patterns
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These patterns of the prototype are the results of the penalization of the curvature surface. By analyzing the distance to the central points, many holes in different scales are drilled. There is almost no material limitation. We chose MDF for prototype making but we think we can also try Perspex, bamboo veneer and son on. By the way, various shadows can be created with the angle of incidence. However, the disadvantages are obvious that these pattern are 2- dimensional and the development is limited on â&#x20AC;&#x2DC;one planeâ&#x20AC;&#x2122;. We think it is better to explore the possibilities of 3- dimensional patterns.
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B5.5 Prototype | Foldable Biomimicry Patterns
The prototype is mean to test the foldability of material. We find polypropylene is a good material which can be folded also its etches .
the connection cannot be minim unable to join many pieces tog angle. As a result, the form canno expect.
The big issue that lead to failure is the connection. It is impossible to laser cut the prototype integrally and we need to joint many pieces together.
From the failure of this prototype, w is an important part. We need to e connection rigid to ensure the sh digital form generation to physica
We choose cable tie to connect each patterns but the flexibility for moment at
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mized. Therefore, we are gether to the accurate ot be folded wholly as we
we realize that connection explore how to make the hape arel controlled from al fabrication.
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B5.5 Prototype | Open-Close Patterns
As for patterns, polypropylene is used to make the 3-dimensional, foldable patterns. They can be folded along the etches. We drilled holes on the corners of these patterns and plan to apply them on cane. The prototype test result is quite different from what we propose. Firstly, we are surprised by the interaction between cane and polypropylene. The friction between cane and polypropylene helps with holding patterns in shape and there is no more connection required.
Secondary, we find the simplest quadrilateral pattern is the best due to its characteristic of plasticity. It can be shaped in waving shape retained by the frictions force between cane and polyproplene. Furthermore, this kind of pattern has the ability of holding the two-direction grid. By the way, the patterns have both the pattering characteristic and the connecting function. As for other patterns, they can be folded in 3-dimensional shape. They are already shaped and there is no interaction with cane. Furthermore, they are only suitable for 1 direction array instead of 2-direction grid.
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B5.5 Prototype | Fabrication Process
Step 1. Testing the bending property of cane material which is proposed to apply for structrue.
Step 5. Soak the structure in water for at least 15 mins to let cane more flexible and more plasiitic property available.
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Step 2. Drilling holes on quadrilaterals which prefabricated by laser cut.
Step 6. Experiment various bendings form we proposed.
Step 3. Get cane sticks piercing through holes , during this stage, we explored various patterns and different method getting poly surface periced.
Step 4. Chose this pattern for its passive friction effect, and fabricated a group pattern.
Step 8. Bond cane to keep it in shape until it dries
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B5.6 Final Outcomes
By reversing the joint direction, the patterns are shaped in waving form and they look different from outside-in between inside-out. The open and close of patterns are influenced by the curvature of the structure. By the way, it can response to our design approaches of controlling the light and sound . Furthermore, there is no connection required to fix the patterns on which is even better than my reverse engineering precedent. Due to the various scale of patterns, changeable shadows are created.
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MATERIAL PERFORMANCE OF C
Cane is made from bamb bamboo is a widely grown and r resource. It is a pliable materia be reshaped and manipulat some researches, once we soa water for around 15 minutes, and hemicellulose in the bam will become flex. At this mo can reshape it. It is suitable for o approach and can be used to our structure which could be fle
CANE:
boo and renewable al and can ted. After ak cane in the lining mboo cells oment, we our design o construct exible.
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B6 Technique: Proposal
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Proposal To make a pod that wear sound and/or light controlling pattern which sits on a rigid frame structure that refers to the form generated by parametric design tools. As mentioned before, we are intending to use the structure to represent the dynamic form and support the pattern elements. We are trying to engage what we have done previously together, regarding the form, structure and pattern as a whole rather than 3 separate parts.
Achievement of the technique With this technique, we are going to combine three approaches of designing into one design. Since this technique require us to have careful selection of material and we have to test out various material to see how well the pattern will work with the structure, we can gain more experience in terms of materiality for future optimization of the proposal.
Just like the last prototype at B.5, the cane grid is holding the pattern and the canes have a potential to show the dynamic form generated by the simulation under certain curving forces. Opportunity for innovation Is it possible to make the whole form (structure) movable or adjustable according to different lighting or sound need of the pod? Is it possible to make a small machinery to control the openness of the panel to allow sounds or lights getting into the pod?
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B6.1 Site Analysis
The site for the acoustic pod is roughly a 1.5*2*2.5 volume and the pod is mainly a meeting area. As a pod for meeting or gathering, noise control is quite important. We might control the noise by the pattern panels that are set in different angle, size or curvature according to the acoustic attractors of the space, or by attaching sound absorption material onto the pattern panels. Apart from this, the function of the pod and the location of the pod in the space will also affect the sound control performance. For example, if the pod is only for important meeting, then a high quality of sound control is required while the quality can be lower when the pod can be used for temporary gathering and chatting. As for the location, the pod sitting right at the middle of the space without touching any wall will create a different sound experience from the pod that sits next to the wall. In this case, the function of the pod should be clearly defined and we need to think more about the material selection and the size or scale of our patterns. However, we can challenge the idea of acoustic control as well. A right amount of noise will help to increase creativity [1], which means a productive working or studying environment required a certain amount of noise. In this case, we are supposed to balance the power between noise or sound control elements.
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B6.2 Evaluation
Advantage of the technique Kangaroo simulated form with minimal surface provide opportunities to reduce material usage and cost. Structure, as a communicating medium, has a potential to present the form and support the patterns Cane is a proper material for curving geometry Disadvantage of the technique Merging three designing approach might cause conflicts among approaches and we need to make a balance on what we need and what we donâ&#x20AC;&#x2122;t need. It is hard to keep every characteristic in the final proposal at the same time. The thickness of the cane we use for prototyping might not be useful for a larger scale construction.
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B7 Learning Objectives & Outcomes
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Through part B of digital design and fabrication process, I have considerably developed my computational skills and explored the algorithmic thinking and parametric design method. It is a useful and unique digital tool for designers.
effects are performative: we can verify how material work by sensing what they do’, I realized that I should attempt more fabricating means to familiar with different properties for diverse materials.
Sketching using parametric modeling can be a challenge yet exciting experience which is fresh for me. I think plenty of variety of generation has been achieved in this Part. There are great amounts of variations explored for algorithmic definition for case studies in this Part. The simple and restricted algorithmic definition for Voltadom cells were optimized in a loft algorithmic logic, which shows more possibilities in various geometries.
‘Affect in architecture is simply the sensate response to a physical environment’[1]. The fabrication influences our design outcomes with distinguishing atmosphere. For instance, based on our project synopsis, there is a space within an office that need to be defined and designed for privacy and meeting demands. The shape of enclosure really relates to spatial functions with sound reflection and absorption. Therefore, the functions of space can be the criteria for our design proposal.
By practicing with digital modelling tools, such as Rhino, Grasshopper, and other plug-in software, I have collected multiple digital design forms through changing algorithmic definitions and parameters. However, I confront with the issues of conceptual free transformation between digital and proposal. It is derived from two main concerns with potential solutions. Firstly, my parametric design skill is not mature to assist my fancy ideas. To overcome that, reverse engineering process can be an effective method to train my algorithmic thinking and techniques, that worth to practice more.
After presentation on Wednesday tut, we received useful feedback for our brief work of Part B. There need new, flexible scale fitting material to be explored and tested, such as cables, veneers, etc. Moreover, for further development, our work is focusing on construct reasonable combination of pods pattern, structure, and form.
Secondly, there are realistic problems relating to material properties, environment requests, detail connection, scale conflicts, and fabricating method, before physical generation achieve the effect of digital proposal. During the physical process, I suffered many failures in material, structure and form testing. It might result from lack of knowledge. Understanding ‘Material
1. Kolarevic, Branko and Kevin R. Klinger, 2008. ‘Manufacturing Material Effects: Rethinking Design and Masking in Architecture’. New York; London: Routledgem, p.21. 107
B8 Appendix & Algorithm
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Bibliography David Celento and Edmund Harriss, 2011. Potentials for Multi-dimensional Brady Peters, 2013. ‘’ Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design. Kelly Minner, 2010. Lincoln Park Zoo South Pond. Archidaily: http://www.archdaily. com/83676/lincoln-park-zoo-south-pond-studio-gang-architects
Image source Kolarevic, Branko and Kevin R. Klinger, 2008. ‘Manufacturing Material Effects: Rethinking Design and Masking in Architecture’. New York; London: Routledgem, p.21. Skylar Tibbits, Voltadom images, retrieved from: http://www. arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits Gang Studio, Lincoln Park Zoo South Pond Pavilioin, retrieved from: ¬¬Archidaily: http:// www.archdaily.com/83676/lincoln-park-zoo-south-pond-studio-gang-architects
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DETAILED DESIGN
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C1 Design Concept
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Reciprocal Interlocking System Hiding without Isolating Lightness & Floating As the brief is to design a meeting space in an office area, our concept is to create a meeting space that is hidden to a certain extent yet not isolated. The blocked meeting area form the rest of the office room will still allow visual communication with surroundings. Besides, our understanding to â&#x20AC;&#x2DC;acousticâ&#x20AC;&#x2122; is beyond sound and noise control, taking also the visual privacy, materiality and atmosphere into consideration.
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C1.1 Reflection on Feedback
Based on a lot of helpful feedback received from Part B, a number of details remain to be improved in order to achieve and express in its better method. These changes can be divided into three sections logically and critically.
RECIPROCAL INTERLOCKING SYSTEM In general, we decided to keep exploring and testing the simple idea of interlocking system which we think has the greatest developable potential. Within this system, joints are unnecessary for the whole form that the panels are functioned both as patterns and connections for structure. The friction promises that the patterns can curve itself upward, and lock the cane cores in grid structure.
MATERIALITY AND ATMOSPHERE However, in terms of materiality, polypropylene is not the best material for the pattern for our final design since it is only a kind of prototyping material rather than a constructible option. To refine the polypropylene panels in previous stages, there were more expectations from Finn to consider other materials, such as bamboo veneer, which possess good tensile quality to fulfill our bending purpose. The entire system applying natural materials that cane for structure and bamboo veneer for panels, will also benefit for creating a relaxing working atmosphere of natural environment to release people’s pressure. Another consideration about the cane is diameter. A proper diameter of cane cores for the structure, being able to support the whole form with pattern and looking neat at the same time, needs to be tested out in the following stage. OVERALL FORM While doing different material testing, the group needs to find out the final form for the design. Site analysis from several perspectives, may contribute to setting down our final form, which satisfy our themes ‘Hiding without isolating’. However, applying the interlock system to the overall form in a larger scale may reveal some hidden problems that we cannot realize in a small scale. Therefore, a larger scale prototype is necessary to certify our design is workable.
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C1.2 Workflow Logic
Exploration
Experimentation Site Analysis Acoustic Analysis
Digital adjust
View Analysis
Digital adjust
Circulation
Digital adjust
Research Studies Green Void
Form Simple Lofting surface surrounding meeting space.
South Pond
Structure
Material Testing & Adjustments M ax imum cane material bending flex ibility by soaking in w ater for 5 mins
Sin Re w
Grid structure and patterns interacting.
Wood Lattic Shell
Panels & Joints Pattens for both interlocking joints and view blocking functions .
Adjusting relationshipe of bending and material grain.
Concepts Receprial System
Precedents Studies The Serpentine Galleries
Forest of Light
Sense of Lightness Light and thin structure allow s communication w ith surroundings.
Abstract Space definition Spot lights define and seperate the space.
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No alternative fix ing joints. Patterns a interlock w ith each other.
Hiding Without Isolating
The sense of floating and lightness, th form and natural material panels, ge atmosphere of natural environment, office w orkers and constuct commun around.
n & Generating Form
Fabrication & Installation
Panel Adjustments
ting bending panels
ting ceiling level
ting opening direction
Form Adjustments
Laser cut bamboo veneer sheets into panel pieces.
Soaking colled cane cores into w ater to make them straight.
ne grid test failed. egular grid shell copperates ell w ith interlock system.
Kangaroo varies â&#x20AC;&#x2DC;Give Handâ&#x20AC;&#x2122; Composite grid shell
Adjusting w arping edge of pattern tails. Adjusting Density of patterns.
Structure & M aterial Adjustments
and grid structure
hrough grid structrue enerate an to release pressure for nication w ith all
Streamline assemble cane cores and pattern pieces.
Final Design
Arching flat structure w ith panels system, and fix ing anchor cane cores.
Replace certain direction canes in grid shell by perspex rods w hich support structure to stand in shape.
Interim Feedback
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C1.3 Precedents
Differentiated Wood Lattice Shell
The Serpentine Galleries
Jian Huang // Minhwan Park, Harvard GSD // 2009[1]
Sou Fujimoto // Hyde Park, Lo
In this project, the structure and panels are separated systems. The upward tails of patterns are defined by the bolts and nails, which fix, support and deform the panels on grid structure. We adopted the ideas of grid structure and patterns, moreover, took them forward with a more intelligent connection strategy – interlocking system.
This translucent architecture f structure generates a profoun got the inspiration that geom forms could meld with human this way, reflecting on our con the strictly ordered structural interesting space within a roo people to share their experie
1. Archimmenges.net, ‘Differentiated Wood Lattice Shell’, 2017. <http://www.archimmenges.net/?p=4339> 120
Forest of Light
ondon // 2013[2]
Sou Fujimoto // Milan // 2016[3]
framed by thin, white nd sense of lightness. We metry and constructed n and surroundings. In ncept, we tend to utilize system to create an om, which encourages ence in office.
In this installation, a forest consists of countless light cones made from spotlights above, which pulsate and constantly undergo the state of flow. People could strongly experience a transition of space by the charm of light and mirror. This reminds us that a meeting space could be built organically and abstractly fall in between. The atmosphere provides the spatial definition through materials and form system, which blur the boundaries between interior and exterior allowing the communication around space.
2. ArchiDaily, ‘Serpentine Pavilion / Sou Fujimoto’ 2013. <https://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto> 3. ArchiDaily, ‘ Sou Fujimoto Installls a ‘Forest of Light’ for COS at 2016 Salone del Mobile’ 2016. <https://www. 121 archdaily.com/785460/sou-fujimoto-installs-a-forest-of-light-for-cos-at-2016-salone-del-mobile>
C1.4 Form Matrix | Lofting Surfce
To fulfill the hiding purpose, we created and tested several forms during digital model and physical process. There are primary attempts testing simple lofting system. With the assist of grasshopper, the shape is built based on the algorithm starting from a few points, then moving series of 2D-mateball curves. Through scaling, rotating and shattering, the surface gets distorted, weaved and coiled to form expected flow. However, this method could merely cope with the form like wall, which loses the consistency in ceiling level.
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C1.4 Form Matrix | Kangaroo Grid Shell
Since we were not satisfied with the first algorithmic attempts of form finding, there are the second digital explorations according to grid shell algorithmic definitions. Similarly, the grid is constructed from series strictly ordered points in flat plane. Experimenting different sets of anchor points, the flat grid would be lifted up by bending force. Through this logic, the Kangaroo plug-in can examine the desired forms with force bearing analysis. Therefore, the grid forms are bending and curving in more reasonable and aesthetic standard.
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C1.4 Selected Form
The final form we selected in black (above) contains the criteria, covering the space all around to achieve our ‘hiding’ purpose, and providing twoside access as well. The shape for the grid shell mimics a pair of ‘give hands’ (Conceptual Diagram), which symbolizes the success cooperation among clients and company team members.
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C1.5 Conceptual Diagram
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C2 Tectonic Elements & Prototypes
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This process focuses on the experimenting and prototyping following the design concept concluded in C1. The new pattern material, bamboo veneer, has been fully explored in bending and friction performance. The design effects also required further development and there comes out structure defects, which will be optimised in next stage.
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C2.1 Material Testing | 0.9mm Thick Bamboo Veneer Bending Property
0.9 mm thick bamboo veneer
Top view
Side view
20(L) x 12(W) mm panel
Bending along grain
Bending along grain
With the suggestion about materiality for further development, bamboo veneer was considered as our pattern material due to its nice deformability after soaking into water. Firstly, we tested out 0.9mm bamboo veneer panels to see its performance after soaking. It behaves well when the 20 x 12 mm panel bends along its grain, yet too rigid to bend in perpendicular direction to the grain. However, for our design, it requires the material in small panel size to be able to bend in both directions. Obviously, the 0.9mm thick bamboo sheet cannot fulfil our proposal.
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C2.1 Material Testing | 0.6mm Thick Bamboo Paperback Bending Property
0.6 mm thick
Top view
Top view
Side vie
bamboo paperback
Bneding along grain
Twisting diagonally
Bendin
20(L) x 12(W) mm panel
As account for the failure of the first material testing, we speculated the thickness impairs the bending fle time, we tested about the 0.6mm bamboo veneer paperback, which performed a great capability to d than 0.9mm thick one in bending performance. The malleability and plasticity of bamboo veneer paper after cold water immerses. After around 15-minuteâ&#x20AC;&#x2122; soaking, we try to bend, twist the panel and there is l
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ew
ng along grain
Side view Bending perpendicular to the grain
exibility of bamboo veneer sheet. This deform and bend. It is more flexible rback (0.6mm) could be improved less prone to cracking.
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C2.1 Material Testing | Double Layer
Double layer the panels with perpendicular grain
Double-layer panels assembled on cane grid
Based on our design concept of interlocking system, the structure should be fixed by the panel panels bending reverse to lock the canes in position. When working on the prototypes, there pu sometimes the reverse bending forces are too strong where some pattern in small sizes are stret
To address this issue, we came up with the solution that sticking double layer of paperback with grain at back side. This double layer system cooperates well with cane structure and reduce th To accommodate with ceiling equipment, such as light fittings, there are slits cut on the panels
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Double-layer panels with slits assembled on cane grid
ls since there are two side of ump out a major problem that tched to crack.
h perpendicular grain to resist cracking along he cracking possibility to large extend. to create light projecting through.
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C2.2 Material Performance | Friction Locking Relationship
We initially used 4mm wide canes for the structure, which is light and reformable. But the 4mm cane is not strong enough to support the whole structure if the model is in 1:1 scale. Then we tried the 8mm cane, which is stronger than the 4mm one. However, the finishing of the 8mm cane is rough. To solve the supporting problem, we decide to sacrifice the consistency of the structural material and use cane for one direction of the structural grid and Perspex rods for the other direction.
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The relationship between pattern and the cane also of the friction. The friction more beautifully when the size of the cane and hole cannot be the same, othe insert the cane through th veneer pattern will becom
the size of the holes on o impacts the performance n will form the pattern e difference between the e is smaller. But their size erwise it will be difficult to he pattern and bamboo me hard to bend.
As for prototyping scale (about 1:10), these soaked panel is suitable for physical fabrication and they are bended dynamically along with the curvature of the structure. However, when the scale become bigger (1:4 or 1:1), the size of the pattern gets bigger and the bending extent become less. Hence, we no longer need to soak the bamboo veneer to enhance its plasticity.
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C2.3 Fabrication | Laser Cut Panels
Double Layer with slit
4 Sharp Corners
Arc Edges
Grow in Size
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C2.3 Fabrication | Cane Documentation
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2750mm
1950mm 142
For effiecient, accurate assembly, we labelled the canes with indexes according to the length in grasshopper. This method promised the model deriving from digital file maximumly. However, there exists conflicts between idealizationa and reality that the available length of canes confines proposed length. For instance, the required longest length is supposed to be 3.35m, while the longest available length is only restained by 3.25m. In order to manage this error, we slightly adjusted our measurements to compensate the restriction.
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C2.4 Construction Sequence
The construction work for our prototype is unique that the assembly process follows a knitting rule, since there is no joint between components. The completed structure system applied with patterns would be lifted up by squeezing anchor cores. Step 1: Laser cut bamboo veneer paperback panel. Step 2: Stick double layers of panels with perpendicular grain. Step 3: Reverse bend two adjacent sides of panel, then get two cane cores cross passing through holes. Step 4: Move cane cores in vertical and horizontal axis until panel is located at the other end of cane cores. Step 5: Repeat the previous steps adding panels according to one axis (horizontal cane core). Step 6: To knit more rows, assemble the second row of panels from the other end of cane cores (vertical axis) and stay from the first row in distance until it is complete. Step 7: Fix the cane cores in vertical axis and push the second row approaching the row in front evenly, carefully. Step 8: Follow the same steps before, to add more panels for integrated shape in flat. When it is finished, the grid structure would arch up by squeezing the anchor cores.
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C2.5 Prototype #1
Objective: Present our design concept Description: In order to test the performance of large size patterns with actual size canes, we made a full size prototype. Improvement: The arc sided patterns are prone to crack at the arc side due to non-uniform pressure during the assembly process. It is difficult to support the entire form by 5mm canes with uncontrolled deformation which further different from our digital proposal. Therefore, we need to adjust the form to meet the restrictions of canes.
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C2.4 Prototype #2
Objective: Deal with problems from last prototype. Description: During the assembly process of prototype #1, the high cracking rate of patterns is resulted from non-uniform pressure on the arc side. In order to deal with this issue and retain patterns in waving shape, we change the arc side to a sharp corner with two sides scatterring the pressure.
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C3 Final Detailed Model
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Through fully experimented for prototyping, the assembly process has been proved as a functional method following the knitting manner. As a potential trouble, the proposed form could not be promised by all cane structure system lifted up by squeezing manually. In the case of prototyping, there were too many factors influencing our design form, which grew further different from the proposed digital model. After arching in various forms, we found the height, shape of all cane grid shell is largely determined by the density of patterns, size and length of canes, etc.
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C3.1 Construction Sequence
To make model accurate according to our digital proposal, we adopt Perspex, then laser cut into rods with precise curvature and measurements, which guarantees the final form standing by one side and show the gradient of pattern size obviously. Step 1: Laser cut bamboo veneer paperback panel. Step 2: Stick double layers of panel with perpendicular grain. Step 3: Reverse bend two adjacent sides of panel, then get cane core and Perspex rod cross passing through holes. Step 4: Move Perspex rod in vertical and cane core in horizontal axis until panel is located at the other end of cane cores. Step 5: Repeat the previous steps adding panels according to one axis (horizontal cane core). Step 6: To knit more rows, assemble the second row of panels from the other end of Perspex rods and stay from the first row in distance until this row is complete. Step 7: Holding the structure up and push the second row approaching the row in front evenly, carefully. Step 8: Follow the same steps before, to add more panels for integrate shape in 3d. The Perspex rods could guarantee the arch level.
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C3.2 Final Model
Improvements and Advantages: We change the material of main supporting structure to clear Perspex. Through precise laser cut, Perspex rod can mold the form without unexpected deformation. Furthermore, the light structure creates a delightful sense of floating, weightlessness.
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C3.3 Further Improvement
Original Pattern & Prototype
Stretched Pattern & Prototype
As for the final design, we consider that it might achieve a higher level of visual accessibili acoustic control if the shape of the pattern can be deformed in a bigger extent.
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ity and a better
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C4 Learning Objec
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ctives & Outcomes
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Objective 1: “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies:
The brief is to design an acoustic pod for an existing office and understanding the meaning of ‘acoustic’ is the first step to Lanch the design. Our understanding for ‘acoustic’ is beyond sound and noise control, taking the visual privacy, materiality and atmosphere into consideration as well. The concept of our design is to create a meeting space ‘hiding without isolating’. Refer to digital technologies, the design process greatly relied on grasshopper, which asisted us to develop our idea form site analysis, form finding to final optimizing stage based.
Objective 2: developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration:
When site analysis and its visualization done in grasshopper, we got clearer about what the form should be like. As for the overall form, there was a variety of possibilities generated with, through Kangaroo plug-in by altering the parameters based on the algorithmic definition during the form finding process. We also took advantages of some simple yet effencient parametric design for patterning variations, whcih generated different kinds of pattern types, sizes according to the experiments of prototyping. In terms of the structure, the interlocking structure is relatively tough to model in digital method. Even though, we finally figure it out in Grasshopper. Maeanwhile, the limitation of this Rhino plug-in is exposed: not everything can be solved with a functional component, and in some cases, it becomes less efficient to model in Grasshopper with algorithms than modeling it in Rhino directly. To conclude, grasshopper is an assistant tool and we are supposed to use it accordingly.
Objective 3: developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication:
After all, we managed to resolve the digital workflow and translate it into physical fabrication as well. The design, presentation and documenting processes accelerated our deeper understanding the integrated process from design to construct through general workflow. During that period, there are overlapping between these two stages, which produced many feedbacks, then brought more fresh possibilities or alternatives for optimization. For instance, in fabricating stage, we kept communicating with our material supplier in order to figure out the best way to apply the material to our design.
Objective 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere:
By changing the material from polypropylene to bamboo veneer from Part B to Part C, we tried to create a delightful atmosphere in contrast with the cold concrete around the office. In other words, we intended to define the meeting space into a nice environent by introducing a natural and proper material as a medium (the acoustic pod) that blends the meeting space and the rest of the office.
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Objective 5: developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse:
Firstly, the brief of making an acoustic pod is quite challenging yet exciting, since we are supposed to make a constructible 1:1 design, which requires accurate measurements and further material testing. Doing so, in face, urge us to learn the material (cane and bamboo veneer paperback) performance comphrehensively . Besides, to build scaled model physically, we also tried to consider beyond a studio level design project, instead, a real proposal for potential clients. Because of this, other than material performance, suppliers, transportation, manufacture and some other embodied budgets required strict considerations as well.
Objective 6: develop capabilities for conceptual, technical and design analyses of contemporary architectural projects:
Individual member has all done the reverse engineering to a high level which lanched the conceptual collage containing rich ideas possiblely and easy to approach. Although the aspects or design direction of our precedents for reverse engineering are distinct, we managed to figure out a way merging them properly, which results in supprisingly interlock system in prototyping, and determined to develop it. Moreover, technically, we analyzed our digital form in terms of curvature and this influenced either the size or density of the patterns.
Objective 7: develop foundational understandings of computational geometry, data structures and types of programming:
This was gradually achieved though out the whole Studio. Dealing with more than 600 patterns with slight changing and a rather complex structure system (interlocking), we had to master not only how to use the relative functional components but also how they work in Grasshopper environment. As mentioned, sometimes, Grasshopper can make modelling more complicated in computational process. In this case, we need to solve it in a â&#x20AC;&#x2DC;manualâ&#x20AC;&#x2122; way, like writing a scrip for programming in a Grasshopper language which was exhauted for three beginners of computational design. However, failure makes us improve rapidly.
Objective 8: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application:
We have developed our personalized repertoire of computational techniques through the sketchbook where we kept working on from Part A, which benefitted for us. It trained our logic for how things work in those algorithmic aided software, and this seems more crucial than making crazy stuffs with them. since parametric design is totally relied on logical workflow. We also tried to apply parametric method to other fields, such as graphic design. Though out the Studio, we experienced both the advantages and disadvantages of Grasshopper, which promoted us to use parametric design tool in a wiser and more effective way in the future.
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Bibliography Archimmenges.net, ‘Differentiated Wood Lattice Shell’, 2017. <http://www.archimmenges.net/?p=4339> ArchiDaily, ‘Serpentine Pavilion / Sou Fujimoto’ 2013. <https://www. archdaily.com/384289/serpentine-pavilion-sou-fujimoto> ArchiDaily, ‘ Sou Fujimoto Installls a ‘Forest of Light’ for COS at 2016 Salone del Mobile’ 2016. <https://www.archdaily.com/785460/soufujimoto-installs-a-forest-of-light-for-cos-at-2016-salone-del-mobile>
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