2018 Semester 1 Folio - Canhui Chen - Ralph Santos - 102090090

the hills have eyes ARCHITECTURAL DESIGN STUDIO 2 - CANHUI CHEN SEMESTER 1, 2018

Ralph Santos 102090090

Contents

0.0 INTRODUCTION 1.0 TRIANGULATION EXERCISE 1.1 PROJECT BRIEF & IDEATION 1.2 DESIGN EXPLORATION 1.3 MATERIALISATION & TOOLS 1.4 FABRICATION 1.5 OUTCOME 2.0 PRECEDENT STUDY 2.1 TIMBER WEAVING 2.2 WAFFLE STRUCTURES 3.0 DIGITAL PROTOTYPE 3.1 PROJECT BRIEF 3.2 DESIGN PROPOSAL 3.3 PATTERN RESEARCH 3.4 PATTERN GENERATION 3.5 FORM DEVELOPMENT 3.6 DESIGN REFINEMENT 4.0 MID-SEMESTER FINAL 4.1 FINAL RENDERS 4.2 FINAL PLAN/ELEVATIONS 4.3 CONSTRUCTION SEQUENCE 5.0 PHYSICAL PROTOTYPE 5.1 TIMBER BENDING STUDY 5.2 LASER-CUTTING PROTOTYPE

6.0 PRECEDENT STUDY 6.1 TIMBER WAVE AL_A 7.0 DIGITAL DESIGN 7.1 DESIGN PROPOSAL 7.2 DESIGN ANALYSIS 7.3 DESIGN GENERATION 7.4 DESIGN DEVELOPMENT 7.5 DESIGN PROGRESSION 8.0 FINAL DIGITAL DESIGN 8.1 FINAL PLANS/ELEVATIONS 8.2 FINAL RENDERS 9.0 PHYSICAL PROTOTYPE 9.1 PRELIMINARY TESTS 9.2 JIG CONSTRUCTION 9.3 PROTOTYPE PREPARATION 9.4 PROTOTYPE ASSEMBLY 9.5 FINAL PROTOTYPE 9.6 3D PRINT RENDER 9.7 3D PRINT PROTOTYPE 10.0 VOID INSTALLATION PROJECT 10.1 PROJECT BRIEF 10.2 IDEATION 10.3 PRECEDENT STUDY 10.4 DESIGN GENERATION 10.5 DESIGN DEVELOPMENT 10.6 DESIGN REFINEMENT 10.7 FINAL DESIGN 11.0 VOID CONSTRUCTION 11.1 MATERIALS 11.2 CONSTRUCTION DETAILS 11.3 CONSTRUCTION SEQUENCE 12.0 FINAL PHYSICAL MODEL

1.0 Triangulation Exercise

1.1 Project Brief & Ideation

Project Brief IN THE BEGINNING OF THE SEMESTER STUDENTS WERE GIVEN A TASK TO CREATE A PAVILION LIKE STRUCTURE USING TRIANGULATION AS A METHOD OF DESIGN. WE WERE GIVEN CARDBOARD AS CHOSEN MATERIAL AND ACCESS TO A LASER CUTTER FOR PRECISION CUTTING. THIS WAS A GREAT WAY OF FAMILIARIZING US WITH RHINO 3D AND GRASSHOPPER AS A TOOL FOR CREATING PARAMETRIC DESIGN THAT CAN BE TRANSLATED AND FABRICATED TO THE PHYSICAL REALM.

Ideation I WANTED TO CREATE A PAVILION THAT CAN BE EXPERIENCED AS BOTH AN INDOOR AND OUTDOOR ENVIRONMENT. TO ACHIEVE THIS I TOOK INSPIRATION FROM THE FORM OF A SHELL CONCH. THE CONCH HAS A SPIRAL FORM WITH A SINGLE ENTRY AND EXIT AND USUALLY HAVE A CONICAL SHAPE. I LOOSELY BASED THE PROPOSED PAVILIONS FORM WITHIN THESE ELEMENTS. TO CREATE AN OUTDOOR FEEL WITHIN THE INITIALLY CLAUSTROPHOBIC SPIRAL, WINDOWS WOULD BE IMPLEMENTED ON THE FORM WHICH WILL HOPEFULLY CREATE A KOMOREBI EFFECT (LIGHT THROUGH LEAVES) WITHIN THE SPIRAL.

1.2 Design Exploration

Lofting TO CREATE A TRIANGULATED STRUCTURE ONE MUST FIRST HAVE A SURFACE TO APPLY IT ON. LOFTING IS ONE WAY TO CREATE A SURFACE

BY USING CURVES AS GUIDELINES. HERE ARE A FEW EXAMPLES THAT I EXPLORED. Loft created with three curves with three loops.

Loft created with three wavy curves. Can possibly be used as a shell on a building, a roof or a feature wall.

Loft created with four elliptic spirals rotated 45°. Created a flower looking object. Can be used as a pavilion with a single entry and a sky light.

1.2 Design Exploration

Triangulation

1.2 Design Exploration

Patterning + Triangulation

1.2 Design Exploration

+ Colour gradient depending on panel size

This type of colouring is useful when wanting to know where the really small panels are. Because I found that small panels are difficult to tinker with when model making.

+ Voids depending on attractor curve

These voids can be used as windows (left) or as a structural skeleton (right).

1.2 Design Exploration

+ Pattern depending on attractor curve

This is an interesting way of sectioning triangulation. It creates a two-tone pattern.

+ Pattern depending on attractor curve + Void depending on attractor curve + Colour gradient depending on panel size

I used this for my physical prototype without the colour gradient and it produced extremely satisfactory results visually but not structurally.

1.2 Design Exploration

Final Design

1.3 Materialization & Tools

WE USED 1200 X 700, 3MM CORRUGATED CARDBOARD. FOR OUR PANELS. SINCE THE CARDBOARD HAS A LIGHTER AND DARKER SIDE WE DECIDED TO IMPLEMENT THAT INTO OUR PROTOTYPE AND USE THAT TO OUR ADVANTAGE BY CREATING A RANDOMIZED PATTERN IN OUR PANELLING. CARDBOARD IS GREAT TO USE WHEN BUILDING SOMETHING TEMPORARY AND FAST. IT CAN FLEX, BUT CANNOT SUPPORT ITS OWN WEIGHT WITHOUT THE HELP OF AN INNER SKELETON OR FOUNDATION. IT CAN ALSO BE PENETRATED EASILY FOR NAILS AND COMPLIES WITH MOST ADHESIVES. HOWEVER IT IS NOT WATERPROOF.

1.3 Materialization & Tools

INITIALLY THE PLAN WAS TO USE PVA GLUE, HOWEVER THIS PROVED DIFFICULT SINCE IT TOOK LONGER TO DRY. PANELS WOULD MOVE OUT OF PLACE BEFORE WE COULD ADD MORE PANELS. TO SOLVE THIS PROBLEM WE INSTEAD USED HOT GLUE AND PROVED HAVE MORE SATISFACTORY RESULTS SINCE IT DRIES FASTER. SOMETIMES THE ETCHING WOULD NOT HAVE CUT DEEP ENOUGH SO WE WOULD HAVE TO USE A STANLEY KNIFE, BUT OFTEN TIMES THIS WAS NOT THE CASE. THE HOT GLUE SURPRISED US IN HOW DURABLE IT WAS. IT WAS ABLE TO HOLD TOGETHER THE ENTIRE PROTOTYPE ALBEIT ITS LARGE SCALE. HOWEVER IT DID NOT PROVIDE STRUCTURAL STABILITY AS WE WOULD’VE HOPED.

1.4 Fabrication

WE USED THE TROTEC SPEEDY 500 TO CUT OUR PANELS OUT. THE CUTTING JOB TOOK ABOUT 2 HOURS TO CUT 310 PANELS OUT OF 8 CARDBOARD SHEETS. TO ATTACH THE PANELS TOGETHER WE WERE INSTRUCTED TO CREATE TABS, SO THAT WE COULD CONNECT THE PANELS. EACH PANEL HAD A CORRESPONDING NUMBER SO THAT WE CAN PIN POINT WHICH PANEL WAS WHERE. THIS METHOD HOWEVER CAUSED A FEW DIFFICULTIES INCLUDING, PANELS WITHOUT NUMBERS DUE TO HUMAN ERROR AND PANEL ORIENTATION. OUR INITIAL PLAN WAS TO HAVE THE ‘SMOOTH’ SIDE ON THE OUTER SIDE BUT IN OUR CASE THE SIDE WITH THE TABS ENDED UP BEING ON THE OUTER LAYER. TO FOLD THE TABS, THERE WAS AN OPTION TO ETCH ON THE LASER CUTTER, THIS WAS DONE BY CREATING A DOTTED LINE ON THE CARDBOARD SO THAT IT WAS EASIER TO FOLD. PERHAPS IF WE WOULD’VE USED A 3D PRINTER AND REDUCED THE SCALE OF OUR PROTOTYPE, IT WOULD BE ABLE TO STAND.

1.4 Fabrication

Construction Sequence THE WAY WE DECIDED TO CONSTRUCT THE MODEL WAS TO FIRST ORGANISE THE PIECES SO THAT THEY WERE IN GROUPS OF TEN, ACCORDING TO THEIR LABELED NUMBER SO THAT THEY WERE EASY TO FIND. WE THEN SPLIT THE ENTIRE STRUCTURE INTO TEN SEPARATE STRIPS SO THAT WE CAN CONSTRUCT IT FROM THE BOTTOM UP. THIS ALSO MADE SPLITTING THE JOB BETWEEN THE TWO OF US.

1.5 Outcome

SURPRISINGLY THE MODEL HELD ITSELF TOGETHER. WE WEREN’T EXPECTING IT TO STAND BY ITSELF BUT IT COULD CONTORT INTO DIFFERENT INTERESTING SHAPES THAT WERE ACTUALLY QUITE BEAUTIFUL. THE KOMOREBI EFFECT THAT I WAS GOING FOR WORKED AS PLANNED WHEN LOOKING FROM THE INSIDE OF THE PROTOTYPE. AND WHEN LAID FLAT ON THE GROUND IT CREATES AN INTERESTING FORM AND LOOKS QUITE NICE AS AN ART PIECE THAT COULD POSSIBLY BE HANGED FROM A WALL. TO ACHIEVE THE DESIRED SHAPE WE HANGED THE PROTOTYPE ON A HIGH SPACE IN THE WORKSHOP WITH TAPE. HOWEVER THIS STILL DID NOT DO THE JOB DUE TO GRAVITY AND PANELS WANTING TO MOVE INTO ITSELF AND STRAIGHT DOWN. A SOLUTION TO THIS MIGHT BE TO CREATE AN INNER SKELETON WITH CARDBOARD OR WIRING SO THAT THE STRUCTURE CAN SUPPORT ITSELF.

2.0 Precedent Study

2.1 Timber Weaving

Timber Weaving TIMBER WEAVING CAN BE ACHIEVED IN ARCHITECTURE THROUGH WOVEN SETS OF SEAMLESS PATTERNS. ONE OF THE MOST PROMINENT PATTERN USED ON TIMBER IS THE KAGOME WEAVE. THIS TYPE OF WEAVE HAS EQUAL STRENGTH IN EVERY DIRECTION DUE TO THE INTERSECTIONS THAT FORM EQUILATERAL TRIANGLES, WHICH PROVIDES GREAT RESISTANCE TO TEAR AND SHEAR. SHIGERU BAN HAS IMPLEMENTED THIS PATTERN ON A COUPLE OF HIS PROJECTS - CENTRE POMPIDOU METZ AND NINE BRIDGES COUNTRY CLUB. THE FORM OF HIS WEAVE USUALLY ACTS AS A GRID SHELL FOR A ROOF/CEILING AND USUALLY TAKES A FLUID NON-RECTANGULAR SHAPE. A GREAT DIFFICULTY RESULTS FROM THIS DUE TO THE TIMBER BEING DOUBLY CURVED WHICH MAKES MANUFACTURING VERY DIFFICULT AND SLOW WHICH IN TURN MAKES A PROJECT VERY EXPENSIVE. OTHER PATTERNS CAN BE USED IN TIMBER WEAVING THE MOST COMMON ONE IS THE REGULAR SQUARE LATTICE GRID WHICH WAS USED IN THE JERWOOD GRIDSHELL SPACE, JAPAN PAVILLION HANOVER EXPO 2000 AND MANY OTHERS. IN HISTORY THE SQUARE LATTICE PATTERN CAN BE FOUND IN MONGOLIAN ARCHITECTURE. THEY USED THIS TECHNOLOGY TO CREATE THE STRUCTURAL SKELETON OF THE ‘YURTS’ THAT THEY LIVE IN.

Centre Pompidou-Metz, Metz, France

Jerwood Gridshell, West Sussex, England

Nine Bridges Country Club, South Korea

Japan Pavillion Hannover Expo 2000

2.2 Waffle Structures

Timber Waffle Structures TO SOLVE THE DOUBLY CURVED PROBLEM, BUILDING A WAFFLE STRUCTURE CAN BE A SOLUTION. IT HAS A SIMPLE CONSTRUCTION PROCESS WHICH MAKES MANUFACTURING EASIER AND CAN ACHIEVE SIMILAR PATTERNS TO WOVEN PATTERNS. THE FACULTY AND STUDENTS OF IAAC HAS CREATED A WAFFLE STRUCTURE FROM THE TRIAXIAL PATTERN MENTIONED BEFORE, COMBINING THE STRENGTH OF THE EQUILATERAL TRIANGLES IN THE TRIAXIAL PATTERN WITH THE ELEMENTARY CONSTRUCTION PROCESS OF WAFFLE STRUCTURES.

Triaxial Waffle - IAAC

Bunjil Place, Narre Warren, Australia

Metropol Parasol, Seville, Spain

3.0 Digital Prototype

3.1 Project Brief

Project Brief WE WERE INSTRUCTED TO REPLACE ONE OF THE SAIL SHADES THAT ARE IN SWINBURNE’S CAMPUS USING STRUCTURES INSPIRED BY OUR PRECEDENT STUDY. WE DECIDED TO CREATE A PAVILION THAT IS NOT ENCLOSED, BUT CREATES A FEEL OF BOTH INTERIOR AND EXTERIOR. TO ACHIEVE THAT WE DECIDED ON A PERMEABLE STRUCTURE THAT LETS LIGHT AND AIR IN.

Site & Design Proposal WE CHOSE THIS SITE SINCE IT’S IN THE MIDDLE OF THE CAMPUS AND HAS HIGH FOOT TRAFFIC THAT WILL ATTRACT ATTENTION TO OUR PAVILION. DUE TO FABRICATION LIMITATION SUCH AS NOT HAVING ACCESS TO A ROBOTIC ARM AT THE TIME WE DID NOT HAVE THE PRECISION TO CREATE A TIMBER WEAVED STRUCTURE SINCE IT CREATES NON-DEVELOPABLE SURFACE. WE DECIDED TO HEAD IN THE DIRECTION OF TIMBER WAFFLING SINCE IT HAS SIMILAR ASPECTS TO TIMBER WEAVING.

proposed site

3.2 Pattern Research

Kagome Weaving I FOUND THIS PLUG IN WHEN RESEARCHING FOR MY PRECEDENT. IT CREATES THE TRIAXIAL PATTERN ONTO A SURFACE WITH OPTIONS TO CHANGE VARIABLES.

3.2 Pattern Research

3.2 Pattern Research

3.2 Pattern Research

Kagome Weaving + Extrusion

3.2 Pattern Research

Pattern Research AT FIRST I CREATED SIX PATTERN CELLS THAT CAN BE TILED ON A QUAD GRID OR ARRAYED IN DIFFERENT WAYS TO CREATE BIGGER MORE COMPLEX PATTERNS FOR THE PROJECTION OF CURVES ON TO SURFACES.

3.2 Pattern Research

Pattern Analysis I ALSO GENERATED PATTERNS MADE FROM A MATHEMATICAL RULE. THIS IS SO THAT THE PATTERN CAN BE TRANSLATED IN GRASSHOPPER. THE RULE IS TO CREATE LINES WITH A START AND AN END POINT ON A GRID USING A NUMBER AS A SEQUENCE. FOR EXAMPLE THE IMAGE ON THE RIGHT IS ON A SEQUENCE OF 3’S ON A 3 X 3 GRID. A LINE WOULD BE DRAWN FROM POINT 1 -> 4 -> 7 -> 10 -> 1 AND 2 -> 5 -> 8 ->11 -> 2.

WE USED THESE PATTERNS AS TILES TO PLOT ON MESHES WITH SQUARE GRIDS.

3

6x6

5x5

4x4

3x3

4

5

6

7

8

9

10

3.3 Pattern Generation

Pattern Projection

3.3 Pattern Generation

Pattern

n Tiling

3.3 Pattern Generation

Parametric Patte

ern Generation

3.4 Form Development

Form Deve

I USED KANGAROO TO CREATE A RELAXED DYNAMIC SU SINCE TIMBER USUALLY HAS A RIGID STRAIGHT EDGE CHARACTERISTI BER BENDING

elopment

URFACE TO CREATE A FLUID FORM FOR OUR PAVILION. IC, WE THOUGHT THAT THIS TYPE OF FORM WILL SHOWCASE THE TIMG EVEN MORE.

3.5 Design Refinement

Refine

WHEN APPLYING THE WAFFLING SCRIPT TO OUR STRUCTURE WE HAD WAFFLE WOULD APPLY ON BOTH SIDES WHEN IT WASN’T SUPPOSED INTO A “J” SHAPE. THERE WAS ALSO THE PROBLEM OF HANGING STR PATTERN INTO THE GRID AND SOM

TO SOLVE THIS PROBLEM WE THEN DECIDED NOT TO EXTRUDE THE C THIS WAY THE CURVES WOULD INTERSECT 100% AND WOULD NOT HA FORM SINCE WE USED THE SA

ement

D TROUBLE IN SOME AREAS OF THE STRUCTURE WHERE THE CUT FOR TO. THERE WERE ALSO INSTANCES WHERE THE CUTS WOULD CURVE RIPS OF THE EDGE OF THE PAVILION. THIS WAS BECAUSE WE TILED THE ME CURVES WOULD NOT REGISTER.

CURVES INTO ITS NORMAL BUT IN THE POSITIVE Z DIRECTION INSTEAD. AVE ANY HANGING STRIPS. IT HAD A SMALL IMPACT ON THE OVERALL AME MESH FOR PROJECTION.

4.0 Mid-Semester Final

4.1 Final Renders

4.1 Final Renders

4.1 Final Plan/Elevations

Constructi

4.1 Construction Sequence

part 4

part 3

part 2

part 1

ion Sequence

5.0 Physical prototype

5.1 Timber Bending Study

Digital D

Diagram

5.1 Timber Bending Study

Tes

WE FIRST TESTED TIMBER BENDING WITH THIS SIMPLE JIG

st 1

G TO GET AN IDEA OF THE NATURE OF TIMBER BENDING.

5.1 Timber Bending Study

Jig Cons

THE INITIAL JIG WAS DESIGNED WITH TWO CURVES WHICH RESULTED IN THE MATERIALS AND UNDERSTAND ITS S SINCE THE JIG WAS INTENDED TO BE EXPERIMENTAL, IT WAS DESIGNED RIAL, IMPORTANT SECT

THE VOID ON THE JIG WERE DESIGNED SO THAT CLAMPS CAN BE HOO GENERATING EQUAL COMPRESSION BETWEEN

struction

NTO A “S” LIKE EDGE. THE PRIMARY REASON WAS TO EXPERIMENT WITH STRENGTH, FLEXIBILITY, AND AESTHETICS. WITH THE CONSIDERATION OF MINIMAL WASTAGE TO SAVE THE MATETIONS WERE ONLY CUT.

OKED ON TO IT. THE IDEA WAS TO HAVE MANY CLAMPS CONNECTED, N THE NEGATIVE AND POSITIVE COMPONENT.

5.1 Timber Bending Study

Tes

3 MM PLYWOOD WAS USED IN CONSTRUCTION BECAUSE IT WAS LESS DENSE, F STRUCTION. ON ONE END OF THE STRIPS A 8 MM DIAMETER HOLE WAS DRILLED T INDIVIDUA

THE IDEA OF MALE AND FEMALE JIG WAS UNSUCCESSFUL BECAUSE THE COMPRE INTO IT’S DESIRED FORM. CLAMPS WERE DIRECTLY PRESSING THE ST THE PRECUT VOID SPACES FOR CLAMPS WAS NOT ENOUGH TO ACHIEVE THE FO SERT

st 2

FLEXIBLE, AND EASY TO CUT. STRIPS OF 50 MM X 650 MM WERE CUT FOR CONTO HOLD THE STRIPS AND LINE THEM UP. PVA WOOD ADHESIVE WAS APPLIED TO AL STRIPS.

ESSION GENERATED FROM THE CLAMPS WAS NOT ENOUGH TO PRESS THE STRIPS TRIPS TO THE CURVED EDGE OF THE JIG AS SEEN IN IMAGE BELOW. ORM SIMILAR TO THE CURVE AND SO MORE INSTALLATION OF SUPPORT WAS INTED.

5.1 Timber Bending Study

Tes

TO MINIMIZE WASTAGE OF MATERIAL AND TO UNDERSTAND TH MENT WA CLAMPS WERE SET WITH PROPER CONSIDE A SCREW WAS INSTALLED ON THE JIG A SCREW WAS INSERTED IN THE

THE OUTCOME OF THIS PARTICULAR EXPERIMENT HAD A ‘STAIR’ L ABO THE REASONING FOR THIS BEHAVIOR COULD BE JUSTIFIED FRO WHERE THE TWO ARCS (‘S’ LIKE STRUCTURE) MAKES THE STRIPS E LENGTH OF THE STRIPS IS SMALLER THAN THE CURVED FAC

st 3

HE BEHAVIOR OF MATERIAL, OFFCUT OF THE PREVIOUS EXPERIAS USED. ERATION OF COMPRESSION TO THE STRIPS. G TO PREVENT THE CLAMP TO SLIDE. E STRIPS INSTEAD OF A DOWEL.

LIKE EXTENSION AT THE END OF THE PIECE AS SEEN IN THE IMAGE OVE. OM THE MATERIAL BEING SHORTER THAN THE PREVIOUS ONE EQUALLY SPREAD. IN THIS PARTICULAR OUTCOME BECAUSE THE CE OF THE JIG, THERE IS THIS RESULTS IN A STAIR LIKE FORM.

5.1 Timber Bending Study

Tes

TO BE MORE ACCURATE, SCREWS WERE USED AS PLACE HOLDER BECAUSE IT HAS TREA

THE EXPERIMENT WAS PARTIALLY SUCCESSFUL BECAUSE THE SCREW ITS FO THE SCREWS HAD TO BE INSERTED INTO CERTAIN PROXIMITY AS T

EVEN THOUGH THE SCREWS PULLED THE STRIPS TO THE JIG TH CLAMPS WERE USED TO APPLY FORCE AT CERT THE OUTCOME FOR THIS EXP THE FORM WAS MUCH ACCURATE AND THE ONL

st 4

RS. SCREWS HAVE THE TENDENCY TO HOLD OBJECTS IN ITS PLACE ADS KEEP IT IN PLACE.

W DID ITS JOB AND HELD THE STRIPS TO THE JIG WHILST SUSTAINING ORM. THE VOID IN THE JIG DID NOT HAVE ANY VOLUME UNDERNEATH IT.

HERE WERE SOME PARTS WHERE THERE WAS GAP GENERATED. TAIN PLACES WHERE THE GAP WAS GENERATED. PERIMENT WAS MUCH BETTER. LY PROBLEM WAS THE SCREW HOLES IN THE FORM.

5.1 Laser Cutting Prototype

Laser Cuttin

THERE WERE SEVERAL PROBLEMS THAT CAME U STARTING OFF, WE DECIDED TO USE 1.5 MM BAMBOO LASER PLY DUE TO DID NOT LAY FLAT ON THE LASER BED AND DID NOT CUT SINCE IN SO

WE LATER DECIDED THAT PAPER CARDBOARD WOULD BE A BETTER OP WOULD PROVIDE T

EVEN AFTER GETTING SUCCESSFUL PRINTS WE HAD TROUBLE ASSEMBLIN TOGETHER WITHOUT FALLING APART. IN HINDSIGHT WE SHOULD HAVE CR TH IN THE END WE CONCLUDED THAT IT WAS NOT POSSIBLE TO ASSEM

ng Prototype

UP WHEN IT CAME TO THIS PHYSICAL PROTOTYPE. O ITS FLEXIBILITY. HOWEVER THIS TURNED OUT AS AN ISSUE FOR US SINCE IT OME AREAS THAT WERE RAISED THE LASER WOULD GO OUT OF FOCUS.

PTION SINCE IT WOULD LAY FLAT IN THE LASER BED AND WE THOUGHT IT THE SAME FLEXIBILITY.

NG THE MODEL SINCE IT WAS NEAR IMPOSSIBLE TO CONNECT THEM ALL REATED FORM WORK THAT WOULD HOLD THE STRIPS WHILE WE CONNECT HEM. MBLE BY HAND AND DID NOT MANAGE TO FINISH THE PROTOTYPE.

5.1 Laser Cutting Prototype

Cut F

Files

5.1 Laser Cutting Prototype

Intended Form

6.0 Precedent Study

6.1 Timber Wave By AL_A

TIMBER WAVE BY AL_A ON OUR PREVIOUS ATTEMPT WE HAD TIMBER WEAVING AS OUR INITIAL PRECEDENT FOR OUR PROJECT. WE DECIDED TO DEVIATE FROM THAT AND FOCUS MORE ON THE CONCEPT OF TIMBER BENDING. THE TIMBER WAVE HAS FLUID FORM AND CONSISTS OF REPETITIV MOTIF. WHICH ARE THE DESIGN ASPECTS WE IMPLEMENTED ON OUR PREVIOUS DESIGN

7.0 Digital Design

7.1 Design Proposal

Design Proposal STICKING TO OUR PREVIOUS DESIGN PRINCIPLES, WE WANTED TO CREATE A PAVILION WITH A FLUID FORM AND REPETITIVE MOTIF. NOT ONLY THAT, BUT WE ALSO WANTED TO CREATE A DESIGN THAT CAN ALSO BE MADE EASILY IN REAL LIFE. UNLIKE OUR PREVIOUS WAFFLE DESIGN WHICH REQUIRED A METICULOUS CONSTRUCTION METHOD, WE DECIDED TO SIMPLIFY OUR CONSTRUCTION METHOD AND SCRAP THE WAFFLE CONSTRUCTION METHOD. WE HYPOTHESIZED USING A SINGLE BENDING JIG FOR EVERY PIECE OF TIMBER IN THE STRUCTURE WOULD GREATLY REDUCE PRODUCTION TIME AND DIFFICULTY AND DECIDED TO IMPLEMENT THAT TO OUR DESIGN.

7.2 Design Analysis

Design A

WE DECIDED TO KEEP OUR INITIAL FORM AND SIMPLIFY OUR CURRENT PATTERN. THE PATTERN WE HAD WE HAD TO LOOK AT THE PATTERN WITHIN OUR PAT

Analysis

D BEFORE WAS TOO IRREGULAR AND COULD NOT BE MADE WITH A SINGLE BENDING JIG. TO DO SO, TTERN AND TRY AND FIND A SIMPLER ALTERNATIVE.

7.2 Design Analysis

Grid Orientat

tion Analysis

7.3 Design Generation

Design Generation WE GENERATED PARAMETRIC VARIATIONS OF OUR DESIGN BY MANIPULATING OUR PATTERN THROUGH 2 VARIABLES:

SCALE FACTOR OF THE INNER SQUARE

ROTATION OF INNER SQUARE

NO ADJUSTMENT

7.3 Design Generation

VARIATION 1

VARIATION 2

7.3 Design Generation

VARIATION 3

VARIATION 4

7.3 Design Generation

VARIATION 5

VARIATION 6

7.3 Design Development

Design Development WE EVENTUALLY AGREED UPON VARIATION 1 OF OUR DIGITAL GENERATION HOWEVER, SINCE WE THOUGHT THAT AT THIS POINT OUR DESIGN WAS TOO SIMPLE; WE DECIDED TO ADD MORE COMPLEXITY. WE DID SO BY ADDING A ‘WEAVE’ ASPECT TO IT, LINKING BACK TO OUR OLD PRECEDENT. THE WEAVE IS ACHIEVED THROUGH THE METHOD SHOWN BELOW.

7.3 Design Development

WE ENCOUNTERED A PROBLEM WITH THE FOOTING OF OUR PAVILION WHEN IMPLEMENTING THE WEAVE ASPECT TO OUR DESIGN. THERE WOULD BE LOOSE, ‘FLOATING’ PIECES IN THE FOOTING AND WE THOUGHT THAT IT WOULD WEAKEN THE STRUCTURE.

7.3 Design Development

WE DEVELOPED A SOLUTION BY CREATING A GRADIENT ON OUR MESH ON THE Z-AXIS. THE LOWER IT IS ON THE Z-AXIS THE WEAKER THE WEAVE OF THE PATTERN. THIS WAY THE FOOTINGS ON OUR PAVILION WILL HAVE A STRONGER, MORE SOLID, SUPPORT.

7.4 Design Progression

ORIGINAL WAFFLE STRUCTURE

NEW PAVILION NO WEAVE

Design Progression

NEW PAVILION WITH WEAVE

FINAL PROPOSED PAVILION

7.4 Design Progression

Developable Su

ORIGINAL WAFFLE STRUCTURE

NEW PAVILION NO WEAVE

urface Analysis

NEW PAVILION WITH WEAVE

FINAL PROPOSED PAVILION

8.0 Final Digital Design

8.1 Final Plans/Elevations

8.1 Final Plans/Elevations

8.1 Final Plans/Elevations

8.2 Final Renders

8.2 Final Renders

9.0 Physical Prototype

9.1 Preliminary Tests

Two-Curve B

AS A PRELIMINARY TEST WE DECIDED TO WOULD HA WE USED OUR PREVIOUS JIG AND CUT IT DIR

Bending Test

BEND A SIMPLER SHAPE TO SEE THE EFFECTS IT AVE ON TIMBER. T IN HALF SO IT WOULD ONLY CURVE IN ONE RECTION.

9.1 Preliminary Tests

Two-Curve B

THIS TEST RESULTED WITH THE SAME STAIR OVERALL SUCCES

Bending Test

R LIKE PATTERN AS ONES BEFORE BUT WAS SSFUL NONETHELESS.

9.1 Preliminary Tests

Two-Curve B

WE CONNECTED THESE TOGETHER WITH AN IN THIS KIND OF JOINERY WOULD CREATE A SEAM OUR CASE THERE WERE ISSUES

Bending Test

NTERNAL PLATE HELD TOGETHER WITH SCREW. MLESS LOOK WHEN DONE PROFESSIONALLY. IN S LINING UP THE TWO PIECES.

9.2 Jig Construction

Final Jig Co

WE USED THE SAME METHOD AS THE LAST T INCLUDED A CENTRAL DOWEL TO HOLD TH CURVES WOULD ALL BE ID

onstruction

TO CREATE THE NEW JIG, BUT THIS TIME WE HE PIECE INTENDED TO BE BENT SO THAT THE DENTICAL FOR ALL PIECES.

9.3 Prototype Preparation

Final Strip

WE DESIGNED THE STRIPS SO THAT THEY W SO THAT WE COULD BE MORE ACCURAT BLY. THEY ARE CUT BY A LASER CUTTER, H COMPRESSED WITH

p Bending

WOULD HAVE EXCESS BITS ON THE END TE WHEN LINING THEM UP FOR ASSEMHELD TOGETHER BY WOOD GLUE AND H A TABLE VICE.

9.3 Prototype Preparation

Strip Trim

WE DECIDED TO USE THE JIG AS A P EXCESS BIT ON THE STRIPS. WE ADDED TO PUT AGAINST THE SIDE OF THE TABL CONSISTENT STRA

mming

PLACE HOLDER WHILE TRIMMING THE D BLOCKS OF WOOD ON EACH END LE SAW, SO THAT WE CAN ACHIEVE A AIGHT EDGE CUT.

9.3 Prototype Preparation

Strip Sa

THERE WERE BURN MARKS ON THE ED CUTTING, WHICH WE THOUGHT WEREN SMOOTH FINISH SO WE DEC

anding

DGES OF THE STRIPS FROM THE LASER N’T AS AESTHETICALLY PLEASING AS A CIDED TO SAND THE STRIPS.

9.4 Prototype Assembly

Joint D

Detail

9.4 Prototype Assembly

Joint

Detail

9.5 Final Prototype

9.5 Final Prototype

9.6 3D Print Render

9.6 3D Print Render

3D Printing File

9.7 3D Print Prototype

9.7 3D Print Prototype

10.0 Void Installation Project

10.1 Project Brief

Project Brief THE 2018 SECOND YEAR ARCHITECTURE STUDENTS OF SWINBURNE UNIVERSITY WERE GIVEN THE OPPORTUNITY TO CREATE A SCULPTURE IN ONE OF THE VOIDS IN THE ADVANCED MANUFACTURING DESIGN CENTRE BUILDING. WE WERE INSTRUCTED TO CREATE A SCULPTURE MADE OUT OF ZIP-TIES THAT WOULD BE SUSPENDED IN THE CENTRE VOID BETWEEN LEVEL 6 TO 8.

THE STRUCTURE HAS TO BE MADE OUT OF NO MORE THAN 13 000 ZIP-TIES, ANCHORED TO THE VOID HAND RAILS.

10.2 Precedent Study

Zip-tie Structures

SUITABLE III BY SUI PARK

HER COUNTOUR BY SUI PARK

BEAR BY DESIGN OFFICE TAKEBAYASHI SCROGGIN

BRANCHING MORPHOGENESIS BY JENNY SABIN

10.3 Ideation

Ideation

I WANTED TO CREATE A SCULPTURE WITH MINIMAL SURFACE THAT WAS NOT JUST A RANDOM SHAPES, BUT HAD LOGIC THAT CAN BE USED AS VARIABLES TO ADJUST THE STRUCTURE. I FOUND SCHERK-COLLINS SCULPTURES INTERESTING AND THOUGHT THAT THEY WOULD BE PERFECT FOR THE VOID DESIGN. THESE SCULPTURES WERE CREATED BY A MATHEMATICAL SURFACE CALLED SCHERK SURFACES WHICH WAS A GOOD BASE FOR WHAT I WANTED TO CREATE. SCHERK’S SECOND SURFACE TO BE EXACT.

SCHERKS SECOND SURFACE

10.4 Design Generation

VOID ITERATIONS THE CLASS WERE GIVEN SCRIPTS TO PLAY WITH TO COME UP WITH VOID DESIGNS AND THESE WERE THE ONES I CAME UP WITH.

10.4 Design Generation

Form Generation

10.4 Design Development

Design Development I CHOSE THIS FORM BECAUSE THE HOLES ARE CLEAR ON ALL ANGLES. THE FORM IS NOT TOO COMPLEX AND THE MINIMAL SURFACE CAN STILL BE READ .

10.4 Design Development

Design Development HERE I TEST THE FORM IN KANGAROO FOR SPRINGS & GRAVITY WHILST HOOKED ONTO ANCHOR POINTS. THE ANCHOR POINTS ARE DETERMINED BY THE 3 HIGHEST & LOWEST VERTICES AND THE 3 OUTERMOST VERTICES ON THE TOTAL CIRCUMFERENCE.

ON THE RIGHT YOU CAN SEE THE FORM PULLED WITH LINES. THESE LINES CONNECT TO CORRESPONDING RAILS ON THE VOID.

10.4 Design Development

IT IS THIS INTERSECTING QUALITY THAT I WANTED TO KEEP FOR THE MODEL. HOWEVER IN THIS CURRENT ITERATION THE FORM HAS A SQUASHED QUALITY WHERE THE FORM GETS CONCENTRATED ON THE MID SECTION.

TO FIX THAT, I SCALED THE STRUCTURE UP AND STRETCHED IT FROM BOTH THE POSITIVE AND NEGATIVE Z-AXIS. THERE WAS ALSO TOO MUCH SURFACE AREA ON THE SURROUNDING AREA OF THE INTERSECTIONS WHICH WOULD USE UP MORE UNNECESSARY ZIP-TIES, SO I DECIDED TO TRIM THE ‘WEBBED’ AREAS OF THE STRUCTURE.

10.4 Design Development

10.5 Design Refinement

Fine Tuning

10.5 Design Refinement

10.6 Final Design

10.6 Final Design

11.0 Void Construction

11.1 MATERIALS

11.2 CONSTRUCTION DETAILS

11.3 CONSTRUCTION SEQUENCE

12.0 Final Physical Model

11.4 FINAL PHYSICAL MODEL

11.4 FINAL PHYSICAL MODEL

11.4 FINAL PHYSICAL MODEL