RESPONSIVE SKIN ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR SEMESTER 2, 2017 SHARLEEN WONORAHARDJO 784100
A
CONCEPTUALISATION TA B L E O F C O N T E N T S 5
INTRODUCTION
7
A1 DESIGN FUTURING
9
LIVING GARDEN HOUSE
11
METROPOL PARASOL
13
A2 DESIGN COMPUTATION
15
ENDESA WORLD FAB CONDENSER
17
ON-SITE FABRICATION OF A PARAMETRIC BRICK FACADE
19
A3 COMPOSITION/GENERATION
21
NAWA PAVILION
23
ELBPHILHARMONIE AUDITORIUM
25
A4 CONCLUSION A5 EARNING OUTCOME
27
A6 APPENDIX - ALGORITHMIC SKETCHES
29
REFERENCES
3
INTRODUCTION
SHARLEEN WONORAHARDJO \sharlin wĹ?nĹ?rahardjo\
Born and raised in Jakarta, Indonesia since 1995. Grown into a family of architects, my mom especially, has made me wanting to go for the same path as well. If I would build my own house, I would incorporate the use of timber, glass and smooth concrete finish with a concealed facade. I would say food, travel, plants, and architecture as my favorites. For the past 3 years, I would say that I am not as good with design technologies, especially in rendering and 3D softwares. But I could say that Im a person that is willing to learn. I prefer to always do rough sketch by hand and to also incorporate physical model to define my concept further. Frankly, as difficult a physical model is, I really do enjoy making it. Especially the ones that are intricate and challenging. On the right are a few of my portfolio in previous design studios that I am proud of. Just in case you are wondering, I have also written on how to pronounce my name above, as a few people find it interesting to say my last name. Go ahead and give it a try! ;-) PHOTOSHOP
RHINO
AUTOCAD
GRASSHOPPER
INDESIGN
DESIGNING ENVIRONMENTS /2016 assemblage - smoothing
ARCHITECTURAL DESIGN STUDIOS: WATER /2016 TOYO ITO & KAZUYO SEJIMA - BOATHOUSE
ARCHITECTURAL DESIGN STUDIOS: EARTH /2017 HERRING ISLAND PAVILION
A1.
DESIGN FUTURING
SUSTAINABILITY has been an on-going subject and has an direct obvious link with the condition of the environment in this millennial era. As Tony1 mentioned, people have been too dependant onto the pre-fabricated world without noticing the damage as a consequence towards nature, and to the future. As a dialectic of sustainment, when something is being created there will also be something that is destroyed in order for it to happen. This cycle would not end if change is not exerted, and will only lead to a question
“HOW MUCH LONGER DO WE WANT TO EXIST IN THIS WORLD?�
1 Tony Fry (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 2
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LIVING GARDEN HOUSE
KWK PROMES
/2009 KATOWICE, POLAND
Living with nature is the concept that LIVING GARDEN HOUSE is built upon. Without having any specific briefs of what the house would be like from the client, KWK Promes designed the house firstly by dividing the common area and the utmost private. The ground floor, as it is a common area, it was completely opened towards the garden. The idea is to have the living space to be completely integrated with nature. Not just by the opening, but also to put in environmental elements inside the rooms 2. As from the picture on the left, the dining area was added with grass as floors to bring the natural atmospheric into the space. It also have benefits of having a better microclimate and improving the air quality, which would resulting in a healthier area of living. From just looking on the external of the house, it seem like it does not have much to explain. But it has a meaning of representing the local Silesians. The gabled form of the house, together with the red bricks are the typical Silesian worker settlements 2.
As to how the house was designed, it will make the clients, as the occupier, to be aware that they are a part of a living community, which was the ecosystem. It brings human closer to the environment, to remind how both are actually connected to one another. Humans would not be able to live without the environment, and vice versa. In all, this project could be an awakening of sustainably design also in redefining the relationship of human with the environment. Not just representing the local culture, it also has the purpose of creating a chance to design for the future. It has proven that it is actually possible to integrate the importance of the environment to a design.
“We live in the garden during the day and enclose in the cocoon at night – an idea derived from the past. our ancestors would harvest food in daylight while sheltering in the trees at night”
2 Magdalena Adamczak, Katarzyna Furgalińska, Jakub Pstraś, Aleksandra Stolecka, Adam Radzimski, “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015. ArchDaily. <http://www.archdaily.com/> [9 Aug 2017]
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METROPOL PARASOL
J.MAYER.H ARCHITECTS + ARUP
/2011 SEVILLE, SPAIN
Plaza de la Encarnacion in Seville, Spain, has been widely known as world’s most fascinating cultural destinations. Its attractiveness has been re-articulated with the development of the Metropol Parasol. It became an identity, also as a contrasting contemporary urban centre in the middle of a dense antique buildings3.
J. Mayer .H and Arup developed the concept of Metropol Parasol to have the brief more than what was needed. It offers a great variety of activities including leisure and commerce. Other than the museum and farmers market, it also has an elevated plaza and multiple of bars and restaurants, located underneath and inside the parasol3.
This developmental project has the purpose as to ‘prepare an umbrella before the rains’. Back to 1970s, the site was used as a market place inside old buildings and was very disordered. Thus, by 1990s the city council decided to just torn down the building and change the function to be a parking lot 3.
They have design for the future not just towards the environment, but as well as to the population that keeps on growing as the city develops. As the number of people increased, the necessity of common places will also increase, especially with a city that is already very dense with buildings.
As time proceeds, the need of a market place was demanded by the people of the town. But at the same time, the council planned to use the site as an archeological museum. As a solution, they decided to organise an innovative design competition with both plans as a brief, and it was won by a German architect, Jürgen Mayer H Architects and Arup.
Metropol Parasol had been a project that initiates the dynamic development of culture and commerce of Seville. As it can be seen, it defined a unique relationship between the historical city and the contemporary project.
3 Karen Cilento. “Metropol Parasol / J. Mayer H + Arup” 24 Jan 2012. ArchDaily. <http://www.archdaily.com/201961/metropol-parasol-jmayer-h-arup/> [7 Aug 2017]
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A2.
DESIGN COMPUTATION
Within this millennial era, digital technology has been developed crucially especially in the design environment. Digital technology and humans have been working hand-in-hand as a symbiotic design system in generating an elaborated solutions of design problems, rather than just being used as a tool in documenting the process and executing orders.
The symbiotic design system between human and computer works by the collaboration of humanâ&#x20AC;&#x2122;s creativity and intuition with rationalising and the search abilities of a computer. Thus both will be able to achieve the well-defined solutions of a design problem. As per the previous part, the condition of todayâ&#x20AC;&#x2122;s environment encourage us, as designers, to engage a new design thinking. Therefore, design computation may perhaps be the new method to facilitate its process.
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ENDESA WORLD FAB CONDENSER
MARGEN-LAB
/2014 BARCELONA, SPAIN
This project is was built as a bioclimatic prototype dome, installed on the occasion of the 10th international conference on digital fabrication, BCN Fab10 4. It explores the connection between parametric design, passive climate strategies and local CNC manufacturing. The materials that are used, wood and linen, are renewable and are locally sourced from Barcelona. The component logic of this pavilion is that entirely built with 20 components 4, made from digital fabrication and parametric design logic, which it simplify the prefabrication and the assembly process. Although parametric design is relatively an uncommon idea in architecture, MARGEN-LAB came out with the idea of designing the pavilion to combine a concept of passive climate strategies together with CNC manufacturing5. Through algorithm and scripting studies, the form was designed based on a regular icosahedron6. It has the purpose to minimise solar radiation in the summer and to allow greater sun penetration in the winter, to keep the optimal temperature inside the pavilion.
The use of linen was fully operational in providing openings that allow wind to circulate inside the pavilion. Furthermore, the podium on which the pavilion stands serves as a reservoir for air to naturally ventilate the interior through a series of perforations in the floor. It is not hard to see how influential the use of design technology in approaching a new way of design thinking. These digital technologies that are used are replacing the understanding of prefabrications. It managed to increase the productivity, and most importantly, it change the interaction between the designer and raw materials. Designers were able to play around with raw materials, as to learn how its natural principles were and to apply it into the design. Combining it all with the digital power, it can be proven a smart way of how design should be approached in the 21st century, especially to overcome problems of the built environments these days.
4 “Endesa World Fab Condenser / MARGEN-LAB” [Endesa World Fab Condenser / MARGEN-LAB] 24 Sep 2014. ArchDaily. (Trans. Quintana, Lorena) . <http://www.archdaily.com/549830/endesa-world-fab-condensermargen-lab/> [ 5 Lydia, “Endesa World Fab Condenser | Margen LAB”[Endesa World Fab Condenser | Margen LAB]. Arch20. , <http://www.arch2o.com/ endesa-world-fab-condenser-margen-lab> [9 Aug 2017] 6 Peter Smisek, “Endesa World Fab Condenser by Margen-Lab” 26 September 2014. Mark Magazine. < http://www.mark-magazine.com/ news/endesa-world-fab-condenser-by-margen-lab> [9 Aug 2017]
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ON-SITE FABRICATION OF A PARAMETRIC BRICK FACADE SSTUDIOMM /2016 DAMAVAND, IRAN
Bricks are a universal material that has been used from one era to another. In making it more interesting and taking advantage of digital technology, Sstudiomm came up with an idea of assembling bricks to making it more interesting in vision. Iran have brick construction as a long tradition, since clay and lime mortar are the most available materials found in the country7. The firm considers creating a parametric brick walls constructing based on the traditional methods of Iran. By using 3D modelling, Sstudiomm generated alternative brickwork patterns and created an addition of Iran’s ornamental character appear within the brickwork as shown on the picture on the left.
This project shows that even though digital technology is used, traditional construction methods can still be employed in delivering the outcome. Especially towards the building industries that do not have the access to fancy machineries and still rely on crafts. It opens digital technology and parametric design to a larger section of society, to make it even more possible for the world to begin on. It can all start from something small, to make a big change towards the future.
Sstudiomm developed various sophisticated patterns using Grasshopper algorithm and coding that would rotate the bricks ranging in 9 to 27 degrees depending on where the brick sits within the pattern7. After the form was generated, they laser cut the form into stencils. These stencils are then used in assembling the bricks into a geometric pattern on site.
7 Marie Chatel. “”DIY For Architects”: This Parametric Brick Facade Was Built Using Traditional Craft Techniques” 23 Jul 2016. ArchDaily. . <http://www.archdaily.com/791588/diy-for-architectsthis-parametric-brick-facade-was-built-using-traditional-craft-techniques/> [7 Aug 2017]
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A3.
COMPOSITION/GENERATION
Design technology in architecture has been developing rapidly and how people design changes into generating ideas. It can be seen various parametric buildings and structures have been built in different kind of ways. The presence of computer in design will aid architects also engineers in the sense of understanding the circumstances and the logic behind the design. Thus, it will also make them speculate more on how the design should develop even more based on the performance report received as a feedback.
With the feedback given back to the designers, buildings would tend to be relevant during its occupation, as the condition will always updating in the digital model itself. Therefore, the usage of digital computation should be understood further in utilising its capacity, to be intergrated naturally in the process of design. So there would not be a waste of creating complex models if at the end the delivery is not as expected by the occupants.
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NAWA PAVILION
OSKAR ZIETA
/2017 WROCLAW, POLAND
This project was a part of the European Capital of Culture celebrations in the theme of “Metamorphoses of Culture”. The concept behind was to create the impression of bionic shapes that are growing straight from the ground, with its metallic surface that reflects the surrounding environment with various different point of views depending on the weather and time of the day8. NAWA Pavilion was built upon a unique method named FiDU, which was a metal-inflating process created by Zieta himself when he was doing his PhD8. This pavilion is also considered as the manifesto of FiDU, as its the first project to entirely use the technology. The expected result out of FiDU is to have a ultralight and durable metal component, especially as they have a site constraint. Thanks to the technology, they were able to carry the components to site by boat through the adjacent river. FiDU was done in three main steps: 2D metal templates was laser cut, their edges are then joined together by welding and finally compressed air is pumped into the object, allow it to inflate into its final 3D form.
The parametric design process of this project takes place during the generation of its form. Computers were able to calculate possibilities of how the form would be possible in reality and model using the Grasshopper software, to accommodate the form to the terrain of the site8. Possible in the sense of getting it as light as possible, as thin as possible, but also durable to the expansion process, so it would not failed in the middle of the process. Zieta left the results to be as organic as possible, as to allow for natural dents which happened on the process of making instead of a perfectly shaped pavilion, as nothing is perfect in nature. Also, he has the vision of extending the possibilities of FiDU more than towards architecture and the design world, rather towards the car industries as seen out of FiDU’s potential. Therefore, digital design technology has once again shown efficiency in whole sort of aspects. From time, materiality, site constraints and more.
8 Sabrina Syed. “Oskar Zieta Inflates Steel Arches With Air to Create This Lightweight Pavillion” 14 Jul 2017. ArchDaily. Accessed. <http://www.archdaily.com/875571/oskar-zieta-inflates-steel-archeswith-air-to-create-this-lightweight-pavillion/> [8 Aug 2017]
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ELBPHILHARMONIE AUDITORIUM HERZOG & DE MEURON /2016 HAMBURG, GERMANY
This project has a few different parts, but a part that would be discussed is the auditorium. It has began designed since more than 13 years ago, and resulted in a very awe. Herzog and De Meuron worked together with Benjamin Koren, founder of One to One studio, to design and fabricate the panels inside the auditorium. Each panels were fabricated individually using the function of algorithms, 10,000 gypsum fibre acoustic panels in total, that covers the auditorium walls attaching to one another just like a puzzle9. It was not just the beauty, every of these cells has different functions. Ranging from four to sixteen centimetres, these cells are designed to shape the sound inside the auditorium. The panel works when sound waves hits, the surface will either absorb or reflect them9. Each of the panel would not be a duplicate, they will altogether create a balanced reverberation across the entire auditorium.
s parameters, the algorithms will generate the cells clearly mapped aesthetically and acoustically functioning. It clearly shows that technology was able to solve complex problems by processing parameters then generates the most optimal solution to be used by the designers as the output.
”Thats the power of parametric design. Once all of that is in place, I hit play and it creates a million cells, all different and all based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.” - Benjamin Koren
There is not said that a human would not be able to do this without technology, but then on a scale this big, technology definitely plays its part well. Based on the requirements needed a
9 Elisabeth Stinson, “What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie”, 12 Jan 2017. Wired. < https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/?mbid=social_fb> [9 Aug 2017] 10 Osman Bari. “The Parametric Process Behind the Hamburg Elbphilharmonie’s Auditorium” 19 Feb 2017. ArchDaily. <http://www. archdaily.com/805567/the-parametric-process-behind-the-hamburg-elbphilharmonies-auditorium/> [8 Aug 2017]
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A4. CONCLUSION
The inflexible modern practice and rational way of thinking in our era is slowly accelerating defuturism. The only way to slow down this destructing process is to change the way people think and adopt new way of design. Human and the environment is a pair that would not be able to be separated, hence the importance of the environment should not be left behind. Based on what has been discussed, technological design that incorporates algorithmic thinking and computational design may have been the resolution for this problem. As we adopt this new method of design, humanâ&#x20AC;&#x2122;s intuition and computerâ&#x20AC;&#x2122;s rationality will be able to generate a solving solution of an adapted design towards nature. By understanding the logic and utilising to its capacity of design computation, we would be able to stimulate its logic and could be further speculated to our design. It does not always need for the technology to be all fabulous, it can always start from something small. Slowly for a better future!
A5. LEARNING OUTCOMES
In these past few weeks, I have learned the importance of using design technology in architecture and design realm. I did not realise at how the future is depending on design rather than the way people live. I see algorithmic design as something that is complex but also simple at the same time. Once you put it in, it will do its own magic. But for you to have an input, you should be able to understand the logic behind it. Which I am not capable of as of now. It would be skeptical if I said that computers are smart. Because at the end of the day, the ones who made those technologies are again, human. The outcome from exploring while completing the algorithmic sketchbook made me realised how interesting computation is, and not just computerisation, which definitely a new design method for me in generating ideas. Hopefully, I would also be one of the masters that could make a change towards defuturism with the use of design computation.
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A6.
VORONOI 2D
VORONOI 3D
CONTOURING
APPENDIX - ALGORITHMIC SKETCHES
IMAGE SAMPLER COLOR BRIGHTNESS
IMAGE SAMPLER RGBA COLORS
IMAGE SAMPLER GREEN CHANNEL
IMAGE SAMPLER COLOR HUE 27
REFERENCES
Adamczak, Furgalińska, Katarzyna , Jakub Pstraś, Aleksandra Stolecka, Adam Radzimski, “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015. ArchDaily. <http://www.archdaily.com/> [9 Aug 2017] Bari, Osman. “The Parametric Process Behind the Hamburg Elbphilharmonie’s Auditorium” 19 Feb 2017. ArchDaily. <http://www.archdaily.com/805567/ the-parametric-process-behind-the-hamburg-elbphilharmonies-auditorium/> [8 Aug 2017] Chatel, Marie. “”DIY For Architects”: This Parametric Brick Facade Was Built Using Traditi,onal Craft Techniques” 23 Jul 2016. ArchDaily. . <http://www. archdaily.com/791588/diy-for-architects-this-parametric-brick-facade-wasbuilt-using-traditional-craft-techniques/> [7 Aug 2017] Cilento, Karen. “Metropol Parasol / J. Mayer H + Arup” 24 Jan 2012. ArchDaily. <http://www.archdaily.com/201961/metropol-parasol-j-mayer-h-arup/> [7 Aug 2017] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg) “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015. ArchDaily. Accessed 9 Aug 2017. <http://www.archdaily.com/618747/living-garden-house-inkatowice-kwk-promes/> Lydia, “Endesa World Fab Condenser | Margen LAB”[Endesa World Fab Condenser | Margen LAB]. Arch20. , <http://www.arch2o.com/endesa-world-fab-condenser-margen-lab> Smisek, Peter, “Endesa World Fab Condenser by Margen-Lab” 26 September 2014. Mark Magazine. < http://www.mark-magazine.com/news/endesa-world-fabcondenser-by-margen-lab> [9 Aug 2017] Stinson, Elisabeth, “What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie”, 12 Jan 2017. Wired. < https://www.wired. com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/?mbid=social_fb> [9 Aug 2017] Syed, Sabrina. “Oskar Zieta Inflates Steel Arches With Air to Create This Lightweight Pavillion” 14 Jul 2017. ArchDaily. <http://www.archdaily.com/875571/ oskar-zieta-inflates-steel-arches-with-air-to-create-this-lightweight-pavillion/> [8 Aug 2017]
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B
CRITERIA DESIGN TA B L E O F C O N T E N T S 33
B1 RESEARCH FIELDS
35
B2 CASE STUDY 0.1 - VOLTADOM
37
MATRIX ITERATION
39
B3 CASE STUDY 0.2 - ELYTRA FILAMENT PAVILION
41 43
B4 TECHNIQUE: DEVELOPMENT MATRIX ITERATION - REVERSE ENGI NEERING
47
B5 TECHNIQUE: PROTOTYPES
63
B6 TECHNIQUE: PROPOSAL
65
B7 LEARNING OUTCOMES
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B8 APPENDIX - ALGORITHMIC SKETCHES
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REFERENCES
B1.
RESEARCH FIELDS - BIOMIMICRY NATURE on its own has been perfecting its natural systems through evolutionary adaptations and homeostatic responses for billions of years, managing to preserve the environment to sustains their lives. Yet, most of the problems happening in this millennial era could be contained in one particular area, the environment. Why would not we look back to nature for the answers to our problem?
The emergence of biomimicry takes the notion one step further. Biomimicry is ‘an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s timetested patterns and strategies’. It could be the inspiration for design and engineering solutions of world’s problems.
By studying the formation and functioning of the responses to ecosystem pressures - evolutionary design problems if you will - then we can apply these same solutions to the architectural design problems faced in the built environment. There goes innovations.
“Not extracting the environment, but learning from it”
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B2.
CASE STUDY 0.1 - VOLTADOM SKYLAR TIBIT /2011 MIT +150 CELEBRATION WEEK
Created in celebration of the 150th Anniversary of the Massachusetts Institute of Technology (MIT), the installation fills the hallway connecting building 55 and 66 of the MIT campus. The project features apertures that become the boundary that filter light entering the space and views from the outside. Composing of single strips of material bent into arches, the installation ‘plans to expand the architectural notion we have a panel surface, increasing the depth of a doubly curved vaulted surface, while maintaining the relative ease of manufacture and assembly’ The installation also resembles a membrane built by the mitosis of a cell group in an organism suggesting a ‘self-replicating system, adjustable to a given space’. Raising the question:
“Does the future of architecture is a material that self replicate and adapt to fill voids and create boundaries?”
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NUMBER OF POINTS & SEEDS POINT (P) SEED (S)
P = 12 S=3
P = 14 S=3
P = 16 S=3
P = 18 S=3
P = 20 S=3
Vo = 1.0 V1 = 1.0
Vo = 1.0 V1 = 0.8
APERTURE
LOWER LIMIT (Vo) UPPER LIMIT (V1)
Vo = 0.4 V1 = 1.0
Vo = 0.6 V1 = 1.0
Vo = 0.8 V1 = 1.0
NUMBER OF CONTROLLED CONES HEIGHT RATIO (H)
H = 1.03
H=2
H=3
H=4
H=5
H=6
CONE RADIUS RADIUS (r)
r = 0.75
r =0.50
r = -0.50
r = -1.00
r = -1.50
r=1
1.00
P = 20 S=1
P = 11 S=5
Vo = 1.0 V1 = 0.6
Vo = 1.0 V1 = 0.4
H=7
r = 1.50
H=8
P=7 S=7
P=4 S=3
Vo = 1.0 V1 = 0.2
Vo = 1.0 V1 = 0.0
H=9
r = 2.00
H = 10
r = 3.00
P=8 S=0
Vo = 1.0 V1 + Range = 0.5
H = -10
r = -3.00 37
B3.
CASE STUDY 0.2 - ELYTRA FILAMENT PAVILION ICD-ITKE UNIVERSITY OF STUTTGART /2016 CHARLES-EAMES-STRASSE 2, GERMANY
The aim of the project was to used the logic extracted from natural systems to develop a polymer winding technique which minimised formwork whilst facilitating significant geometric freedom. It was all made out of own robotic procedures, without any mold needed. Through the analysis of the functional principals governing lightweight structures in beetle species, potato beetle forewing, the team was able to develop a custom fabrication method in conjunction of architectural design, structural engineering and parametric engineering. This is another exemplary of a biomimetic structure. The vision of the project was as to speculate the urban green space to be designed un-static. It was designed as to the evolving use of the courtyard. As to its materiality, it ignites the exploration of fibre composites as a building material. The formwork was made out of glass fibre and carbon fibres. As the properties are similar to steel, due to its structural strength and stiffness.
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B4. TECHNIQUE: DEVELOPMENT
HEXAGONAL GRID 1X1
MOVE UNIT Z
GENERATES BASIC FORM
DIVIDE CURVE
EXPLODE TREE DATA 1 DATA 2
ARC SED
SHIFT LIST POSITIVE (+)
NEGATIVE (-)
DEFINES THE WEAVING OF THE STRUCTURE
*If the number of hexagons increases, the connection parameters should also be multiplied to the number of hexagons 41
APERTURE
SHIFT LIST (n)
n=6
n=3
n=0
n = -3
H=4
H=8
H = 20
K = 10
K=9
K=8
n = -3 n2 = 10
HEIGHT OF MODULE HEIGHT (H)
H=2
H = -6
KINKS ON DIVIDE CURVE KINK (K)
K = 27
K=7
VARIATIONS OF PLUG INS
TRIANGULATION CELL
RECTANGULAR CELL
WEAVERBIRD STELLATE
WEAVERBIRD WEAVE CUMULATION
WEAVERB PICTURE F
n = -3 n2 = 10 n3 = 15
range n = -3 range n2 = 10 range n3 = 15
H = -6 H2 = 3
H = 11 H2 = 7
range H = 11
K=6
K=5
K=4
BIRD FRAME
WEAVERBIRD MESH WINDOW TO GEOMETRY
change direction UNIT Z (+)
WEAVERBIRD OFFSET MESH GEOMETRY
change direction UNIT Z (-)
range H = 11 steps H = 3
K=3
WEAVERBIRD OFFSET MESH WEAVE
change direction UNIT Z (+) (-)
range H = 11 range H2 = 16 steps H = 3
K=2
WEAVERBIRD SIERPIENSEI CARPET 43
SELECTION CRITERIA ORGANIC AESTHETICS
Does the iteration formed casted out of a biomimicry technic? Refering back to the chosen technique, Biomimicry, the iterations created could create from a unique and random iteration outcomes. Therefore, the chosen ones would be the one that actually could related back to nature, as to the technique of biomimicry.
CONTEXT FUNCTIONALITY
Are the iterations capable to fullfil the function being an unstatic pavilion? The chosen iteration should also still preserve its functiona s a unstatic pavilion, where activities should not be limited with the structure.
STRUCTURALITY
Are the iterations able to be fabricated without a mold, and just robots? The purpose of this pavilion was also to prove that fabrication by robots only, not moulds, are actually able to create 1-to-1 scaled structural pavilions, and not just architecture models. This aspect would also still preserved, as it is the main aesthetics of the pavilion
FABRICATION CAPACITY
Are the iterations translatable in fabrication method using the fibre materials? Fibre composites has been explored in the precedent, as it has a similar properties to steel in its strength and durability. From its explorations, it has a purpose to an application in the world of fabrication. As to extend the notion, the chosen iteration would be able to be fabricated with the same material. As even though carbon composite could be regarded as expensive, its lightweight which has an implication towards the ease of construction and opening another door to the world of design, as it would allow more design possibilities.
SINGLE
MODULE
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B5. TECHNIQUE: PROTOTYPES PROTOTYPE #1 - JOINTS AND CASTING The aim of our first prototype was to experiment in how we would like to cast plaster `using fabric material as formwork and to create joints of the modules. Our criteria would be having a module that was formed by fabric, with an opening at the centre to allow sun penetration. Also, having a jointing system that could connect the singular models and connecting it to create a whole module of a facade system. Through logical thinking and seeing precedents of how casting happens, we created a formwork using timber and used a styrofoam mother mould to create an opening in our module, which would be dissolved using acetone.
JOINTING SYSTEM
From the result, we were happy with how the surface was aesthetically organic in the presence of folding fabric, also with how the jointing system works. The downside, as we were using a pouring technic and did not allow a big opening, the module becomes very heavy and does not seem possible to be used as a building facade. The jointing system that was previously designed was also regarded unsuccessful, as seeing how solid the module is, the joints would not work as it could collapse easily, especially if force or friction is applied between modules. Therefore, we decided to move on to the next prototype.
MANUAL FABRICATION OF FORMWORK
FORMWORK SYSTEM
47
CAST-OFF PROCESS
POURING PROCESS
PROTOTYPE #1 - MODEL MAKING PROCESS
49
PROTOTYPE #1 - FINISHING AND RESULT
POURING ACETONE TO TAKE OFF THE MOTHER MOULD
PROS
CONS
+ We succeeded in making the opening in the middle of the module, using strofoam as mother mould
- Module was considered too heavy to be applicable as a facade
+ The organic finish of the fabric was embedded to the module + Clean finish + Form was successful in delivering the form we wanted + Fabric was able to absorb moisture out from the plaster mixture
- Jointing system would fail, in regards to the weight - Fabric was able to be stretched, but not as much as we wanted to create a conical shape
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PROTOTYPE #2 - FORMWORK AND MATERIAL TESTING At this second stage, there are a few that was aimed to be experimented, especially in developing the form of the module and testing different materials. Based on consulation, we are to made a module consisting of several shapes which would connected to one another and created a bigger module which different functions. We came out with an idea of a hexagon as our big module, which was then divided onto smaller modules which consisted of trapezium, parallelogram and triangle. These 3 shapes when joined will then also resulting in a hexagon. We also changed in the way we create the form using plaster. Instead of pouring, we decided to try on painting plaster to the fabric by using brush, hoping that we could get a smooth surface and planar model so it would be used as a facade design.
JOINT SYSTEM
We also used 3 different kind of fabric, stocking, mesh and bandage, in reasons of experimenting on which fabric we should use for our final project. The 3 different fabrics has different elasticity, which at the end could have an impact towards the shape of our modules. The material testing will be shown in diagrams on next page. As we foreseen the failing of the jointing system, we tried designing a new system which uses a clip and slots on the formwork of the module. The clips will connect the formworks of the module, and created a more flexible connections as well.
FORMWORK GUIDELINES
FORMW
FORMWORK
WORK SYSTEM
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PROTOTYPE #2 - FORM-FINDING MATRIX
TRIANGLE
RADIUS (K) REST LENGTH (RL) HEIGHT (H) UNARY FORCE (Z)
HEXAGON
RADIUS (K) REST LENGTH (RL) HEIGHT (H) UNARY FORCE (Z)
TRAPEZIUM
RADIUS (K) REST LENGTH (RL) HEIGHT (H) UNARY FORCE (Z)
PARALLELOGRAM RADIUS (K) REST LENGTH (RL) HEIGHT (H) UNARY FORCE (Z)
From designing on sketch, we then proceed in creating the possible forms out starting with a triangle. As mentioned, in this second prototype we decided to take the hexagons as the macro module, with parrallelogram, trapezium and triangles to be the micro modules. Which the micro modules could be jointed into one and formed a hexagon With this system, our design could be more flexible in jointing as well as combining the functions on one module, which the functions would be further discussed and experimented in our proceeding progress.
Therefore, the selected iterations would be our starting point of our next experimentation.
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PROTOTYPE #2 - MATERIAL TESTING As stated, there were three different fabrics that we aimed to be tested in this prototype. 1. Nets - mesh 2. Stocking - translucent 3. Bandage The objective of this testing is to get to know the maximal stretchness, as well as the porosity, as we are applying plaster in this experiment onto the fabric. With the objectives, we would be able to chose which material is best to work on to obtain the protuded shape wanted for our modules, depending on what function the modules representing as. The numbers on the horizontal axis are showing the guidelines of how low we put tension to the capabilities of the fabric.
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PARALLELOGRAM
TRAPEZIUM
TRIANGLE FORM
PROTOTYPE #2 - MODEL MAKING PROCESS
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PROTOTYPE #2 - FINISHING AND RESULT PROS
CONS
+ Formwork was succesful in delivering the form wanted
- Module was considered to be too messy, as we keep on covering layers of plaster with brush, which it resulted with an inconsistency of thickness
+ Fabric was able to absorb moisture out from the plaster mixture + Module was much lighter suitable for facade system + The wanted form was delivered, which depends on the stretchness of the material
- As we did not glue the forms of the modules together before plaster, we ended up needed to cover it with plaster too, which makes it even messier - Aesthetically unpleasing
+ Material testing was concluded, with having the mesh to be the most stretchy but not absorbent and the bandage to be the less stretchy but very good in absorbing
TO CONCLUDE For the next prototype, the plan is to combine the pros of both from prototype #1 and prototype #2, which would be: + pouring technic with mother mould: embbed organic fabric + lightweight module + parametric form + use the right fabric, to a particular type of module From here, hopefully it would be another step in creating the most succesful modules.
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B6. TECHNIQUE: PROPOSAL Based on the prototypes created as a group, we have decided to design a modular facade system that would have a function to decrease solar heat radiation towards a glass-facade, especially in a dense urban context. Coming from a biomimicry vision, which is my technique, there are things that I wanted to put forward from the precedent studies. From the first precedent, Voltadom by Skylar Tibbits, I was interested in how their installation works as a filter of light entering to the room and views from the outside. As the installation was a responsive skin of light and view, the creation of forms was very interesting in the capability of fabrication, also with how they took biomimicry as the inspiration as the form imitates the mutation of cells.
as lightweight as they were inspired with a potato beetle species. Therefore, the hexagons shapes and weaving structure was taken from how the ‘formwork’ of the beetle’s wings. As we were to designed a building facade, it would most probably possible to have a lightweight design, also to have it able to connect from a module to another. Based on our experimentation of prototypes, we are also interested in using modular of hexagons, as well as the lightweightness of the modules. Another aspect that interests me, was how they used solar radiation in determining the arrangement of the modules. On an area where solar radiation hits the most, the module would be the one with the most weaving to create coverage. Vice versa, the minimal area of solar radiation would use the most perforated weaving.
Seeing back to problems in this millennial era, radiation of heat and urban heat island has been one of the worst happening in metro cities. It was mainly caused by building facades which does not allow heat radiation absorption, and reflects from one building to another. The function of the buildings used curtain walls was mainly aesthetics and privacy reasons, as they would not want to be seen from the outside. Imagining the application of the installation as a building facade, in exchange of the glass facades, the building would still aesthetically pleasing and would allow the absorption of heat. Therefore, there should be a digital fabrication of facade design based on this idea. SECTION VIEW
The second precedent, Elytra Filament Pavilion by ICD-ITKE University of Stuttgart, they intended to create the pavilion to look
Therefore, to create a project on a maximal potential, we decided to adjointed 2 different techniques in designing the facade system. Other than biomimicry, the other technique that is represented by the other 2 groupmates of mine, Jesslyn Humardani and Rayyan Roslan, would be tesselation. Based on their research, the tesselation technique that would be used would be the repetition of shapes or profiles, as well as the materiality that allows to create the conical opening of the module. We as a group would proposed the creation of a facade system in reducing solar radiation reflection in a dense urban context, The Urban Coral Atoll Facade.
ELEVATION
We have chosen Ernest and Young building as our client, as it is located in the middle of a dense city, as well as the usage of glass walls facade. Our objective would be to create a comfortable working space of the occupants of the building, as well as reducing the urban heat island effect and carbon emission from cooling system. In the process of creating the final outcome, there are 3 objectives that we would like to achieve as to create different function of modules. First, would be a module with a total opening, as to used to be a light/ view filtration. Second, would be a module that could carry a plant as to reduce the heat gain of the facade. Third, would be a module with a pertruded conical shape, that would help block the sun exposured to the building, as to reduce the heat gain.
PERSPECTIVE
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B7. LEARNING OBJECTIVES AND OUTCOME From the beginning of research until this stage, there were a lot to take in as an experience and studies. From the first prototype, we learned particularly on how easy plaster is to be used as a casting material. It is also a quick setting material, thus we could see results as soon as well. Other than material, the use of formworks are also important. As on the first prototype, we just handmade our formwork using timbers without having any parameters that could be controlled. On our second prototype, we decided to digitally fabricate the formwork as for it to have a parameter that can be used in adjusting the tension given to the fabric in material testing. Also, using digital fabrication could also assure us that our modules could connect from one another, as it was all measured and designed with the help of computer aided design. As mentioned in the previous part of the journal, it has been proven at this stage that the presence of computer in design defenitely helps a lot. Especially in problem solving that humans are not capable of completing on its own. As to the progress of our group, from the two prototypes we were able to compare and contrast in between the two results. We definitely like on how organic the curls of the fabric shaped into the module, it definitely boosted our idea of using fabric as form. Secondly, the use of computer in creating the joints and top-form of the module (where the fabric sits). We definitely could see the possibilities of having it connected from one module to another, as the shapes and sizes were consistent between the modules. The use of computer was also
helpful for us in giving the data of the solar heat radiation, thus we were able to have an exact data in determining the arrangement of the modules. From the matrix attached, we were able to speculate possible forms of how the fabric will act when plaster is applied. One thing that has a direct connection to how the form will be, is definitely the technique of applying the plaster. In a way, its also the technique of us to fabricate the modules. Proceeding to the next step, we are hoping to be able to combine the successful aspects of prototype #1 and #2, to create a better prototype again. It would be using the technique of pouring with creating a styrofoam mothermold, as well as using the digital fabricated form. In addition, we are also interested in experimenting other materials to be fabricated. Other than plaster, we are pointing towards resin and concrete, to test their durability and gaining better aesthetical modules.
ES
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B8. APPENDIX - ALGORITHMIC SKETCH
BIOMIMICRY ITERATIONS
REVERSE ENGINEERING ITERATIONS
{0;0} {1;2} {4;5}
{0;0} {1;1} {0;1}
{0;0} {1;1} {0;1} {3;4}
RELATIVE ITEM WEAVING PLAN VIEW
RELATIVE ITEM WEAVING PERSPECTIVE VIEW
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REFERENCES http://www.biomimetic-architecture.com/2012/ted-talk-janine-benyus/ http://www.archdaily.com/806242/elytra-filament-pavilion-icd-itke-universityof-stuttgart http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ https://www.dezeen.com/2016/05/18/robotically-fabricated-carbon-fibrepavilion-opens-va-museum-london-university-of-stuttgart-achim-menges/
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C
DETAILED DESIGN TA B L E O F C O N T E N T S 73
C1 DESIGN CONCEPT
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C2 TECTONIC ELEMENTS AND PROTOTYPES
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C3 FINAL DETAIL MODEL
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C4 LEARNING OUTCOMES
C1.
DESIGN CONCEPT PROPOSAL DEVELOPMENT Through the development of the project, we decided to change our modules to have one-regular base form which is a hexagon. When our initial modules are arranged together, which was based out of different shapes, it could possibly resulted in a gap which could not be fitted with the appropriate shape needed on that space. With changing from an irregular base form to a regular and mono-base form, it will ensure the consistency between the arrangement of modules and feasibility of construction joints. Therefore, instead of having different shapes of perforations, we decided to use the shapes in determining the extrusions of our modules based on the different locations needed in a facade, to function as a sun shading element in reducing the sunlight intensity towards the building.
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MODULE DEVELOPMENT As mentioned, the site of our project would be the Ernst and oung office building, located in Exhibition Street, Melbourne CBD. In this opportunity, we are going to focus on using the North facade of the building, as it is the most facade that is exposured with sunlight throughout the day.
Melbourne has different angles of sun on different season. Summer sun are sitting on the height of 75.53 degrees, whereas winter is on 28.53 degrees high. Based on the information, it conducted another research for us in determining the extrusion of each modules on different height of the building in optimising the efficiency of sun shading without disrupting the views.
With the use of computational methods of ladybug plugins in grasshopper, we were able to determine the angle and the extrusion of each modules, with ensuring its efficiency in shading the sunlight exposure.
MODULE 1: Angle: 30 degrees Extrusion: 21cm (in 1:100) MODULE 2: Angle: 15 degrees Extrusion: 12cm (in 1:100) MODULE 3: Angle: 10 degrees Extrusion: 8cm (in 1:100) MODULE 4: Angle: 0 Extrusion: 5cm (in 1:100)
All the modules are to designed in a shellform, but module 4 is designed to be clearglass. The function of module 4 is to be used in areas that are sufficiently shaded by other modules, which by using this module, it will allow a clear glass so that view would not be blocked, and also to just
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MODULE MATRIX ITERATIONS
The criteria of selection for the matrix would be the aesteth the ease of fabrication and the functionality of each mod
hics of modules, dule.
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MODULE ARRANGEMENT with grasshopper After defining each of our modules, we then continue with getting a way to arrange our modules in facade to ensure its functionality. Ladybug in grasshopper has been the key for us in determining which module that will accomodates the shading needs in particular area or height of the building, by image sampling the solar irradiance map obtained from the North facade of the building.
On the very right corner are the outcome generated by the algorithm, and has been labeled which module sits where. Also, we made the solar irradiance map to grayscale with the reasons of wanting to get a more optimal data outcome, so that each level could be differentiated more distinctly.
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MODULE VISUALISATION Based on the arrangements, it can be seen on elevation view of how the modules would function as a sun shading device. From our further experimentation, it was shown that there can also be voids created in parts where the area sufficiently shaded from above. It can be seen from the diagrams on the right hand side. The modules that are in the area that are shaded can be taken out and creates a void. That area can possibly used for module 4 instead, the glass module, or it can create a variation of design depending on what the client wants. From our previous precedents, it gave an idea on how our modules could also work as planter, to hang up plants with the function of reducing heat gain on facade vand carbon dioxide in a busy business district. But for sure, a further research needed to be done in analyzing the possibilities itself.
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C2.
TECTONIC ELEMENTS AND PROTOTYPES MODULE FABRICATION PROCESS The fabrication of our modules are more or less similar with our previous prototypes which are shown on the diagrams on the left hand side. The main idea of the process is firstly creating the mother moulds using the fabric stretching technique, which we pour plaster into the stretched fabric (step 01, which results in step 02). After getting the shapes, we then vaccum formed with a high impact polystyrenes (HIPs) to obtain the negative moulds (step 03). After getting the plastic moulds, we then create another part of the negative mould which could create the shell-like form of the modules (shown in step 04). That negative mould is made out of lasercut MDF, which then is adjointed with the HIPs. Finally, after preparing the moulds, we can start pouring the plaster into the moulds and creating the final outcome of our modules in step 05. These fabrication process can be translated into real life. Where our real-life materials that are going to be used are concrete, with the moulds being steels. The process are also flexible in the sense that the formwork we made on step 01, are able to accomodate different base shapes, depending on the clients. Also it could create variety of angles and depth of the extrusion, which we can control from the stretching of the fabric. Before we were able to finalised our process into the steps above, there are a few prototypes that has made us developed this far. Therefore, the prototypes mentioned are going to be elaborated more in the next pages.
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Before going into prototypes, these are the steps we did - which was creating the plastic moulds. Prior to making the plastic moulds, we need to make the mother moulds first, which was the one casted with stretched fabric.
CASTING PROCESS
The plastic moulds are then used throughout our prototyping, as well as our final modules. The steps are also repeated in creating the plastic modules for other module shapes, which has different angles and extrusion
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VACUUM FORMING PROCESS
CAST-OFF PROCESS
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MODULE FABRICATION PROCESS PROTOTYPE #3 - MATERIALITY WITH FABRICATION METHOD
For our first prototype after the interim, we would still want to develop from previous prototype feedbacks, as the process are still the same with our initial idea, and just the shapes that has changed. In this prototype, we used the pouring technique with a mother mould sitting in the middle of the plastic mould (can be seen in the photo on the right). The presence of the hexagonal mother mould has a function to create an opening in the module, to create that extrusion. The shape of the module that was formed was planned to be used as module 3, which was the one that does not have any angle on its extrusion. As a result, we were able to get the smooth
textured surface of the module, and not to forget the hexagonal shaped opening as well. But there are also issues in this prototype, which no matter how big the opening was and less surface area of module, the module itself is still considered to heavy and solid. It needs to be more planar and thin form.
pouring process
PROS
CONS
+ Smooth and neat surface module
- Module still considered too heavy, in correlation with its function as a facade
+ Success in combining plaster pouring technique with having the hexagonal shape as well
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MODULE FABRICATION PROCESS PROTOTYPE #4 - MATERIALITY: Air drying clay
In this prototype, we are experimenting with other materials possibility that could make our modules thinner and shell-like, since our previous module it was still heavy to work as facade system. Then we got ourselves with air drying clay. We initially interested with porcelain, but since the process of fabricating required a firing process it does not seem possible for us to proceed with porcelain. Therefore, we thought we could go try an air drying clay that does not need any firing process. The way we do with the clay is by shaping it into the HIPs vacuum form mould that we already made beforehand, to create the shape we wanted, just like the previous prototype.
The results from this protoype was actually looking very good. We were able to get the shape we wanted, also the thin shell. But the issue with this prototype is that the material can be considered more brittle than plaster. Since we made it thin, it is easy for it to break, and the surface itself is not as smooth as we wanted. Another issue will be when we are translating it into real-life fabrication. As the methods of the clay and plaster are very different, it means it is sort of an unreliable material, especially when it needed to be mass produced. Working with plaster (or concrete) will be much easier, since it just needed to be poured, and as the clay needed hands to mould it.
PROS
CONS
+ thin shell-like form
- surface not smooth
+ lightweight
- brittle material, should given extra care when holding it
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MODULE FABRICATION PROCESS PROTOTYPE #5 - SHELL-LIKE FORM FABRICATION METHOD
After not liking with the results from air dry clay, we proceed with the use of plaster pouring but with adjusting in making the mother mould for the casting. In this stage, we tried creating the mother moulds through rhino, to make our modules to still have its planar and thin, as well as fulfilling its function as a sun shading system.
Mother mould inside plastic mould
As to see the shaded area in the left diagram, that is the area where we would like to be filled with plaster. The remaining area would be bordered with the mother mould we made from rhino and laser cuts, so it would create a boundary to where the plaster will flow. The results can be said as succesfull. The shape and thickness we wanted was delivered, as well as the smoothness of the surface. The weight itself right after we cast it off was pretty heavy, and we were worried. But after several of days, letting it cure fully, it became very light as the moisture has escaped completely. Therefore, after seeing how satisfying the results are from this prototype, we, as a
group, decided to set this method as our fabrication method, and continuing making the other modules which have different angles and depth of extrusion.
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JOINTS SYSTEM MODULE TO MODULE
Since we decided to stick onto one base form - hexagons, we just need one type of joints. The joints that we want is to in a way sandwhich our module frames with boltssteel plates-nuts at the other side. Each side of the frame will have 2 connections, to make it rigid and safe for facade installation. The base form will also have reinforced steels casted inside, to create the structural rigidity between connections.
Joints in 1:100
MODULE TO FACADE In correlation with our site, we are fabricating the modules on the scale that the height would fulfill a level of the building. Before being able to attach the modules, we would need to install a 380x100mm Parallel Flange Chanel (PFC) into the concrete slabs of each level using four 24mm Chemset Anchor Bolts, as it has a resin-based adhesive system that will allow a stronger and higher load application. After having the PFC, then steel brackets are installed using three normal 25mm steel bolts. Then the steel brackets is then used to carry the load of the modules. It will also be secured with the 25mm steel bolts drilled through concrete and the steel frame of the module itself.
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C3.
FINAL DETAIL MODEL
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CONTEXT MODEL - module on site (1:500)
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MODULE 1 (1:100)
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MODULE 2 (1:100)
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MODULE 3 (1:100)
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MODULE 4 (1:100)
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COMBINED MODULES (1:100)
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THE
URBAN CORAL PROJECT
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TOP VIEW
INTERNAL VIEW
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Here are some of the design possibilities of our modules when attached to a smaller building in relation to our site model, the Ernst and Young
DESIGN FLEXIBILITY 01 - SMALLBUILDING WITH BIGGER MODULES
DESIGN FLEXIBILITY 02 - SMALL BUILDING WITH SMALLER MODULES
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C4.
LEARNING OBJECTIVES AND OUTCOME Through out the semester have been a rollercoaster ride. There were times that we, as a group, have everything on track and the design was working. Then suddenly, we reached rock bottom as we discovered we have problems that would not make our project realisable in real life. But hand-in-hand, we can always overcome the problems and developed our project much further. From start of concept designing towards the final presentation, our group has been able to deliver our briefs and ideas, developing together from the feedbacks received from our tutor, Mehrnoush, as well as other guest crits which made us grow even better from before. Looking back 12 weeks ago, I definitely learned now could have my perspective lies on parametric design and how the logic works in relations of datas within the computation tools of grasshopper. From now on, I would definitely consider parametric design as one of the concepts that can be used as a solution in architecture. As parametric design could give itself unique design solution, it can developed the design world even greater than before, and creating that variety in design that would not make it redundant. I would also like to use this opportunity to thank our tutor, Mehrnoush, who have guide us and also teach us a lot of her own experience while developing our project. Could not be more than thankful for the support given as well as the advices and time dedicated to us all.
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