Wu zixiaoshelley 632168 air journalfinal by Shelley Wu

DESIGN STUDIO ABPL30048

AIR

SEMESTER 2

2015

DESIGN JOURNAL

TUTOR: CANHUI CHEN ZIXIAO SHELLEY WU 632168

PART A CONCEPTULISATION

SELF INTRODUCTION A.01 DESIGN FUTURING A.02 DESIGN COMPUTATION A.03 COMPOSITION VS. GENERATION

CONTENTS

CONCLUSION AND LEARNING OUTCOMES

REFERENCES

PART B CRITERIA DESIGN B.01 RESEARCH FIELD B.02 CASE STUDY 1.0 B.03 CASE STUDY 2.0 B.04 TECHNIQUE DEVELOPMENT B.05 TECHNIQUE PROTOTYPES B.06 TECHNIQUE PROPOSAL

LEARNING OBJECTIVES AND OUTCOMES

PART C DETAILED DESIGN

C.01 DESIGN CONCEPT

C.02 TECTONIC ELEMENTS & PROTOTYPES

C.03 FINAL DETAIL MODEL

LEARNING OBEJECTIVES AND OUTCOMES

4-5 6-11 12-17 18-23 24-25 26-27

28-33 34-39 40-41 42-45 46-47 48-49 50-51

54-55 56-65 66-71 72-73

SELF INTRODUCTION

GREETINGS to all reading - human and perhaps extraterrestrial alike. After growing tired of my daily dietary intake consisting of fish and chips as well as my expertise in riding sheep in New Zealand, I decided that the foreign land of Australia would allow me to acquire the ability to ride kangaroos instead. Unfortunately that dream was never realized and here I am, stuck writing about myself: Aspiring designer and in my spare time, Professional Mario Kart driver. Architecture to me is an art form. One which in many instances can be interpreted and appreciated in various dimensions. It reflects the designer, and evokes the emotions of the inhabitants, serving as space to create their own reflection and experiences.

â&#x20AC;&#x153; T R I A N G L E S A R E M Y FAV O U R I T E S H A P E â&#x20AC;?

T E S S E L L AT E - A LT - J

CO N C E P T U L I S AT I O N

However, by trying to resolve a series of problems, we are limiting ourselves from perfecting the final outcome as compromises are made to address issues collectively. The challenge of problem-solving multiple concerns simultaneously has unfortunately lead architects to undermine the basic connection between form and function; the process of designing holistically has been some-what lost in translation.

Architecture now, as so in the past, has been a justified reflection of a designers signature within a city - an icon which defines a city and seeks to gain the recognition of all. Technology has played a big part in the improvement and efficiency in design process and fabrication, however to balance the problem of sustainability with the increasing demand for higher living standards and human growth, has become a challenge for many designers. Ultimately structures still embody the most primitive purpose of shelter, but to design for the future means to utilise materials to their full potential in the most practical way. This does not mean we should not strive for unique forms which are attainable through computational design, but it should not impact on the conversation between the built environment, the natural environment and the inhabitors/users.

A.01 DESIGN FUTURING

PART A

Building construction in the past has not only been the display of the avant garde of the time period, but also as one of the necessity of survival: shelter. As designers of this generation however, we are inevitably faced with the consequence of resource scarcity as a result of the exploitation of the limited resources on the planet. As we, the human race, have already willingly positioned ourselves into this defuturing state, as designers, we can no longer simply design to the basic functions of a space, but rather in the most sustainable way possible.

unsustainable design as well as undermining potential outcomes, with further problems arising in the future. It is ironic however, that design outcomes are future oriented, but the ego and development/construction appetite of designers often reverses the situation back to the same problem of unsustainable design. By critically assessing the discourse to challenge and speculate against the conventional status quo. As designers, problems solving is in our nature, but to only say sustainability is the ultimate goal would also limit the possibilities of design outcomes as well as disregarding the stakeholders and true users of the space.

The pursuit to generate an iconic landmark aesthetically which has no connection to the functional-ability of a space, and lack of understanding anthropological and ethical values has lead to the real problem of

AL BAHAR TOWERS AEDAS ARCHITECTS ABU DHABI (2014)

In this installation by AEDAS is an example which reflects cultural significance of the traditional Islamic methods of shading. The installation combines the aesthetics of Mashrabyia, both in materiality and in visuals, together with technological systems which allow for the system to become responsive to its environment - adding character to what could have been simply another generic high-rise building. Practical in its response, and aesthetically sophisticated however, as a system which aims to be sustainable, it addresses the problem of energy consumption in terms of air conditioning through passive cooling, but maintainence and running costs of the system raises concerns. In terms of parametric design, the design utilizes plug-ins such as LadyBug (an environment simulation) to position the facade installation where the exposure would be strongest at different times of the year. As each unit is idential, the use of parametic modelling over the exisiting facade surface becomes much easier to manipulate and place, allowing finer development at an efficient pace.

Like most pavilions, Burnham Pavilion provokes as social gathering location, but even more so as a sculptural medium allowing for observations of the various vistas of city via the openings in the top plane of the pavilion. The multi dimensional composition of elements personified through the floating curvature, contrasts with the two longitudinal planes - much like the city and the location of the pavilion within the park creating a static balance within dynamic chaos. The 49 LED lights installed on the pavilion follow vary in colour and intensity subtly adding another layer in aesthetic and context, complimenting and reflects the city. With it, reflections are casted from the ceiling, imitating and following the rhythm of footsteps activating them as people dwell in a dynamic way .

B U R N H A M PAV I L L I O N

The form depicts the diversity of the city-context, personified through the longitudinal planes of the skyline, and the relationships it has between the scale of the built forms of the city.

UNSTUDIO M I L L E N I U M PA R K C H I C AG O

As designs will always be about the functionalism and the inhabitants of the space, the Burnham Pavilion exemplifies that exact notion. In association with the original plan with introduced a generic grid which generates the cities texture but also as a device which creates specific vistas through the city, the design combines the potentials of parametric designing to combine radical forms which offer the city a new take on a dynamic civic gathering location in a metropolitan city.

A . 0 2 C O M P U TAT I O N 12

With the development of computational design software, designers are equipped with the tools to refine and further explore the boundaries of design within the fields of materiality, structural integrity and form.

Prior to the emergence of architects as a profession, anyone could be either the builder or the designer; planning was minimal while the purpose was to construct when and where it was needed as a survival necessity thus the process to construct built forms were much faster. With the birth of architects however, holistcally appoached designs with knowledge from various informations are rationalised to result in a design solution which is optimal to problem at hand.

Computation has become a medium which formulates a comprehensive conversation between architect, client and technologies. It is a medium which supports a continuous logic of design thinking/ generation to fabrication; allowing for throughout the design process to fluidly simultaneously design, develop and fabricate with structural integrity, accuracy and efficiency. The continuous process which computational design embodies offer opportunities such as: 1. Embedding Materiality 2. Optimisation (Performance) 3. Form Generation/form finding 4. Efficiency/Accuracy 5. Fabrication 6. Sustainability (Potentially)

Through computational design, the designer is able to generate/ manipulate complex forms which cannot be done simply through conventional composition. Form generation alone only defines one aspect of the possibilities computational design can achieve at a faster rate. Designers should not however, mistake computation as a replacement for artistic or conceptual endevours. It is merely a tool which allows designers to manipulate and generate at a faster rate. As designers, we control and set and alter the algorithms to tailor for the problems at hand. It should never undermine the inital design concept but rather enhance it. Ultimately establishing a relationship between the designer and computer, as well as between the final built form and its users.

ICD/ITKE RESEARCH PAVILION

This pavilion is an example of how the students at the University of Stuttgart in association with the Institute for Computational Design and the Institute of Building Structures and Structural Design, created a temporary structure to model the biological principles of a sea urchinâ&#x20AC;&#x2122;s plate skeleton through computational based generation as well as fabrication. As biomimicry can be seen as the basis for this design, the complexity lies in the abstract interpretation and fabrication of individual geometric modules in relation to a sea urchin. Although the geometry appears to be consistent throughout the structure itself, with computerisation control, the ease of generation for the 850 geometrically different components and 100,000 finger joints which are arranged together is much more accurate, structurally sound and efficient in the process of fabrication. The process of embedding material properties and optimizing using physics simuation (Kangaroo plug-in) the desired base geometry (hexagon) into the design, translates as the form generation of the pavilion. As a result of using these tools, the structure readily embodies the structural integrity at the optimum position, thus enabling the fabrication process becomes much simpler and more efficient.

M AT S Y S D E S I G N

ZERO/FOLD SCREEN

K A S I A N G A L L E R Y, U N I V E R S I T Y O F C A L G A R Y, C A N A D A ( 2 0 1 0 )

With the emergance of parametric design, the problem of sustainability begins to seem more achieveable. In the case of the Zero/ Fold Screen, Matsys Design has developd a project which essentially does not waste any material at all. With the layout of each piece progressively following designated curves, the construction process is already embedded. Each individual piece correspsonds to the one before, which results in a twisted form (if desired). The ability to produce curves 16

which correlate to the former and latter (sectioning) components on one piece of material is a simplistic yet effective way to develop small and potentially large scale models which appear to be complex in form however simply in construction whilst being as sustainable as possible. This method can be however, very limiting in development of different aesthetic outcomes as its complexity relies on the progression of curves on each sheet. 17

To understand that there is â&#x20AC;&#x153;no separation between design intent and computational techniqueâ&#x20AC;? is what allows the design to be developed simultaneously whilst exploring further options in materialisation, spatial function and overall structural performance. As a result of generative design, allowing the designer to continuously modify within the boundaries specified to perfect form and maximise performance, sustain ability is also an aspect that can be thoroughly researched and examined simultaneously.

A . 0 3 C O M P O S I T I O N / G E N E R AT I O N

Designing and fabricating has developed fiercely, allowing concepts to uphold integrity structurally and aesthetically. Generative design is now a medium of representation like traditional compositional design except with a reverse design process. Design concepts now not only reflect design intention like they did in the past, but also show skill in the complexity of form and elements formulated through an underlying logic. Through computation, by means of algorithms coded with precision and the ability to modify, adjust and generate with ease and efficiency, allowing the designer to further explore the relationship between spaces and elements. Although there is a lack of control over minuet details of how exactly the form will generate, the designer has the ability to decide which how the form will be generated, and the general outlook of a potential solution.

KOKKUGIA ROLAND SNOOKES // ROBERT STUART-SMITH

The exploration of biomimicry through the complexity of self-organizing behavior modeled through generative design develops unique and uniformed form from the movement of biological, social and material systems. Unlike compositional design, studying and projecting the movements of these systems formulates organized chaos, a non-linear motion. Through compositional methodologies, it is not so easily determined/formulated by human perception. The interacting relationship of these systems inform the application of swarming logic within the algorithm which develops to envision the micro and macro scales of sequential activity. As the designer has no control over the detailing â&#x20AC;&#x201C; the directional move or the intensity as each agent is programmed to act with different desires â&#x20AC;&#x201C; but we have control over the process, the boundaries, and way it is to be represented. And the beauty of this semi controlled generation results in these inconsistencies is that the agents together operate to self-organize and distribute. The movement is modeled through a hierarchy, displaying the aggressiveness and irregular movement either collectively or astray.

D I G I TA L G R O T E S Q U E

Michael Hansmeyer

By re-imagining primitive geometry through generative algorithms, new forms emerge, appearing as organic, synthetic, and unimaginable. The results of using a recursive definition of sub-dividing simple geometries draws attention to the continuous flow in logic throughout the design process which would be impossible to do via conventional compositional methods. There are various limitations of analog process, primarily the conceivability of such complex forms and the inability to document such intricate detailing. The designer composing can experience composition limitations as it is adjusted by hand, often resulting in a much more rigid outcome, as there is a tendency to focus solely on the foreseeable outcomes thus restraining in the generation of complex and abstract forms. Through computational generation, the control of the initial geometry and the algorithm is within the control

of the design however outcomes are to some degrees random but still determinable, thus providing the element of surprise and a form which would appear to become more natural and fluid. With the underlying logic being continuously repeated, the potential freedom in achieving articulate detailing and complex spatial forms with structural integrity is increased drastically.

ALGORITHMIC SKE TCHES

CONCLUSION & LEARNING OUTCOMES Architecture is a way in which improve out lifestyle which should withhold holistic characteristics. The main concern now is to not only achieve an improved lifestyle, but to discover ways in which we can become more sustainable. To consume resources with discretion in the process of designing as well as constructing through innovative design. Computational design is one means of achieving solutions at a faster pace when demand for housing whilst being efficient in the design process. We could even in one instance, consider parametric computational design as the avant garde of the current era. However, this is not the only means as designers are now forced to step out of the conventional design practice. To explore and to problem solve in more complex scenarios through the aid of technological advances, we are able to come to concrete solutions to address global climate change from a local to a global scale. With the ability to modify and adapt various algorithms to produce complex and intricate design outcomes with the embodied structural capabilities, parametric offers designers to achieve finalized outcomes at a more efficient and accurate rate. To design without straying from the initial design intent and maintaining a balance using computation as a means of representation as well as a method in producing a final outcome is something to always keep in mind.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford Berg) Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) “AEDAS: Ak-Habhr Towers in Abu Dhabi”, Danny Hudson, Designboom, last modified September 19, 2012, http://www.designboom.com/architecture/aedas-al-bahar-towers/ “Al Bahar Towers Responsive Facade/AEDAS”, Karen Cilento, ArchDaily, last modified September 5, 2012, http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas “A City Blossoms”, NBBJ, http://www.nbbj.com/work/hangzhou-stadium/ “NBBJ and CCDI Break Ground on Hangzhou Sports Park”, Sebastian Jordana, ArchDaily, last modified April 14, 2010, http://www.archdaily.com/56594/nbbj-and-ccdi-break-ground-on-hangzhou-sports-park/

REFERENCES

“Mainland China towers scraping the sky in a green and modern way”, Peta Tomlinson, South China Morning Post, last modified July 30, 2014, http://www.scmp.com/property/hong-kong-china/ article/1562013/mainland-china-towers-scraping-sky-green-and-modern-way Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge, Ma: MIT Press) Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) Institute of Computational Design, ICD/ITKE Reseach Pavilion (2011) http://icd.uni-stuttgart. de/?p=6553 “Zero/Fold Screen”, Matsys Design, last modified February 28, 2010, http://matsysdesign.com/ category/projects/ Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) “Research|Kokkugia”, Roland Snooks, http://www.rolandsnooks.com/research/ “Swarm Matter”, Roland Snooks, 2009, http://www.kokkugia.com/swarm-matter “Cliff House”, Roland Snookes, 2012, http://www.kokkugia.com/swarm-matter “Digital Grotesque”, Michael Hansmeyer, http://www.digital-grotesque.com/

B.01 RESEARCH FIELD

T E S S E L L AT I O N Whether we realize it or not, tessellation can be viewed as the most organic process in which patterning and complex forms are produced. Through the use of one or more geometries, the manipulation of panels and the connections between each can potentially ensure the structural integrity whilst informing and affecting form which is produced.

PART B

CRITERIA DESIGN

As an extension of geometric manipulation, tessellation is one method of producing irregular surfaces which can (potentially) embody materiality using basic principles. In the instance of sustainability, tessellation is one possible technique which can minimize the wastage of materials as well as ensuing the largest/smallest surface area covered (often produced through prefabrication). Planarity poses as the main concern with fabrication, especially if the surface were to be curved, however, through the aide of computational and algorithmic technologies, the tectonics issues of construction can be addressed to establish interlocking relationships between panels. To further explore the limits of tessellation, extraction of vertices from individual geometric panels can be manipulated to produce connections of singular pieces, abstracting the overall form and outcome to a greater complexity.

H Y P O

S U R FA C E

dECOi architects

The triangular tessellation applied in HypoSurface, creates a transformative display of which deforms, to personifies the fluidity of liquid. As each panel has a direct relation with the ones adjacent, the use of triangles allows for the dynamism of the surface behavior to be precise and of an alloplastic nature, thus affecting the form which movement is produced which is dependent on the stimuli interactions of the environment applied to the modular system. Unlike other polygons, the planarity of a triangle tessellated across a surface is not restricted in its organic fluidity despite the change in vectors at varying points, but rather as a network of relationships/connections. The patterns created through motion is again a reoccurring display of the potential which tessellation embodies, furthermore demonstrating the interactive aspect and modularity of application throughout spaces. As the form of this installation is subject to change due to the exposure of the surrounding environment, it could be perceived as being â&#x20AC;&#x153;formlessâ&#x20AC;?; thus embodying the ability to be applied to a variety of surfaces (faĂ§ades and interior walls being the two main areas of application which come to mind) which would (like in the project), respond to movement, light, sound etc.

M U S E O

S O U M AYA FR-EE (FERNANDO ROMERO ENTERPRISE)

This 46 meter structure encased with 16,000 panels, with the hexagonal tessellation resulting in a floating honeycomb faĂ§ade of aluminum. The hexagonal plates which reflect light at varying angles, differentiates depending on the time of day, result in patterns of light and shadow. This effect becomes an additional characteristic of the structure, accumulating another layer of complexity depending on the viewerâ&#x20AC;&#x2122;s vantage point, which often creates an illusion of exaggerated curves and impossibility. Thus, adding another layer to the already multi-dimensional form of the rhomboid. The irregularity of the asymmetrical form provides for challenges in fabrication. Each hexagonal panel correlates to the vertices of the triangular skeleton beneath, resulting in seven species of 49 families of planar hexagons allowing for an organically smooth transition along the hyperbolic surface, and furthermore references traditional ceramics which are used in South-America.

C LO U D

V O U S S O I R

IWAMOTO SCOTT

B.02 CASE STUDY ONE

The focus of Voussoir Cloud is the exploration structural principles of pure compression together with the embedding of materiality through tessellated â&#x20AC;&#x153;petalsâ&#x20AC;?. Form finding in these case is solely dependent on the most efficient path to construct within the space while ensuring structural integrity of these compressed vault assemblies. It displays and juxtaposes the scale of the individual modules and the way that they co-depend and respond to the spreading of structural loads via their adjacent counterparts to construct the overall structure. Ultimately, the unique geometry produced through the use of a Delaunay tessellation, ensures a structure which embodies both the materiality, structural integrity as well as the aesthetic aspects of the final outcome.

C A S E S T U D Y 1 . 0 I T E R AT I O N S 37 36

S U C C E S S F U L I T E R AT I O N S

As organic aesthetic forms appeals to me aesthetically, the form compared to the original project is vastly difference and has been one factor which greatly influenced the reason for the selection of these iterations. All four outcomes are based off a single Voronoi cell, using selected faces as anchor points (i.e. points to be hung from). At different scale (1), pressure (2/3/4), change in anchor points/face selection, and mesh type (1/2), the form is developed.

As pressure is applied at different scales (3/4), the form becomes more open, organic and fluid; resulting in flower-like appearances, covering a larger area. Iteration 2 possesses the most openings. Although the centre of all iterations are hollow by nature, the openings in this specific one creates spaces which can enable objects to be held, or animate objects to inhabit. The triangulated pattern generates interesting openings and shadows within the design, potentially a device to filter light - as a result rain cover would have to be further developed. Similarly, iterations 3 would be less suitable to hang for cover, it has the most abstract form - potentially to be hung more as an installation, either singular at different points, or in clusters. Meshes, being one of the easiest materials to manipulate as it can be cut easily (patterning), twisted, folded, (partially) stretched, as well as having a soft and fluid appearance would be ideal. It would have to be layered either with more mesh, or plastic transparent material to ensure as light filtering is not hindered, water can still be constrained.

K A N G A R O O

U S I I N G

This project reflects an interesting exploration of a structural system which is structurally dependant on the way each module depends on its adjacent counterpart and as a result, generate its structural form. Aesthetically, it offers an interesting pattern through the negative space between modules, creating an open, airy atmosphere.

PAV I L L I O N

B.03 CASE STUDY T WO

Each pyramid module is identical and tessellated to create the frame of a curved structure. Fabrication for this project consists of timber dowels and hose nozzles, materials which are available at an average home improvement/outdoor living product store. Fabrication is also straightforward as each interconnecting module is identical - in dimension and material.

KIM DONG WOOK (GRASSHOPPER3D/NAVER)

This Pavilion explores an abstract form of tessellation through the use of Kangaroo and Equilateral Triangle Panelling. The use of Kangaroo in this case is to ensure the planarity of the equilateral triangles follows the curvature which they are tessellated upon. It could be assumed that equilateral triangular panelling is used as it is a simpler base shape to manipulate across surfaces as opposed to other polygons.

B . 0 4 C A S E S T U D Y 2 . 0 I T E R AT I O N S 43 42

S U C C E S S F U L I T E R AT I O N S

The following iterations test using the physics simluator, Kangaroo, for form finding. At different rest lengths, stiffness, and catenary strength the fluidity of the curavture and panel relations is altered. These iterations in particular are chosen based similarly to Case Study 1.0 - the fluidity of form and the area coverage provided.

The first iteration is the closest outcome in comparison with the original design. However, because of the lack of curvature in the overall form, it would be more suitable to be hung rather than fixed to the ground plane. Iterations 2-4 have a more drastic/radical forms. The catenary strength adopts the optimal curve with the anchors at specified perimeter points; the higher the strength, the higher the point of curvature. The area coverage is much larger hence providing more shelter if constructed. A problem with iterations 3/4 is the irregular triangulation on the surface. Iteration two experiements with hexagonal panelling resulting in a more even distribution, thus more aesthetically pleasing and interesting. It however also poses the issue of overlapping pyramids.

B.05 PROTOTYPES

PROTOTYPE 1 Using paper, the repeated folding of triangles give good indication in terms of the apices. With the exploration through digital means, this prototype explores the relations between triangle panels. As this is a much simpler test, the results are more of square pyramids rather than an equilateral one.

PROTOTYPE 2 As timber towels were used as the initial material of choice, much like the Case Study, unless they were at least 280mm, they would be prone to splitting. In a more practical sense, if timber were to be used as the main material it would also have to go through a series of treatment. Wire was used as it was easy to bend and attach to adjoining corners. With this particular gauge of wire, it was too malleable, thus prone for the bending to be adjusted. It gives a starting point for visualisation of the result of bending.

PROTOTYPE 3 The spokes extracted from the bike wheels provides the best flexural strength. As a result of testing, fixtures need to developed to be attachable on the vertices which would in turn hold the optimum curve of each spoke. The point of curve would also need fixings to ensure uniformity across each module.

B.06 PROPOSAL

The proposal for this site is mainly to provide a better structural outcome for sheltering purposes at the Bike Shed at CERES. After talking to a volunteer at the shed, I found that during winter, there are hardly any people, mainly because of how windy the conditions are. The structure itself has lasted an intensive period, however, it leaks and results in a damp environment to work in. From a design perspective, the current structure is a good reflection of the activities which take place in the small space. The use of wheels and mesh is a cheap and partially effective outcome which the volunteers constructed. The proposal would aim to use site available materials to fabricate something similar - a dome-like form which also reflects the use of the space, in a more effective way against the elements. It would also provide a space which they can dwell, so that sharing with Gong House - which is across from the Bikes Shed - can be avoided.

CONCLUSION & LEARNING OUTCOMES

ALGORITHMIC SKE TCHES

The ways to develop various outcomes to suit different scenarios, is evidently most efficient by means of using algorithms and parameters. Through the exploration of the design processes of the case studies, manipulation and development of the existing projects give insight to how designs are achieved to respond to site conditions through physics simulation and aesthetic outcome with consideration to material properties. In Voussoir Cloud the space in which the installation was fabricated influenced the form as the main intent was the structural capabilities of modules working as a system. Kangaroo Physics proves as a main driver in form finding and defining the spaces. As the structural component is embedded, detailing such as the module shape and distribution of tessellated shapes. In a similar sense, Case Study 2.0 also embeds the physical capabilities. Kangaroo in this scenario was explored at the points of conjunction over a curved surface. Implementing different geometries as a parameter also adds another dimension of complexity as well as redefining distribution to increase area coverage or alter the curvature of the overall form. With parameters such as catenary strength, anchor points, rest length, etc., the ease in changing and ensuring the structural integrity is embedded allows efficent exploration and manipulation to result in suitable outcomes responding to site, intent whilst aesthetically functional.

PART C

D E TA I L E D D E S I G N

C.01

D E S I G N

CO N C E P T

AIMS 1) SHELTER 2) AFFORDABILITY AND SUSTAINABILITY 3) EASE OF CONSTRUCTION/ FABRICATION

OVERVIEW

The current structure can be seen as a temporary fix for a work space when viewed from afar, however in deeper detail the degredation from weathering and lack of knowledge in construction allows room for improvement. Aesthetically, it is visually responsive to the function and draws direct attention and familiarity to the activities taken place, especially highlighting the use of bike wheels as the main structural material - readily available thus sustainable onsite materials.

The design concept for this project will remain central and true to the inital design: to providing a canopy which serves mainly to provide the Bike Shed area shading and protection from rain. The current structure is cladded by a simple thin mesh which results in water seeping through, ultimately resulting in the rustification of bike parts. The concept is to reflect the sustainablility present throughout CERES. Materiality will be the central focus in achieving and outcome which not only reflects and directly responds to the function of the space, but also allowing for ease of construction using materials which are readily available on site thus addressing funding issues.

Through Case Study 2.0, this project from Grasshopper3D forum greatly influences the basis for inspiration for the design concept. Made out of simple and easily attainable materials, it is also an easily essemblable structure. The structure itself would essentially rely on the conjoining parts to hold form and create a dome-like structure. The choice for not changing the base geometry is to ensure that modules are easily constructed as well as taking into consideration to the size of joints in response to spoke sizes. Essentially, all the joints will be identical, thus enabling anyone at the Bike Shed to construct.

INTENDED PROCESS

At each corner of the pyramid, a single joint will be the key to holding the bending of spokes uniformly. As each joint should hold the spokes of the adjacent module, ensuring the overal structural integrity. The bending is to add complexity and fluidity to the canopy path. The structure will essentially be hung from the surrounding trees on the site.

3 56

4 57

I N I TA L FINDINGS Inital testing proved that the spokes are in fact relatively easy to bend and manipuate. Through the first prototype, we were able to discover that this trait requires extra fittings - in the centre of the geometry to ensure that all three are bending at a uniform position; and the end joint which will also have to connect to the adjacent module; controlling/ restricting the effects of active bending.

C.02

T E C TO N I C E L E M E N T S & P R OTOT Y P E S

The first prototype uses MDF for all the joints and plates, this unfortunately resulted in 1) too many parts; b) challenges with uniformity; c) structral integrity.

The centre pieces are crutial in forcing the bending of spokes at uniform positions as the circular end pieces do not hold enough force to produce identical modules. Instead of being dependant on the centre piece to constrain movement, the bending instead tends to have dictated the location and sometimes movement of the centre pieces. Although this initial exploration grounds the design concept, the aesthetics need further improvement.

The chosen form of fabrication for the joining of spokes is 3D printing using ABS (Acrylonitrile – Butadiene – Styrene) plastic. This type of thermoplastic polymer is strong and durable at low temperatures whilst also being resistant towards heat (approximately 100°C) and impact, and is water-tight and lightweight. Due to these properties, the performance in wet weather conditions on the site of Merri Creek is not hindered, although degradation through UV radiation is a concern. However, as oils and greases are used on a regular basis on site, ABS has good resistance against these substances thus the reducing the degradation through chemical reaction.

The use of ABS in 3D printing allows for more intricate design, allowing the insertion of spokes to be accurate and at different points. Initially, insertion points were of even distribution; however the distribution has been altered for the purpose of having a flatter base and thus, a reduced depth in curvature of base spokes to allow for a longer span. As the end joins are identical/cladding joints are identical, mass production through 3D printing is possible. Through mass production, the production of a single connection joint is approximately 15 minutes – 20 joints maximum at 7.5mm radius resulting in a 7 hour printing session and is relatively cheap.

Joints (Potential) The concerns with the use of ABS include the durability/rate of degradation when exposed to the natural elements over a long period of time. Although ABS has a high resistance to water, it has poor resistance to UV radiation which proves be just as concerning. Timber dowels has been considered, however the main problem that arises is the durability of the material within the natural environment. Even with treating, because the dimensions of each dowel would have to be relatively small, and the forces which need to be acting on the spokes, the durability is questionable. Through the development of 3D printing, stainless steel is now a material that can be considered. Stainless steel has a very high melting point, is watertight, and very resistant to natural elements thus being the most suitable material.

B R A C I N G

J O I N T S

A single joint was designed and developed to constrain and intersect the spokes of each module to control the amount of bending through compression forces.

The design of the baseplate is informed by the bending of the spokes. It serves the purpose of connecting at the midpoint of the curvature to the next adjoining module. The additional decorative elements are for aesthetic purposes both from below the canopy along with subtle shadows features as a result of filtered light through the cladding. The material initially used for prototyping is MDF (medium-density-fibreboard). Aesthetically, the MDF homogenizes well within the natural landscape overlooking the Bike Shed. However, as MDF consists of wooden materials, weather proofing becomes another problem to be solved. Although MDF as an opaque material creates stronger shadow affects, we have instead decided on Perspex – also known as acrylic glass – as the material for the baseplate member. The transparency gives the appearance of a lighter weight structure, whilst filtering through more light the shadow effects are more subtle. As a material, Perspex is relatively durable; its most deeming attribute however, is its weatherproofing properties (water and UV resistance). Another similar material to be considered is polycarbonate (Lexan or Makrolon). The main difference when comparing to Perspex (acrylic), polycarbonate has a higher impact resistance, however is more expensive and easier to scratch. While acrylic may be the most UV stable material, there are options for UV resistant grades (at a higher cost).

V E C TO R

D I A G R A M

C L A D D I N G

The decision in using PVC (poly-vinyl-chloride) as the material for cladding is due to its natural resource saving properties throughout the production process, with the additional benefit of recyclability. As it contains approximately 43% carbon, the carbon is derived ethylene â&#x20AC;&#x201C; a plant based oil â&#x20AC;&#x201C; a resource which is renewable as opposed to fossil fuel based resources which are more finite. This type of thermoplastic also consists of 57% of chlorine, allowing for excellent fire resistance. Its versatility in appearance and flexibility allows for the cladding to be a semi-transparent and lightweight in form. The specific type/ grade of PVC will have to be further explored to avoid degradation from natural elements; particularly UV radiation, moisture and temperature.

TENSION COMPRESSION

The cladding was developed from triangulated panels - in reflection of the triangle pyramids. By developing it with other geometries, the results add complexity in the overall structure as well as the shadow effects. Issues such as overlap, are explored throughout the layering process with various geometries. Circular panels were the final choice as it juxtaposes with the angular form of a triangle but reflects the curvature of the spokes, whilst simultaneously allowing an even distribution of patterning.

64 65

D U R A B I L I T Y T E S T

CONCLUSION & LEARNING OUTCOMES 72

Following the final presentaion, the panel raised questions about bracing between each module to ensure that the affects of environment will not damage or cause breakage between modules. Another issues that came up was the type of material use and execution of cladding. Suggestions like using plastic pages weaved around the vertices would present an interesting outcome however, it would potentially hide the use of spokes overall. I feel like the feedback we were presented offered and raised a lot of critical advice and issues concerning real issues in the world if we were to fabricate. At some stage, I think the focus was more on the script and Grasshopper/theory aspect as opposed to realityâ&#x20AC;&#x2122;s side of things. This project has allowed us to explore the process which follows the intent through to digital manipulation and development and finally fabrication. I think it was a great experience meeting with people from CERES and seeing their reaction to our ideas and outcomes.

SPECIAL THANKS TO MY GROUP MEMEBERS - KAREN, GARY AND ADAM OUR TUTOR WHOM SUPPORTED US EVERY STEP OF THE WAY - CHEN.