R I A O I D U T S
SEMES TU
G N A Y N IYU S : E M A N T N E STUD 93 8 8 9 6 D: I T N E STUD
16 0 2 , 1 T ER
N O T R A P A Y N O TOR: S
CONCEPTUALIZATION 1
CONTENT
PART A CONCEPTUALISATION A.0. INTRODUCTION ......page.5 A.1.
DESIGN FUTURING ......page.6
A.2.
DESIGN COMPUTATION ......page.8
A.3. COMPOSITION/GENERATION ......page.12 A.4. CONCLUSION ......page.16 A.5.
LEARNING OUTCOMES ......page.17
A.6.
APPENDIX - ALGORITHMIC
SKETCHES
2 CONCEPTUALIZATION
......page.18
PART A CONCEPTUALISATION
CONCEPTUALIZATION 3
ONCE YOU MAKE DECISION, THE UNIVERISE CONSPIRES TO MAKE IT HAPPEN.
——BY RALPH EMEERSON
4 CONCEPTUALIZATION
A.0. INTRODUCTION
Siyun had spent her high school career in Brisbane for the first three years after she arrived in Australia. Then she moved to Melbourne since successfully received the offer of Bachelor of Environments from the University of Melbourne. She is currently studying architecture major in the third year of her university life. She was attracted by the word ‘Architecture’ ever since she initially tasted a subject called ‘Graphics’ in Year 10. Unfortunately she did not have the chance to pick up this subject for the rest of high school life in some reasons, and therefore, she resolutely chosen Architecture as her first preference while she was applying university.
However, the university life was not what she expecting before entered into it. Architecture is not a subject that fully contains Mathematics, Mechanics, Physics or Engineering, it is more inclined to design, to innovate, to create, to develop, and to achieve the sustainable development towards enhancing human life. For the past two years, Siyun has learned Digital Design and Fabrication, Studio Earth and Water, and used several softwares to reach the final achievements. Rhinoceros, Photoshop, Illustrator, Indesign are no longer stranger. But it is not the end, the future study of this journey still has a long way to go.
CONCEPTUALIZATION 5
A.1. DESIGN FUTURING
FIG.A.1.2 GROUND FLOOR PLAN
FIG.A.1.3 THIN CORRUGATED METAL SHELTERS
FIG.A.1.1 TOP VIEW OF THE GREAT WALL OF WA
The Project The Great Wall of WA (Western Australia) by Luigi Rosselli is the winner in the Housing Category from Archdaily in 2016. It is the longest rammed earth wall in the southern hemisphere. Only 230 sqm spaces create twelve earth covered residences, as a shortterm accommodation for a cattle station during grazing season. Some great techniques have employed by materials in the project. The 450mm thick rammed earth faรงade and the sand dune (for forming both rear and roofs) provide a great thermal mass that makes residences naturally cool in the subtropical climate. A new approach is represented by the design of the accommodation for the remote North Western Australia. The sun baked can be moved away by the establishment of thin corrugated metal shelters, which cools down the architectural earth formations naturally.
6 CONCEPTUALIZATION
FIG.A.1.4 BOTTOM VIEW
It also considers about the energy consumption that uses local resources to reduce the embodied energy usage. Except for rammed earth, sand clay is the primary feature composition of the site, gravel and water supply both obtained from the adjacent river. The future possibilities of the design can be expanded from two approaches: without damaging the ecological environment, this design is well-integrated artifact and nature in this limited space, and as much as possible to increase the area of animal husbandry; the design of residence itself is effectively utilized (such as thin corrugated metal shelters to ban the sunlight), and the energy consumption (such as air-conditioning) is reduced by the innovative local resource (such as sand dune roof). As the results, the considerations of environmental and energy issues can both achieve toward the sustainable development.
The project Harbin Opera House by MAD Architects was the winner of International Open Competition for Harbin Cultural Island in 2010. Due to the Harbin Opera House is located within the wetlands, the ideas were contributed by the force of untamed wilderness and the spirit of frigid climate of this northern city in China. The landscape of architecture is magnificent. A well-integrated of nature and the topography is represented by this architectural design, and the local identity, art, and culture are also be interpreted. The exterior curvilinear façade is consisted by the smooth white aluminum panels. Also, crystalline glass curtain wall soars above the lobby as the lightweight diagrid structure of the architecture.
FIG.A.1.5 TOP VIEW OF HARBIN OPERA HOUSE
The overall pattern of Harbin Opera House is emphasized on the interaction and participation between public and building. It intensifies the emotional connection between public and surrounding environment (e.g. through the landscape), and focus on the experience of visitors such as walking along the path to ascend the building to observe the surrounding wetlands or even the panoramic views of Harbin City.
Therefore, it is no doubt that the importance of Harbin Opera House blends humanities, art and nature, and they become the heart of this land which nourishes the soul of the city. As Ma Yansong (the founding principal of MAD Architects) said, “we envision Harbin Opera House as a cultural center of the future – a tremendous performance venue, as well as a dramatic public space that embodies the integration of human, art and the city identity, while synergistically blending with the surrounding nature.” This kind of innovative architecture may be able to lead the trend of architecture into a new age, while the building is no longer focus on the function itself, but integrates with local customs, natural and cultural, becomes a local landmark, becomes a widely known presence.
FIG.A.1.6 INTERIOR: CRYSTALLINE GLASS CURTAIN WALL
FIG.A.1.7 MASTER PLAN
CONCEPTUALIZATION 7
A.2. DESIGN COMPUTATION
8 CONCEPTUALIZATION
FIG.A.2.1 PANORAMIC VIEW OF GALAXY SOHO
FIG.A.2.2 FLAT VIEW OFGALAXY SOHO
FIG.A.2.3 PLAN DRAWING OF GALAXY SOHO
The Galaxy SOHO project by Zaha Hadid Architects in central Beijing is inspired by the grand scale of Beijing. This architectural complex (which contains office, retail and entertainment venues) is gracefully merging dynamic form that creates a fluid and continuous internal space. The four continuous and flowing volumes are apart from each other but fused by stretched bridges to form as a composition. By generating a panoramic architecture, the entire architectural complex is without any corners or abrupt transitions that may break its fluidity and integrity. This is definitely a new approach of evolution of design process by computation, since the technology in the early time cannot reach such high level, the calculations for such hierarchical curvilinear building complex is unimaginable by human’s brain. Parametric design as an emerging concept is a bright spot of this composition without any doubt. Those parameters are interconnected as a completed system and, making a single change of data will affected the whole network and causes global influence. Systematic, adaptive variation, continuous differentiation, and dynamic figuration are the main characteristics of parametric design, it is a diversity of digital design in terms of the scale of urbanism to the scale of architecture, interior and furniture. Glass cladding and reflective aluminum panels as the modern material are the main features of these elliptical towers. Some digital design approaches have applied in here as well. The architectural design of double-curvature panels were used as models in Visual Basic operating in a Rhino environment. The local curvature morphology is the basic that leads to generate flat and single-curvature panels from the original double-curvature panels. Also, the software-driven panel-generation method can achieve the promoting rational use of manufactured sheet metal panels, and the higher demands in terms of cost requirements and manufacturing complexity can be managed.
FIG.A.2.4 BOTTOM VIEW OF GALAXY SOHO
CONCEPTUALIZATION 9
The Yas Hotel, an example of futuristic design, is designed by Hani Rashid and Lise Anne Couture and Asymptote Architecture (Architects) in Abu Dhabi, UAE. Asymptote’s design of this architecture balances the dramatic site conditions with a luxury 500-room hotel and a Formula 1 Racetrack. A new F-1 track passes through the building complex under a monocoque steel and glass bridge linking two hotel towers. This GridShell component is provided an atmospheric-like veil and produced optical effects and spectral reflections, and caused the entire complex visually connects and fuses to each other. These outstanding structure and trendy materials within the design have vividly demonstrated the power of construction industry. One of the main features of the design is the architectural and engineering significance. The expanse of curvilinear forms on the surface constructed of steel and pivoted diamond-shaped glass panels. The strategy of parametric design is applied to group curvilinear and panel and therefore they can be analyzed and extracted The appearance of computational design is absolutely a revolution of creation of innovative buildings. It has a crossera significance that improves work efficiency, enhances data accuracy, and even shortens the modification time. However, the software program is definitely cannot design the project by itself, it is essential that designers still need to rely on their own to design but to rely on computing. The working efficiency and accuracy can be identified through the comparison between past and present. The complex structure such as curvilinear or girdshell taking unimaginable time by sketching or hand-drawing, however, it takes less time if using digital software to generate the outcome. By using the computation, the traditional mathematic method can be replaced, and this impact on the design thinking, which not only stopping at the conceivable stage, but also moving forward to the achievable stage.
FIG.A.2.6 GRID-SHELL COMPONENET OF YAS HOTEL
10 CONCEPTUALIZATION
FIG.A.2.5 PLAN VIEW OF YAS HOTEL
FIG.A.2.7 MONOCOQUE STEEL AND GLASS BRIDGE
FIG.A.2.8 DIAMOND-SHAPED PANELS
CONCEPTUALIZATION 11
A.3. COMPOSITION/GENERATION
12 CONCEPTUALIZATION
FIG.A.3.1 FACADE OF GEGGENHIEM MUSEUM BILBAO
The Guggenheim Museum Bilbao by Frank Gehry was built between 1993 and 1997 where located on the edge of the Nervión River in Bilbao, Spain. The complexity of this composition integrated in terms of performance and materiality through intricate program and urban context. The entire building looked like a tangled root if only by observation from its appearance, but it actually has own pattern and logic among the generating process. The ‘random’ curves of the exterior aimed to catch the light and react to the sun and the weather, and furthermore, since the curve surfaces toward to different directions, making the changing of lighting effects of all levels of the building while the changing of angle of sunlight. Both classical and modern materials are used for the outer skin of the building, the extremely thin titanium sheets, limestone and glass are harmonized perfectly, which achieved the architectural design with a great visual impact.
FIG.A.3.2 FRONT VIEW
FIG.A.3.3 PANORAMA VIEW
Digital modelling software is applied during the design process. A 3D design software is called CATIA, initially conceived for the aerospace industry, which provides an advanced technology for complex designs and calculations over that period. Therefore, the software faithfully translate Gehry’s concept to help him digitizes points for all the edges, surfaces and intersections in the further construction. And also, animations can be made out by manipulating the software, providing a preview and overall composition. Another benefit of CATIA is the computing calculation. The number of bars can be calculated for the requirement in each location, even the positions and orientations of bars. Every single piece such as walls, ceilings (including insulating layers), outer coating of titanium, have their exclusive location. This means, the number of each piece can be minimized to avoid additional expense, and the work efficiency is also greatly improved by modelling the design through software rather than re-draw everything by hand. During the progress of design development, Gehry drew plenty of plan drawings and a few 3D models by software, also, several prototypes had made out for overview. Good things are taken, and shortages are made up, and consequently the combination integrated into this final outcome.
FIG.A.3.4 -8 PLANS AND PERSPECTIVE VIEWS FROM VIDEO
CONCEPTUALIZATION 13
A new terminal at Shenzhen Bao’an International Airport in China is designed by Italian architects Massimiliano and Doriana Fukas. The concept of the plan for this project evokes the image of manta ray – a fish is able to breathe and to change its own shape, undergoes variations, and turns into a bird which symbolizes the emotion and fantasy of a flight. 3D modelling software Rhino is applied through the design development, and then the aid of specially developed parametric software tools is implemented
FIG.A.3.10 INTERIOR 14 CONCEPTUALIZATION
FIG.A.3.11 INTERIOR
to undertake the discretization shapes, directions of curvilinea shaped objects (they are the designed as big stylized white program and having their exclus essential of algorithm can be i visualize such sophisticated s performances/appearances and
The shift from composition to generation in the architectural design is a development of digital technology. This changing is not simply on the translation from hand-drawing to computer drawing, but also providing more advancement for architects, exploring new design options and communications. Those digital tools allow architects generate more opportunities in terms of structural, material or environmental performance, and becoming a fundamental parameter in the creation of architectural form. In addition, the increasing simulation capabilities of computer have the more accurate and sophisticated methods by the abilities of prediction, simulation and modelling, thus, the possibility of building is no longer on the simulation and communication of constructional aspects, but also the experience of public and the creation of meaning. Therefore, computation becomes a necessary tool in architectural field. As Mouzhan Majidi has said: ‘this hasn’t simply transformed what we can design – it’s had a huge impact on how we build.’ Even though pens or pencils can give sketch drawings for building and the performance of building details, but at the same time, using digital tools are faster and more efficient to design a complex models and performances in a better communication.
FIG.A.3.9 PONORAMA VIEW
n of the surfaces. Those different geometries ar, placements of column and even sculpturee supply of air conditioning that have been e trees), calculating through the computing sive performance and position. Therefore, the identified by allowing designers to model and structure, have benefits in terms of building d structural systems.
FIG.A.3.12 SURFACE
FIG.A.3.13 INTERIOR
CONCEPTUALIZATION 15
A.4. CONCLUSION
Under the computer era, computation is the main character which influencing the design process for the future of architecture. Considerations such as amounts of energy consumption, usages of unrecycled resource occurred in the early age, however, attentions have to be taken seriously and, moving towards the sustainability after the rapid developments of science and technology. Hence, architectural design is no longer just focus on its performance or function, but also considers the environmental problem. The engagement of computing expresses the evolution of design processes in architecture. Architectural form is no longer limited by poor design tools, the shapes of building are increasingly creative and diverse. Furthermore, for designers, they have more opportunities to explore more possible ideas, which can be all achieved by digital design. It can be said this is a revelatory for moving ideas and designs from conceivable to achievable. The conceptual changes instigated by computing. It is important because algorithmic thinking and parametric modelling are gradually walking into everyone’s sight, becoming more and more popular just in the past two decades. Computation benefits both designer and user, for designer, design development is more comprehensive, by covering computer technique, material, structure, construction, and environment (or plus landscape); for user, a more relaxed, joyful and comfortable environment is provided.
16 CONCEPTUALIZATION
A.5. LEARNING OUTCOMES
Architectural computing is not simply as a design tool for designer. By understanding what computation is progressively, I have change my own definition of computation. Many of design software appearing during these two decades, the design is no longer just expressing by hand-drawings, but also digital design tools are well-performed those designs. It also influences the ways of thinking of design process, exaggerated geometric shape is not staying on paper anymore, and it can be modeled, constructed and used. Hence, it is important to understand the operation of those tools and well-integrated with ideas, generating a better design in the further.
CONCEPTUALIZATION 17
A.6. APPENDIX - ALGORITHMIC SKETCHES
18 CONCEPTUALIZATION
CONCEPTUALIZATION 19
Drawing four curves in Rhino, as the basic for Grasshopper.
Dividing each curve into 36 units.
Creating arches between each curve.
Making loft.
Shifting by 5 units.
Creating surface and baking it into Rhino.
20 CONCEPTUALIZATION
Setting multiple Breps from Rhino (surfaces).
Offestting 18 units from 2 units apart.
Extruding curves by 26 units and splitting surfaces with a bunch of curves. Baking surfaces into Rhino.
Creating three patch surfaces for trimming extra surfaces.
After trimming.
Final outcome.
CONCEPTUALIZATION 21
REFERENCES FIGURE A.1.1 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ce97/e58e/ce67/c100/03a3/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__002.jpg?1439420049 accessed 5 March, 2016. FIGURE A.1.2 Luigi Rosselli, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cf5a/e58e/ce5c/7d00/0378/slideshow/ ground.jpg?1439420243, accessed 5 March, 2016. FIGURE A.1.3 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ced4/e58e/ce5c/7d00/0374/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__007.jpg?1439420109, accessed 5 March, 2016. FIGURE A.1.4 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cea2/e58e/ce5c/7d00/0372/slideshow/ Luigi_Rosselli_Architects__The_Great_Wall_of_WA__004.jpg?1439420060, accessed 5 March, 2016. FIGURE A.1.5 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7b18/e58e/cec5/7900/0005/ slideshow/MAD_Harbin_Opera_House_001_%C2%A9Hufton_Crow.jpg?1450277641, accessed 5 March, 2016. FIGURE A.1.6 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7c08/e58e/cec5/7900/0009/slideshow/ MAD_Harbin_Opera_House_017_MAD_%C2%A9Hufton_Crow.jpg?1450277874, accessed 5 March, 2016. FIGURE A.1.7 MAD Architects, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/79e3/e58e/ce4c/6300/0003/ slideshow/MAD_Harbin_Opera_House_Masterplan.jpg?1450277323, accessed 5 March, 2016. Archdaily, ‘The Great Wall of WA/Luigi Rosselli’, <http://www.archdaily.com/771780/the-great-wall-of-wa-luigi-rosselli> [accessed 5 March, 2016] Archdaily, ‘Harbin Opera House’, <http://www.archdaily.com/778933/harbin-opera-house-mad-architects> [accessed 5 March, 2016] FIGURE A.2.1 Hufton+Crow, 2013, Zaha Hadid Designs the Galaxy SOHO Complex in Beijing, China, http://media.architecturaldigest.com/ photos/55e76fab302ba71f3016c212/3:4/w_700/dam-images-daily-2013-04-viewpoint-beijing-galaxy-soho-may-viewpoint-zaha-hadid-01beijing-galaxy-soho-complex.jpg, accessed 12 March, 2016. FIGURE A.2.2 Iwan Baan, 2012, Galaxy SOHO: Design & Architecture, http://galaxysoho.sohochina.com/assets/property/galaxy/gallery/ Galaxy-design_module_425x274-01.jpg, accessed 12 March, 2016. FIGURE A.2.3 2012, Zaha Hadid Architects, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_ ded8de6ef54c061a659828a26028150e_f17topview.png, accessed 12 March, 2016. FIGURE A.2.4 Iwan Baan, 2012, Galaxy Soho/Zaha Hadid Architects, http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/5 08ee0ab28ba0d7fe4000005-galaxy-soho-zaha-hadid-architects-photo, accessed 12 March, 2016. FIGURE A.2.5 2010, Asymptote Architecture: Yas Viceroy Hotel, https://static.wixstatic.com/media/b3e12d_96ef5f4f9fd670e271e0fef331031d83. jpg/v1/fill/w_980,h_440,al_c,q_85,usm_0.66_1.00_0.01/b3e12d_96ef5f4f9fd670e271e0fef331031d83.jpg, accessed 12 March, 2016. FIGURE A.2.6 Asymptote Architecture, 2010, The Yas Hotel/Asymptote Architecture, images/5012/075b/28ba/0d55/8100/0285/large_jpg/stringio.jpg?1360898226, accessed 12 March, 2016.
http://images.adsttc.com/media/
FIGURE A.2.7 Unknown photographer, 2010, Asymptote Architecture, images/5012/0722/28ba/0d55/8100/027a/large_jpg/stringio.jpg?1360898186, accessed 12 March, 2016.
http://images.adsttc.com/media/
22 CONCEPTUALIZATION
FIGURE A.2.8 Unknown photographer, 2010, Asymptote Architecture, images/5012/0727/28ba/0d55/8100/027b/large_jpg/stringio.jpg?1360898189, accessed 12 March, 2016.
http://images.adsttc.com/media/
Galaxy SOHO: http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects http://galaxysoho.sohochina.com/en/design http://www.architecturaldigest.com/story/zaha-hadid-beijing-galaxy-soho-complex http://www.zaha-hadid.com/architecture/galaxy-soho/ The Yas Hotel: http://www.asymptote.net/#!yas-slide-show/cau8 http://www.archdaily.com/43336/the-yas-hotel-asymptote http://www.dezeen.com/2009/05/14/the-yas-hotel-by-asymptote/ FIGURE A.3.1 βιит є Ãhʍ€ď, 2013, The Guggenheim Museum [Bilbao Spain], http://hqworld.net/gallery/data/media/130/louise_bourgeois_ sculpture__guggenheim_museum__bilbao__spain.jpg, accessed 18 March, 2016. FIGURE A.3.2 Unkown photographer, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ ad-classics-the-guggenheim-museum-bilbao-frank-gehry/521fa097e8e44eb94a000038-ad-classics-the-guggenheim-museum-bilbaofrank-gehry-photo, accessed 16 March, 2016. FIGURE A.3.3 Iker Merodio, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ad-classicsthe-guggenheim-museum-bilbao-frank-gehry/521fa07fe8e44e56b500006b-ad-classics-the-guggenheim-museum-bilbao-frank-gehryphoto, accessed 16 March 2016. FIGURE A.3.4 - 8 Unkown editor, Guggenheim Bilbao: The Construction, http://player.vimeo.com/video/45965421, accesed 16 March, 2016. FIGURE A.3.9 - 13 http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas, accessed 17 March, 2016. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 The Guggenheim Museum: http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry http://www.guggenheim-bilbao.es/en/the-building/the-construction/ http://au.phaidon.com/agenda/architecture/articles/2012/november/23/buildings-that-changed-the-world-the-guggenheim-museumbilbao/ Shenzhen Bao’an International Airport Terminal 3: http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas http://www.e-architect.co.uk/hong-kong/shenzhen-airport CONCEPTUALIZATION 23
CONTENT
PART B CRITERIA DESIGN B.1.
RESERACH FIELD ......page.26
B.2.
CASE STUDY 1.0 ......page.28
B.3.
CASE STUDY 2.0 ......page.34
B.4.
TECHNIQUE: DEVELOPMENT ......page.40
B.5.
TECHNIQUE: PROTOTYPES ......page.50
B.6.
TECHNIQUE: PROPOSAL ......page.56
B.7.
LEARNING OBJECTIVES AND
OUTCOMES B.8.
APPENDIX - ALGORITHMIC
SKETCHES
24
CRITERIA DESIGN
......page.60
......page.61
PART B CRITERIA DESIGN CRITERIA DESIGN
25
B.1 RESEARCH FIELD
FIG.B.1.1 GREEN VOID
Green Void is derived from nature which is a great precedent study of digital design, using the latest digital fabrication techniques to create more with less. This means, minimizing the surface to maximize the occupation space of the product.
The quest of Green Void is to optimize the efficiency in material usage, construction weight, fabrication and installation time, and this project is successfully achieved those aspects by using only 40kg lightweight fabric to build a 20 meter-high installation within a 3,000 cubic meters of space, and also maximizing the visual impact at the same time. It also responses to the popular question for sustainable development nowadays, by reducing embodied energy since it is easily to transport to any place in the world, installing easily and quickly, and the material is fully reusable.
The relationship between nature and technology is well-demonstrated from Green Void, where the performance is inspired by plants and corals, and use mathematical formula from digital tools to determine the minimal surface by setting the connection points only. It is also a great opportunity to exhibit such digital design geometry and structure in the presence, evaluating different perspective views from public in such era with full of ambitiously technologies.
FIG.B.1.2 SECTION 26
CRITERIA DESIGN
FIG.B.1.3 VOLT-DOM
Volta Dom as another great precedent study is one of the experiments (of the Skylar Tibbits’ firm) in computational design, revisiting a historically paramount structural element – the vault, which attempts to find the contemporary equivalent through various assembly and fabrication techniques. Since hundreds of vaults created the vaulted ceilings within the concrete and glass hallway, a great opportunity is provided to the visitors to immerse such historical atmosphere and experience the combination of sculpture and digital fabrication. The architectural element “surface panel” intensifies the depth of doubly curved vaulted surface, while maintaining the relative ease in fabrication and assembly. The assembly of such complex surface makes the possible to transform the curved vaults to developable strips, performing as rolling a strip of material. However the appearance of Volta Dom is unflattering. It looks like a giant corpse flower by looking inward through glass window, and its interior looks like a nest of bee. Also, a depressing feeling will be generated due to the limited internal space, and it stops visitors’ pace by the vaulted ceilings. Nevertheless, Volta Dom as a self-replicating system, successfully interprets the application of innovative fabrication technique, by creating such complex double curved vaults through the simple rolling of a sheet of material.
FIG.B.1.4 EXTERIOR VIEW CRITERIA DESIGN
27
B.2 CASE STUDY 1.0 SPECIES 1
# 2D POPULATE SEED NUMBER
28
CRITERIA DESIGN
SPECIES 2
VOLT-DOM UPPER DOMAIN LOWER DOMAIN
SPECIES 3
HEIGHT RADIO
CRITERIA DESIGN
29
SPECIES 4
30
CRITERIA DESIGN
DISTANCE OF TWO CLOSET POINT
SPECIES 5
SCALE AMPLITUDE
VOLT-DOM SPECIES 6
# 3D POPULATE SEED NUMBER
SPECIES 7
# 2D POPULATE SEED NUMBER
CRITERIA DESIGN
31
I aimed to create some different geometries from the initial given definition that can be inspired me any possibilities on the further tasks. However they have not much change without changing any single definition if only amend the parameter (those number sliders), thus I tried to add or subtract some of definitions (e.g. I tried to recreate Volta-Dom with undulating surface instead of flat surface) and change the initial region (e.g. changing 2D rectangular region to 3D box region) and initial geometry (e.g. from cone to sphere or cylinder, and adding different number of points). As the results, four successful and interesting iterations have been developed and selected as the final outcomes of development from initial definition of Volta-Dom.
SELECTED CRITERIA
32
CRITERIA DESIGN
SELECTED OUTCOMES
POPULATE 2D # POINTS: 30
SEED #: 3
POPULATE 3D # POINTS: 10
SEED #: 5
By changing the number of points in Populate 2D, larger number of points, more cones appearings with random
A cube is created to be the box region for Populate 3D. Set this region as the base plane for sphere and hence multiple spherical surfaces can be placed on it.
DIVIDE DOMAIN2 & ISOTRIM SCALE: 2 AMPLITUDE: 3
DIVIDE DOMAIN2 & ISOTRIM SCALE: 0.2 AMPLITUDE: 5
A sphere surface is connected as the base domain and base surface, and is extracted to an isoparametric subset of a surface. Geometry will be affected by moving the points on Rhino.
Setting a curvilinear surface as the base plane, geometry is affected by controlling the factor of scale and the value of amplitude. And this is also the re-creation of Volta-Dom. CRITERIA DESIGN
33
B.3 CASE STUDY 2.0
FIG.B.3.1 CANTON TOWER
34
CRITERIA DESIGN
CANTON TOWER
FIG.B.3.2 CANTON TOWER
Canton Tower as one of the important buildings in Guangzhou, is designed by Information Based Architecture (IBA). The idea of Canton Tower base on to create a â&#x20AC;&#x2DC;femaleâ&#x20AC;&#x2122; tower, which is complex, transparent, curvy, gracious and sexy. And also the tower aims to design in a freeform with a rich and human-like identity that represents Guangzhou as a dynamic and exciting city (Mark Hemel, 2010). The structure of Canton Tower is simply based on two ellipses. One at foundation level and the other at a horizontal plane. They are rotated relative to another. Since Canton Tower is a particular latticestructure, it can be observed that it consists by connecting ring and bracing piece. As Architect Mark Hemel said that designers are able to create a more complex structures than before by using computerized analysis techniques, and therefore such unique form can be built.
FIG.B.3.3 CANTON TOWER CRITERIA DESIGN
35
REVERSE ENGINEERED STEP TWO:
Create a Construct Point as the starting point, and create another Construct Point that moved in the Z-direction, becoming the height of the building. Make a line between these two points, this is the core of the building.
Polygon is chosen to be the base plane, in this case, the two base planes are represented as the top and bottom shape of the building. Connect two Polygon commands from two Construct Point commands separately, and use number slider to control their radius, number of segements.
CONSTRUCTION POINT
CONSTRUCTION POINT LINE
CONSTRUCTION POINT
RADIUS: 15
CONSTRUCTION POINT
SEGMENT: 25
POLYGON
STEP ONE:
POLYGON
*NOTE: COLOURS ARE INDICATING DIFFERENT CONNECTIONS ONLY 36
CRITERIA DESIGN
STEP THREE:
POLYGON
Create a Rotate command to connect with upper plane. For calculating the degree of rotation, an expression is added up to control the degree. Then, loft both of top and bottom plane.
ROTATE
POLYGON
LOFT
DEGREE: 120
EXPRESSION
STEP FOUR: To create the horizontal curvilinear that surrounded the building, setting Divide Distance along Line based on XY Plane. Find intersection between Line and Plane, connecting Loft surface and Plane to Brep | Plane. The outcome of those Section Curves become Boundary Surface. Area can be calculated by using Area component. Flatten values to create one list with multiple values. Total area of the building can be calculated by using Mass Adition. The total area of the building is approximately 8284 square meters. LINE
DIESTANCE
XY PLANE
LOFT
BREP|PLANE
BOUNDARY SURFACES
AREA
MASS ADDITION
REVERSE ENGINEERED STEP FIVE: Lastly, the thickness of curvilinear surface has to be made. Create a Unit Z to extrude the surface in Z direction, a Number Slider is connected to control the thickness of the surface. The outcome from Boundary Surfaces as the base of Extrude.
BOUNDARY SURFACES
THICKNESS: 0.5
38
CRITERIA DESIGN
UNIT: Z
EXTRUDE
CRITERIA DESIGN
39
B.4 TECHNIQUE: DEVELOPMENT By developing the reverse-engineered definition from Case Study 2, several extend definitions have added and subtracted from the original one.
SPECIES 1 A twisting tower is developed by setting points in Z-direction based on XY Plane, and this becomes the base plane for Polygon. The Rotation angle is controlled by Pi and its factor is affected by the values of Domain. Set Polygon as the base geometry, the output value from Pi as rotation angle, and XY Plane as the rotation plane. Loft the rotated geometry to get the final lofted surface.
40
CONSTRUCTION DOMAIN
CONSTRUCTION DOMAIN
# OF SEGMENT
# OF SEGMENT
CRITERIA DESIGN
CRITERIA DESIGN
41
SPECIES 2
ROTATION ANGLE
Let the base surface of Extrusion becomes rectangular shape from initial curve shape. set multi-Rotating objects in different rotation angles to generate the different horizontal elements.
# OF SQUARE
UPPER POLYGON LOWER POLYGON HEIGHT
SPECIES 3 The radius of upper and lower polygon and the height of the tower can also be the influence of tower.
SPECIES 4 Set Boundary Surfaces (from initial definition) be the base surface of Polygon, get different polygons by changing segment. SEGMENT OF POLYGON 42
CRITERIA DESIGN
CRITERIA DESIGN
43
SPECIES 5 Let the original Point coordinate be the base plane of Polygon (for both upper and lower). Use Cull Pattern to remove elements from point list and connect to Interpolation points. Loft both upper and lower Interpolated (nurbs) Curve together. The deformed geometry can be achieved by changing segment of Polygon or the initial control point.
SPECIES 6 Based on the initial definition, different rotation angles and segments can affect different outcome of tower.
SPECIES 7 Based on Loft from the initial definition, set the loft surface be the base geometry for Populate Geometry, and becomes the volume for Voronoi 3D. Extrude them and create planes in every surface, and deconstruct the component and let the face list output becomes the base plane of conical surface.
SEGMENT OF POLYGON ROTATION ANGLE
SEGEMENT OF POLYGON LOWER POLYGON UPPER POLYGON
SPECIES 8 Based on initial Polygon (both upper and lower), divide them individually into same segments of them, Shift and Flip them into Interpolate Curve, and loft both Polygon outcome together. The Step size of Series can affect the size of tower.
# OF POINT
SPECIES 9 This specie is an extension of Gridshell definition in TOP VIEW. The output of Geodesic is the base curve of Pipe, due to those vertical curves have already shifted, the final outcome of Pipe will be changed by different shifting units.
46
CRITERIA DESIGN
SHIFTING DEGREE #1 SHIFTING DEGREE #2
PERSPECTIVE VIEW
CRITERIA DESIGN
47
Since the proposal of the further development will be solving the problem of catching large-scaled rubbishes (e.g. water bottle, plastic bag). The aim is based on stopping the rubbish to flow over, and therefore an intersecting element can be applied to response this aim. Canton Tower is a great example that expresses how the components intersecting with each other (i.e. spiral element, vertical element and horizontal element are intersected with each other). Hence, the achievement of gaining new outcomes can be according to developing (adding, subtracting and re-creating) the definition from reverse-engineered of Canton Tower.
SELECTED CRITERIA
48
CRITERIA DESIGN
SELECTED OUTCOMES
A rotating polygon with three segments can become a multi-layer ‘fences’ to stop the flowing rubbishes step by step (i.e. fence by fence). Unlike fishes, rubbishes would not be able to change the flowing direction, hence the rotating component can be an obstruction for rubbishes.
Due to 3D Voronoi created random volume on tower’s surface, those gaps in different geometries can be another obstruction to shop flowing rubbishes since the surface area is too small for rubbishes.
A dense and concentrated intersecting element is an opportunity to stop both small-scaled and large-scaled items which flowing through the river.
In contrast, a sparse and thin intersecting element can only allow large-scaled rubbish to be remained, but it has the ability to allow the marine life going through. CRITERIA DESIGN
49
B.5 TECHNIQUE: PROTOTYPES At the beginning of thinking about materialisation, MDF is chosen to be the structural element of model. Three selected outcomes are decided as prototype to be materialisation. By using Rhino, the assembly drawing can be sent to FabLab (for Laser Cut).
FIG.B.5.1. ASSEMBLY SEQUENCE
FIG.B.5.2. LASER CUT OUTCOMES
50
CRITERIA DESIGN
The first one is based on the Voronoi one that each piece is connected to its surrounded. Hence, it will be interesting by finding the connection that can join every single piece.
FIG.B.5.3. 3DPRINTED JOINT
The initial idea is to design a cross tube as the joint that can be printed by 3D printer. However, due to the dimension of tube is too small, the upper surface of tube is collapsed. It can be seen that the printed tube is planned to connect wood strips from four directions (it can also applies to two and three directions which depends on the need), and therefore a 3D structure can be built. FIG.B.5.4. PIECES OF FIRST PROTOT YPE
FIG.B.5.5. CONNECTION DETAIL
FIG.B.5.6. IDEAL PROTOT YE
FIRST PROTOTYPE CRITERIA DESIGN
51
SECOND PROTOTYPE
Base on this intersecting element, those MDF panels can be used to embed into each other. This means, the structure can be supported by themselves without any extra joints.
The initial idea is to put those panels in two directions that can be across to each other, the intersection (or the joint) will be the notch which allow them to insert.
FIG.B.5.7. PIECES OF SECOND PROTOT YPE
52
CRITERIA DESIGN
However, this prototype is failed due to the notch is too big for inserting MDF panel. The thickness of MDF does not match the notch.
FIG.B.5.8. INITIAL IDEA OF CONNECTION
The third one is based on the Polygon one. As the picture shown on the left, those polygons are paralleled horizontally to each other without any supporting. This will never happen in reality, hence I try digging four 3mm holes in every corner that can allow rob/strip to go through.
FIG.B.5.9. 3D PRINTED FIXTURE
As mentioned above, I tried to use 3D printer to make some connections that can applies to prototypes. However, this one is also failed since the fix joint is also too small (diameter = 3mm) to print, and the middle hole is collapsed.
FIG.B.5.11. INITIAL IDEA OF CONNECTION
FIG.B.5.10. 3D PRINTED JOINT
FIG.B.5.13. CONNECTION DETAIL
THIRD PROTOTYPE 1.0 FIG.B.5.12. IDEAL PROTOT YPE CRITERIA DESIGN
53
THIRD PROTOTYPE 2.0
In this case, the material that I test for the joint is Balsa wood strip. In order to make the structure stable enough, I tilted every frame in tiny degrees, which means those tilted wood frames can use the angle to ‘lock’ themselves and would not be able to move around in between.
FIG.B.5.14. THIRD PROTOT YPE 2.1
FIG.B.5.15. THIRD PROTOT YPE 2.2 54
CRITERIA DESIGN
FIG.B.5.16. THIRD PROTOT YPE 3.1
FIG.B.5.16. THIRD PROTOT YPE 3.2
The second connection is chosen from plastic folder and binder clip. Plastic folder is cut into several 1cm Ã&#x2014; 5cm strips, and use binder clip to fix those plastic strips with entire structure. Due to the plastic strip has its own property, the structure can be more flexible if gives the pressure, otherwise it can stand by itself.
FIG.B.5.17. THIRD PROTOT YPE 3.3
THIRD PROTOTYPE 3.0 CRITERIA DESIGN
55
B.6 TECHNIQUE: PROPOSAL
56
SITE #1
CHOSEN SITE #1
Quiet place with less noise sources and people, less rubbishes but eutrophication.
- Along Merri Creek - Adjacent Brunswick Terminal Station is nearby
CRITERIA DESIGN
BRI
A rubbish system tha to collect rubbishes surface of inner th
IEF
CHOSEN SITE #2
SITE #2
collecting at can use t floating from both f river and he river
- Under the bridge of the intersection of Moreland Rd and Merri Creek
Noise place with more exercising people and more rubbish sources.
CRITERIA DESIGN
57
THE TECHNIQUE COULD BE APPLIED TO THE SITE?
WHAT IS INNOVATIVE ABOUT THE DESIGN?
As the aim of my brief is to collect floating Although the design is placed in the w rubbishes from the surface of river or there is a bridge on chosen site and inner the river, a large-scaled network entire structure can be suspended un component is needed to stop the rubbish the bridge. This means, this netwo to go through. Visually, Canton Tower component has two extended edge is a latticed design which has three which connect to the bridge, and once connecting ring and bracing pieces across amount of rubbish reach a certain le the surface, and this can be utilized the entire structure can be pulled o as stopping of floating rubbishes while from river and collect them all in onc aquatic life can be flowing through.
In order to prevent rubbishes flowing through Merri Creek for protecting the environment and underwater ecosystem, a rubbish catching cage is designed to stop flowing rubbishes. Based on the pervious Voronoi Species, a shorter voronoi volume is recreated for placing within the river easily. An improvement is that there is two volumes compose together in different size, where one is with positive 160 degrees of rotation angle and the other one is with negative 30 degrees. The purpose of two different rotation angles is to create different volume within the cage, which means, preventing rubbishes to flow through while increasing the difficult of obstacle/barrier. 58
CRITERIA DESIGN
water, the nder ork es e the evel, out ce.
WHAT ARE THE CONCEPTUAL AND TECHNICAL ACHIEVEMENTS? At this stage, I found that the technical outcome matched to the conceptual idea, but it will never stop at this stage since the further development will getting deeper and harder, and I still need to improve my Grasshopper skill in order to make my design better. For instance, how to integrate this network component and Merri Creek in a better way, or how to design its appearance in aesthetics way, there are many problems that I need to consider and solve. Preliminarily, Grasshopper gives the preview of what the design looks like, and tell the direction of further design.
WHY IS PREFERABLE? Firstly, it is a latticed structure that intersecting with each other; secondly, it has unlimited possibility to achieve different levels of density (dense or thin); different types of networks in different geometries (depending on the segment of polygon). It has more flexibility than other structure.
ANY DRAWBACKS AND HOW TO OVERCOME? The limitation of this structure is the fixture. Once the flooding (or large amount of water stream) is coming, the entire structure will be very unstable, and the network may be flooding away if the tension between bridge and structure is not strong enough. To overcome the problem, the connection that underneath or on the bank of the river has to be stable and strong enough. This rubbish catching cage can be placed several locations along Merri Creek since flowing rubbishes are obviously on the surface of river in some water streams.
A Rubbish Catching Cage
CRITERIA DESIGN
59
B.7 LEARNING OBJECTIVES & OUTCOMES The learning objectives from Studio Air have subverted my design thinking from simple hand-drawing design to algorithmic thinking and computational design. It is amazing that parametric modelling design can produce such fluid shape and complexity that impossible to do by traditional way of design. Throughout Part B, Research Field – Green Void and Volt-Dom both gave me a sense of minimizing space and a sense of creating complex double curved vaulted just on the simple rolling of a surface. They are able to help me for preliminarily understanding the algorithmic thinking within a project. Case Study 1 – Volt-Dom, by given definition, I was taught from a brand new technique that weekly videos have not taught before. I can gain new technique knowledge by the progress of learning such new definition, and also it gave me a large range of different opportunities to achieve various results from initial definition. Case Study 2 – Canton Tower, before creating own definition, the research part is very important for understanding the project. It is interesting that there are several methods for generating twisting and rotating tower. Learnt from those videos and theories, tried to combine different definitions to achieve completely different result from initial is essential, a single project can be achieved by varieties of method. Through the research of Volt-Dom, I have learnt a historical element (such as vault) can be even produced by parametric design. The initial definition gave me an opportunity to understand how the dome can be created on a surface, and then I can develop further more by creating different surfaces. There is a variety of outcomes can be resulted by simply changing parameters. Single definition changed can cause completely different results. From Case Study 2 – Canton Tower, is a complete parametric modelling project. By exploring the definition of Canton Tower, I found different ways to re-create it out through researches. For every method, many iterations can be produced due to their initial definition are all different. This can also help me to gain my knowledge by learning from different commands in Grasshopper. It is amazing which a single object can be created in those ways, also, by adding and /or subtracting those methods into initial definition, many unique, crazing, and even nonsense outcomes can be produced.
60
CRITERIA DESIGN
B.8 APPENDIX ALGORITHMIC SKETCHES
CRITERIA DESIGN
61
62
CRITERIA DESIGN
CRITERIA DESIGN
63
64
CRITERIA DESIGN
CRITERIA DESIGN
65
REFERENCES Archdaily, ‘Green Void / LAVA’, <http://www.archdaily.com/10233/greenvoid-lava/ > [accessed 6 April, 2016] Archdaily, ‘Canton Tower / Information Based Architecture‘, <http://www. archdaily.com/89849/canton-tower-information-based-architecture/> [accessed 13 April, 2016] Arch2o, ‘Voltadom by skylar Tibbits | Skylar Tibbits‘, <http://www.arch2o. com/voltadom-by-skylar-tibbits-skylar-tibbits/> [accessed 7 April, 2016] China Highlights, ‘Canton Tower‘, <http://www.chinahighlights.com/ guangzhou/attraction/canton-tower.htm> [accessed 13 April, 2016] Designcoding, ‘Variable Voronoi Study‘, <http://www.designcoding.net/ variable-voronoi-study/> [accessed 10 April, 2016] Design Playgrounds, ‘VoltaDom by Skylar Tibbits‘, <http://designplaygrounds. com/deviants/voltadom-by-skylar-tibbits/> [accessed 7 April, 2016] Laboratory For Visionary Architecture, ‘Green Void‘, <http://www.l-a-v-a. net/projects/green-void/> [accessed 6 April, 2016] YouTube, ‘Build Component on a Surface with Grasshopper‘, <https://www. youtube.com/watch?v=RLQuKrW9-YI> [accessed 10 April, 2016]
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CRITERIA DESIGN
67
PART C DETAILED DESIGN 68
DETAILED DESIGN
CONTENT
PART C DETAILED DESIGN
C.1.
DESIGN CONCEPT ......page.70
C.2.
TECTONIC ELEMENTS &
PROTOT YPES
......page.94
C.3.
FINAL DETAIL MODEL
......page.100
C.4.
LEARNING OBJECTIVES
......page.110
AND OUTCOMES
DETAILED DESIGN
69
C.1. DESIGN CONCEPT
C.1.1. FEEDBACK There are five major questions are received from the feedback of interim presentation. The following considerations need to be improved and thought deeply: aesthetics, structure, connections, materials chosen, and site analysis.
AESTHETICS The main focus point of aesthetics is to consider about the design performance and its educational purpose in the term of presenting the design in which the ability of attracting people. To attract people’s insight, the collecting process needs to be visible since the design has a beautiful outlook and the ability of movement; to educate people, the collecting system needs to have significance in the way of gathering the rubbish within the system while letting people to see how horrible of the amount of rubbishes is.
STRUCTURE Initially, in the interim presentation, our idea is an un-expandable design since it can only stay in the water by itself. After the comparison between the unexpanded and expanded structure, we found the expandable structure will be an interesting approach due to it can expand in both horizontal and vertical directions by the water level (which has the movability to bulge and descend) and catching rubbish (which has the ability to increase or decrease the volume by the amount). Also, due to the voronoi surface is uncontrollable and the design needs to avoid any unexpected outcome, hexagon surface is instead to develop the further design stage. Therefore, a combination of panelized surface and wire structure is expected to be designed, since it has the movability in vertically – expanding by the water level, and horizontally – expanding by the tension between every hexagon panel.
70
DETAILED DESIGN
CONNECTION
MATERIALS CHOSEN
Three connections may be decided to design in terms of exploring movability and flexibility. The first one is the joint between the flexible rods (as the supporting system), and upper and lower level, in order to expand the entire structure; the second one is the connection between each panel on the structure; the third one is under the entire structure, which provided the stability.
Four different materials have considered for the entire structure. The main structure which is panel will make by polypropylene; the connection between each panel will make by silicone (which shape by module); acrylic rod will be used as the supporting system since it has the flexibility; and lastly the buoy can be chosen from hollow acrylic rod or foam buoy.
FIG.C.1.1. POLYPROPYLENE
FIG.C.1.2. ACRYLIC ROD
FIG.C.1.3. SILICONE
FIG.C.1.4. FOAM BUOY
DETAILED DESIGN
71
WATER LEVEL AMOUNT OF RUBBISH
FIG.C.1.5. LOWER WATER LEVEL & LESS RUBBISH
WATER LEVEL AMOUNT OF RUBBISH
FIG.C.1.6. HIGHER WATER LEVEL & MORE RUBBISH
72
DETAILED DESIGN
WATER LEVEL AMOUNT OF RUBBISH
FIG.C.1.7. HIGHER WATER LEVEL & LESS RUBBISH
WATER LEVEL AMOUNT OF RUBBISH
FIG.C.1.8. LOWER WATER LEVEL & MORE RUBBISH
DETAILED DESIGN
73
Sufficient received.
sunlight
can
be
FIG.C.1.9. SUN PATH
Residential and commerial buildings are surrounded.
FIG.C.1.10. RESIDENT
Certain amount of rubbish is along the riverside.
FIG.C.1.11. RUBBISH SPOTS 74
DETAILED DESIGN
The coverage of vegetation is high. Merri Creek Trail is along on the both sides of river.
FIG.C.1.12. VEGETATION
Most of the noise is from Moreland Road by passing cars. Some of the noise is from surrounded commererial building and Merri Creek Trail.
FIG.C.1.13. NOISE SPOTS
JOGGER BIKER FAMILY
DOG WALKING KID FIG.C.1.14. USERS DETAILED DESIGN
75
N
FIG.C.1.15. RUBBISH SPOTS
FIG.C.1.16. RUBBISHES ALONG RIVER 76
DETAILED DESIGN
FIG.C.1.17. RUBBISHES ALONG RIVER
FIG.C.1.18. RUBBISHES ALONG RIVER
N
FIG.C.1.19. WATER FLOW
Water flowing from north to south. Hence, the rubbish collection should be facing north to stop the rubbish floating toward south.
DETAILED DESIGN
77
C.1.2. PROPOSED IDEAS
FIG.C.1.20. PROPOSED IDEA #1
Proposed Idea # 1 A long straight structure placed horizontally on the water. It blocks both ends of water in order to stop all the possibility of rubbish that floating through the water.
78
DETAILED DESIGN
FIG.C.1.22. DETAIL OF IDEA #1
FIG.C.1.21. PROPOSED IDEA #1 DETAILED DESIGN
79
FIG.C.1.23. PROPOSED IDEA #2
Proposed Idea # 2 Multiple structures placed separately on the water. Since the water flowing direction is from northeast to southwest, the structures are mostly facing northeast to stop the rubbish. The placement is to resist the rubbish hierarchically, in addition, offering the convenience to displace the structure without providing any chance to let the floating rubbish go through. 80
DETAILED DESIGN
N
FIG.C.1.24. PROPOSED IDEA #2
FIG.C.1.25. DETAIL OF IDEA #2
DETAILED DESIGN
81
FIG.C.1.26. PROPOSED IDEA #3
Proposed Idea # 3 The arrangement of structure can cluster rubbish aside which can easily to scoop up the rubbish. The back one can collect the remain rubbishes in case they escape from the gap in between.
82
DETAILED DESIGN
FIG.C.1.27. DIGITAL MODEL OF IDEA #3
FIG.C.1.28. PROPOSED IDEA #3
DETAILED DESIGN
83
C.1.3. FINALIZED CONCEPT To design a panelized structure from the Grasshopper techniques that Maggie and I both explored from Part B: Geometry, and Tessellation and Panelization. A flexible U-shaped panelized structure is aiming to achieve in the project. The structure can be expanded or dormant horizontally and vertically, depending on the water level, and the amount of rubbish that being able to collect.
FIG.C.1.29. FINALIZED CONCEPT 84
DETAILED DESIGN
The chart indicates the height of water level through the pass five years. It can be be observed that the water has the ability to reach three meters height as the maximum value, and with less than one meter as the minimum value. Hence, it is important to have a structure that has the movability and flexbility under different conditions.
FIG.C.1.30. WATER LEVEL IN PAST FIVE YEARS
DETAILED DESIGN
85
FIG.C.1.31. FINALIZED DIGITAL MODEL - DORMANT
86
DETAILED DESIGN
FIG.C.1.32. FINALIZED DIGITAL MODEL - EXPANDED
DETAILED DESIGN
87
C.1.4. TECHNIQUE DIAGRAM
END POINTS CURVE INITIAL CURVE TO BE SET UP
EXTRACT TWO ENDS OF A CURVE
EXPLODE CURVE EXPLODE THE INITIAL CURVE INTO CERTAIN SEGMENTS
LINE
P
REST LENGTH
UNARY FORCE UNIT Z
POINTS CAN BE ACTED WITH A VECTOR FORCE
T
*NOTE: COLOURS ARE INDICATING DIFFERENT CONNECTIONS ONLY 88
DETAILED DESIGN
KANGARRO FLATTEN FROCE OBJECTS (WHICH ARE THE OUTPUT OF SPRINGS AND UNARY FORCE)
SPRINGS FROM LINE
SET THE END POINTS AS THE ANCHOR POINTS
PROVIDE THE ACTION BETWEEN THE TWO ENDS WITHIN A LINE
SET THE LINE AS THE GEOMETRY TO BE TRANSFORM SET A TOGGLE FOR RESETTING THE SIMULATION
BOOLEAN TOGGLE
TIMER
TRUE FOR RESETTING EVERYTHING FALSE FOR RUINING THE SIMULATION
DETAILED DESIGN
89
KANGAROO GEOMETRY OUTPUT
EXTRUDE ALONG BASED GEOMETRY CAN BE EXTRUDED ALONG A CURVE
CURVE
U DIVISIONS V DIVISIONS
HE ST
H ST A
N HE
N HE
ADJUST SHAPE
ADJU SHAP
90
DETAILED DESIGN
EXAGONAL TRUCTURE
CREATE A HEXAGONAL TRUCTURE ON A SURFACE
NUMBER OF EXAGON IN U DIRECTION
NUMBER OF EXAGON IN V DIRECTION
GEOMETRY GENERATE CENTERLINES FROM HEXAGONAL STRUCTURE TO A GEOMETRY
EXTRUDE EXTRUDE THE GEOMETRY TO CREATE THE THICKNESS OF STRUCTURE
UNIT Z
USTMENT OF THE PE OF HEXAGON
DETAILED DESIGN
91
C.1.5. CONSTRUCTION PROCESS
92
STAGE 1
STAGE 2
STAGE 3
BAKED THE HEXAGON STRUCTURE FROM GRASSHOPPER.
REFINE THE EDGES OF STRUCTURE SINCE THE BOTH EDGES HAVE TO BE FOLLWED THE RIVERBANK, IN ORDER TO PREVENT THE RUBBISH ESCAPE FROM THE GAP.
SELECT A PERSPECTIVE OF THE STRUCTURE TO MAKE A 2D IMAGE IN RHINO.
DETAILED DESIGN
STAGE 4
STAGE 5
FINAL STAGE
EXPORT THE 2D IMAGE FROM RHINO AND SAVE AS AI. FILE.
CONVERT THE FILE IN ILLUSTRATOR AND ADJUST THE SIZE OF STRUCTURE.
ADJUST THE ROD AND HEXAGON STRUCTURE TOGETHER TO GET THE ENTIRE FORM.
DRAW A ROD IN ILLUSTRATOR.
DETAILED DESIGN
93
C.2. TECTONIC ELEMENTS & PROTOTYPES FIG.C.2.1. PROTOT YPE #1
PROTOTYPE #1 The idea of the relationship between each panel is from the elastic string. The elasticity provides the flexibility of the structure, which is expandable in different directions and is affordable to collect rubbish within the water. However, the aesthetics and the ductility of elastic string is not good enough. The pattern of string is disarraying and the panels are overlapping together. In addition, the force of string is not strong since it needs to resist the water flow and the rubbishes.
94
DETAILED DESIGN
FIG.C.2.2. PROTOT YPE #2
SILICONE
POLYPROPYLENE RIVET PROTOTYPE #2 Polypropylene is decided to be the actual material of the hexagon panel due to it has the durability and flexibility, and it is waterproof. Silicone is chosen to be the connection due to it has the expanability. However, it is too weak to stretch, the force cannot be too strong, otherwise it will crack by itself. Rivet is a good fixture to connect silicone and polypropylene since its headless end can be pressed down to fix two items.
DETAILED DESIGN
95
ASSEMBLY PROCESS
FIG.C.2.3. STEP 1
FIG.C.2.4. STEP 2
FIG.C.2.5. PULL APART 96
DETAILED DESIGN
PROTOTYPE #2
FIG.C.2.6. CONNECTION DETAIL
DETAILED DESIGN
97
FIG.C.2.7. PROTOT YPE #3
POLYPROPYLENE 3D PRINTED JOINT
2MM RUBBER BAND
PROTOTYPE #3 A portion of the model is being fabricated out since the scale is 1:1. 3D printed joint is refined from last prototype since it has the ability to be stable. Rivet is tried to still be fixture initially, but the rubber band is escaping from the headless end, therefore, the design of two holes can fix the rubber band in order to resist the escaping. Rubber band is chosen to be the connection instead of silicone due to it can bear approximately 12kg force by testing. 98
DETAILED DESIGN
FIG.C.2.8. ASSEMBLY STEP 1
ASSEMBLY DRAWINGS
FIG.C.2.9. ASSEMBELY STEP 2 DETAILED DESIGN
99
C.3. FINAL DETAIL MODEL PANELIZATION
JOINT
FABRICATION
EXTRACT THE HEXAGON FROM THE STRUCTURE AND DIG THE HOLES FOR LATER ASSEMBLY.
DEVELOP THE JUNCTION ON RHINO FOR 3D PRINTER, PROVIDING THE ABILITY TO CONNECT ALL THE HEXAGON PANELS TOGETHER.
USE THE 3D PRINTED JOINT AND RUBBER BAND, ASSEMBLING WITH HEXAGON PANELS.
MULTIPLY AS MANY HEXAGON AS ON ONE 600Ã&#x2014;600MM POLYPROPYLENE SHEET.
100
DETAILED DESIGN
ASSEMBLY STAGE 1
ASSEMBLY STAGE 2
TWO BRASS RODS ARE USED TO BE THE SUPPORTING SYSTEM OF THE ENTIRE STRUCTURE. EACH OF THEM ACROSS THE HOLE ON THE HEXAGON PANELS AT BOTH ENDS (LEFTMOST AND RIGHTMOST, UPPER AND LOWER).
FIX THE BRASS RODS AT THE BOTTOM OF THE WATER TANK BY CLAY (CONCRETE WILL BE REPRESENTED INSTEAD IF IN REALITY).
FINAL STAGE FILL UP THE WATERTANK IN DIFFERENT LEVELS OF WATER. RECORD THE EXPANDABILITY OF THE STRUCTURE.
DETAILED DESIGN
101
FIG.C.1.1. MATERIALS
FINAL MODEL
FIG.C.3.2. CONNECTING PROCESS 102
DETAILED DESIGN
FIG.C.3.3. CONNECTION DETAIL
PERFORMANCE
FIG.C.3.4. PULL APRAT DETAILED DESIGN
103
FIG.C.3.5. FLEXIBILIT Y
PERFORMANCE
FIG.C.3.6. FLEXIBILIT Y 104
DETAILED DESIGN
FIG.C.3.7. INTERIOR VIEW
FINAL MODEL
FIG.C.3.8. INTERIOR VIEW DETAILED DESIGN
105
FIG.C.3.9. LOWER WATER LEVEL
WATER LEVEL V.S. AMOUNT OF RUBBISH
FIG.C.3.10. HIGHER WATER LEVEL
106
DETAILED DESIGN
FIG.C.3.11. LOWER WATER LEVEL WITH RUBBISHES
PRESENTATION MODEL
FIG.C.3.12. HIGHER WATER LEVEL WITH RUBBISHES DETAILED DESIGN
107
FIG.C.3.13. PLAN VIEW
LOWER WATER LEVEL
FIG.C.3.14. SECTION VIEW 108
DETAILED DESIGN
FIG.C.3.13. PERSPECTIVE VIEW
SITE MODEL
FIG.C.3.16. SECTION VIEW DETAILED DESIGN
109
FIG.C.3.17. PLAN VIEW
SITE MODEL
FIG.C.3.18. SECTION VIEW 110
DETAILED DESIGN
FIG.C.3.19. PERSPECTIVE VIEW
HIGHER WATER LEVEL
FIG.C.3.20. PERSPECTIVE VIEW FROM BACK DETAILED DESIGN
111
ON SITE
FIG.C.3.21. PHOTOMONTAGE OF MORELAND SITE 112
DETAILED DESIGN
DETAILED DESIGN
113
C.4. LEARNING OBJECTIVES & OUTCOMES
A few feedbacks are received from final presentation. 1. Since we have chosen three different locations, it is suggested that applies different forms of structure in three locations. 2. Show the sequence of the expandability of the structure. The expanding process can be recorded by series of photo, flip book, or animation. 3. The backup of rubber band needs to consider. 4. The Grasshopper techinque needs to develop further. The gradient of the panels have to be systematization. 5. Why does hexagon shape apply in the design? 6. The geometry needs to explore further. Use Grasshopper to control the complexity of technique, and therefore the different shapes of panel can be applied in one design. 7. The materiality needs to consider about in reality.
FEEDBACK FROM FINAL PRESENTATION
114
DETAILED DESIGN
1. Different forms of structure have applied in different locations. The narrow site (at Moreland Road) can use one long structure that cross the river (as shown on the site photo); the wide and deep site such as the intersection of Yarra River and Merri Creek, and the Coburg one can use several small structure to catch rubbish in different positions (as shown in the Appendix). 2. They are shown in the attached files. 3. Double the rubber band or use elastic string instead. 4. We have used Springs and Kangarro to control the gradient of the curve. This can help us to record the expandability of the structure. 5.& 6. One of the input from Hexagonal Structure can adjust the shape of the geometry. Hexagon shape is decided to be used since it has the best quality for catching rubbish while performing a great appearance on site. 7. Since we have explored a portion of the 1:1 model, the material we applied in the model will be used in reality. However, the fixture of the supporting (brass rod) in 1:2 model is clay, which will be replaced by concrete in reality due to its strength.
FEEDBACK FROM FINAL PRESENTATION
DETAILED DESIGN
115
LEARNING OBJECTIVES
116
DETAILED DESIGN
It is important to understand the role of computational design in architecture major. Since parametric modelling design has influenced the way of design thinking, the complexity of the structure can be achieved by using Grasshopper, which has already applied in Part C. It is excited that the design project â&#x20AC;&#x201C; River Mesh, has involved the new grasshopper technique â&#x20AC;&#x201C; Springs and Kangaroo (for controlling the dynamic of the structure) and Hexagonal Structure for us to reach the final outcome, and therefore we can still keep learning the new technique after Part B, in order to gain the most satisfied design in Part C. Throughout Part C, I was able to use parametric modelling design tool to contribute in my project. Apart from parametric tool, different computational software tools have also applied in the design. It is interesting to learn new things from different software, and I am progressively becoming more and more familiar with them. Also, the design of connection is amazing. It is full of surprise to test different joints within the project, such as silicone, bolt, rivet, 3D printed joint, and rubber band are all applying through the design development, and we therefore to compare the quality of each connection and then to refine and finalize them. And due to the connection is made by 3D printed joint, the skill of using 3D printed printer is also being challenge.
DETAILED DESIGN
117
C.5. APPENDIX: TRAIL OF OTHER LOCATIONS
Since the selected site is at the intersection of two waterstreams, with a public park nearby, the purpose of the structure which can preventing the floating rubbish flow into Yarra River, while educating people stopping the littering into water.
LOCATION #2 INTERSECTION OF YARRA RIVER & MERRI CREEK
118
DETAILED DESIGN
N
FIG.C.5.1. SITE PLAN
BUILDING BUSHLAND CAPITAL CITY TRAIL MERRI CREEK TRAIL
MERRI CREEK ROAD DIGHTS FALLS ZOOM IN AREA DETAILED DESIGN
119
120
DETAILED DESIGN
FIG.C.5.2. PHOTOMONTAGE OF INTERSECTION SITE DETAILED DESIGN
121
FIG.C.5.3. WILD LIFE DIAGRAM
Different from the Moreland site, Coburg site is a wide site with several types of wild lifes. Since the water is wide and deep, the design of long cross structure is not very suit among here, hence, the split structure can be tested within the site. In addition, it is important to keep the site away from rubbishes in order to save the wild lifes away from dangerous.
LOCATION #3
122
DETAILED DESIGN
COBURG
N
FIG.C.5.4. SITE PLAN
BUSHLAND PATH MERRI CREEK TRAIL
MERRI CREEK ROAD ZOOM IN AREA
DETAILED DESIGN
123
124
DETAILED DESIGN FIG.C.5.5. PHOTOMONTAGE OF COBURG SITE
CONCEPTUALIZATION 125
126 CONCEPTUALIZATION