STUDIO AIR 2017 SEMESTER 1 FINNIAN WARNOCK CHENG CHI YAU STEPHANIE
CONTENT INTRODUCTION
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A / CONCEPTUALISATION A.1 / DESIGN FUTURING A.2 / DESIGN COMPUTATION A.3 / COMPOSITION AND GENERATION A.4 / CONCLUSION A.5 / LEARNING OUTCOMES A.6 / APPENDIX - ALGORITHMIC SKETCHES
06 12 16 20 21 22
B / CRITERIA DESIGN B.1 / RESEARCH FIELD B.2 / CASE STUDY 1.0 B.3 / CASE STUDY 2.0 B.4 / TECHINQUE DEVELOPMENT -MATRIX B.5 / SITE ANALYSIS & MAIN THEME TESTINGS PROTOTYPE B.6 / PROPOSAL B.7 / LEARNING OBJECTIVES & OUTCOMES B.8 / APPENDIX - ALGORITHIMIC SKETCHES
26 30 36 42 52 56 62 72 76 78
C / DETAILED DESIGN C.1 / REFLECTION & FINAL CONCEPTS WORKFLOW C.2 / FORM DEVELOPMENT TECTONIC ELEMENTS - JOINTS & FRAMES FINAL COMPONENTS FABRICATION C.3 / FINAL DETAILED MODEL FINAL PROPOSAL C.4 / OVERALL RESULTS LEARNING OBJECTIVES & OUTCOME
82 86 88 94 98 99 104 110 114 116
INTRODUCTION
My name is Stephanie Cheng and I am a third year student studying in Bachelor of Environments, majoring in Architecture. I come from Hong Kong and it has been two years living and studying in Melbourne, which I enjoy a lot. Throughout the past two years, I have got in touch with a wide range of architecture with different forms and languages base on various site contexts. Thus, I have developed strong interest in the relationship of architecture, people and surrounding contexts. For me, architecture is a medium that expresses the surrounds, connects people with it, and creates different emotional and physical experiences. I think Studio Air is an opportunity for me to explore more on this relationship with a focus on abstract forms and geometries in architecture. Despite hand drawing, sketching and designing are always the most comfortable and convenient ways for me to present my thoughts since secondary school, it was not until I started to use digital software like Rhino3D and AutoCAD to work on my designs in Visual Environment and other design studios. After entering Air Studio, I have realised there are still a lot for me to explore and practice with the digital software. With the use of Rhino3D and Grasshopper, I hope to strengthen my skills on using technical software in order to present my ideas in the best way and articulate my theoretical knowledge to the design.
4
CONCEPTUALISATION
Digital Design and Fabrication is the course that give students chances to encounter digital software fabrications for modelling. It was about producing a sleeping pod base on the analysis of skin and bone structures. Before using digital software, different media like paper and straws are used to carry out the basic analysis of the structural system. Rhino3D with Panelling Tools are then used to create several iterations digitally for analysis and come up with the final design. Since my design is made up of thousands of straws, it would be impossible to try different iterations simply by hand. Using Panelling tools to imitate the geometries and patterns of the skin part of the sleeping pod reduce efforts and time to try out different combinations. The digital design can also increase accuracy and efficiency to generate different possibilities of design. Yet, considering the limitation of the materials – straws and costs, we can only digitally design the outcome but fabricate it by hand. Neither using laser cut to trim the straws nor using 3D printing are the most cost-effective way to build the outcome. It was a pity that we do not have the chance to encounter digital fabrications, but I definitely developed alternative design methods with the use of technologies and would like to explore more in the future. Design for me is a continuous path of learning and discover new things, I hope to continue the journey in Air Studio.
CONCEPTUALISATION 5
FIG.1 BANQ RESTAURANT BY OFFICE DA (HORNER, 2008)
A / CONCEPTUALISATION Design is not just finding a single way to solve problems, it is to explore every possibility to achieve the objective in different situations.
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CONCEPTUALISATION
A.1 / DESIGN FUTURING
BACKGROUND With the anthropocentric mode of human that continues consume limited natural resources, we are facing a defuturing condition of sustainability, which comes along with different unpredictable climate problems (Fry, 2009). In the readings Design Futuring and Speculative Everything, they pointed out that we needed to change and redirect our modes and ways of design to achieve a sustainable future (Dunne & Raby, 2013). Followings are the three main concepts that I would like to discuss and further develop throughout the semester.
IDENTITY PROBLEMS AND LIMITATIONS
DESIGN INTELLIGENCE
Design speculation, mentioned by Dunne and Raby (2013, pp. 1-9), is the idea of exploring possible futures, and highlight limitations in the present that may lead to undesirable future, so that we can limit the problems and slow down the rate of defuturing.
Design Intelligence, introduced by Fry (2009), means to “make crucial judgements about actions that could increase or decrease futuring potential”. Similar to Fry’s view, Dunne and Raby (2013, pp. 33-45) also mention that being critical and skeptical on different assumptions could refine a design in a better way. Instead of having only one design solution, generating alternatives through critical design and allow common objectives to be achievable by different means are probably the best way to come up with a sustainable and desirable design (Fry, 2009). This is also the design aim of my Air Studio; not only finding a single way to solve the issue but to explore all possibilities that can achieve the design objectives.
REDIRECTION Regarding the current design trend, a few main characteristics are identified in the readings. Human-centred, commercialized and marketled design are no longer the best way to reach a desirable future (Fry, 2009). We should establish new systems that can identify the problems of existing way of design, then develop sets of new directions and methods that are appropriate for different situation (Fry, 2009). In Studio Air, it is not about finding a general or universal practice that can solve any design issues; it is about changing our mind-sets and perspectives, then redirect our ways of thinking in order to generate methods that can deal with different situations.
It will be a continuous journey towards sustainability, efforts from the public and time are crucial to promote intelligence design. In order to achieve sustainable future, we would need to brainstorm and analysis all possible alternatives to face different situations.
CONCEPTUALISATION 7
SUSTAINABILITY PAVILION DUBAI EXPO 2020 / GRIMSHAW ARCHITECT / 2016
FIG.2 SUSTAINABILITY PAVILION (GRIMSHAW ARCHITECT, 2016)
FIG.3 SUSTAINABILITY PAVILION (GRIMSHAW ARCHITECT, 2016)
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CONCEPTUALISATION
Facing the problem of limited natural resources, there is an urge to explore alternatives that can fulfil the needs of energy and reduce the usage of resources. Sustainability Pavilion, aims to promote ecology, sustainable technologies and design to the global audiences, is one of the three largest pavilion to be erected for Dubai Expo 2020 (Grimshaw, 2017). The pavilion illuminates the ingenuity and possibility of architecture with intelligent strategies for sustainable future living. The overarching structures are able to provide shade, collect fresh water form humid air, and generate energy form the large photovoltaic panels in order to be self-sustaining even in extreme climates (Grimshaw, 2017). This inspires me that design is not only think of ways that solve problems in short term, but also alternatives that help us to meet the design objectives in long term to develop a sustainable future.
Instead of sacrificing the future to sustain the excess of the present, we need to redirect our way of design to reduce the consumption of natural resources. The pavilion is able to minimise resource consumption by using flexible elements. Together with the self-sufficient characteristic of this national project, it leaves a strong social impact on the current and future generations to engage in environmental protection, and inspires the visitors to make use innovation in science and design to achieve sustainability (Stevens, 2017). Last but not least, the pavilion will continue be used as a science Exploratorium, which will constantly contribute ideas towards a desirable future. The architecture itself not only stands as a sustainable design, it also inspires and mobilizes people to engage in public discussion to strive for a better future, which I hope my future works can also be inspirational to positively influence the public on their way of thinking or living.
CONCEPTUALISATION 9
WALKING CITY RON HERRON / ARCHIGRAM / 1964
FIG.4 “WALING CITY” DRAWING. (ARCHIGRAM, 1964)
FIG.5 “WALING CITY” DRAWING. (ARCHIGRAM, 1964)
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CONCEPTUALISATION
Design could also be critical that can inspire people to reflect on their current situation. Different form the Sustainable Pavilion, “Walking City� is a conceptual architecture design by British architect Ron Herron in 1964 from Archigram (Wpengine, 2002). The works of Archigram, whose projects were inspired by technology in the 1960s, are source of inspiration for later works of Richard Rogers, Renzo Piano, Future Systems and other architects (Merin, 2013). The nomadic city can move from place to place to find alternative economic and physical conditions. It would search for natural resources whenever their owner needed and once the resources were used up, it would shift to another place (Wpengine, 2002). Design is not just about the outcome but also the message behind it. This project is an example of speculative architecture; it is not a built project and may not be the best solution to cope with
current problems; and it was even preserved as a future ruined world of the consequence of nuclear war. However, it brings out the possible future that one day the natural resources like land and energy will be used up, and we can use it as tools to understand and reflect on the present situations in order to cope with the issues (Dunne & Raby, 2013). It inspires people to concern more about the relationship between nature, urban and people, and what possible futures will the current human-oriented society leads to. Despite the project was thought of a radical and controversial design, we can see it as a catalyst that inspires people to rethink from a different perspective – discuss and generate alternatives, for instance regenerate natural resources or use renewable resources, which can bring us to a sustainable and desirable future.
CONCEPTUALISATION 11
A.2 / DESIGN COMPUTATION CREMATORIUM OF KAKAMIGAHARA JAPAN / TOYO ITO / 2006
FIG.6 FRONT VIEW OF CREMATORIUM OF KAKAMIGAHARA. (TOYO ITO, 2006)
FIG.7 ROOF OF CREMATORIUM OF KAKAMIGAHARA. (TOYO ITO, 2006)
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CONCEPTUALISATION
FIG.8 DISPLAY OF STRUCTURAL FEEDBACK ON THE PANEL SYSTEM UNDER STRETCHING PRESSURE. ( PUGNALE, 2007)
BACKGROUND In this week readings, they mainly describe about the basic theories of computation, as well as how the engagement of computers affects architectural design processes. In general, there are three main benefits brought by computation and will be discussed in the following passage. DEVELOP DESIGN VARIABLES Computation can widen the range of conceivable and achievable geometries, and hence develop alternative design solutions for architects to evaluate. Non-Uniform Rational B-Splines (NURBS), for instance, is a curve representation that can generate smooth and continuous curves, which can be easy modified in parametric modeller by its controlled points (Issa, 2010). Computer’s high level of generative variability can help to achieve actualization of complicated designs and provide different choices for architects to create diverse geometries, applying on various parts of the building like facades, screens, roofs and so on (Oxman & Oxman, 2014). Toyo Ito’s (2016) Crematorium of Kakamigahara is one of the design using parametric modeller to define its form of roof. Once providing a set of boundary conditions, In this case the roof boundary and position of columns, the computer will generate a set of solutions, architects will then only need to evaluate the solutions according to their structural behaviours and choose the best solutions (Pugnale, 2013).
CONCEPTUALISATION 13
RESONANT STRING SHELL SICILY / VILLA RENNISI IN MUSICA / 2012
FIG.9 RESONANT STRING SHELL IN 2015. (VILLA PENNISI IN MUSICA, 2015)
FIG.10 SOUND DISTRIBUTION FROM SOURCE IN DIFFERENT DIRECTIONS. (ROSARIO, 2015)
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CONCEPTUALISATION
FIG.11 SOUND RATE ANALYSIS FROM SOURCE (CENTRAL) TO AUDIENCE (RIGHT) AFTER OPTIMISATION. (ROSARIO, 2015)
OPTIMISE DESIGN Architectures can be optimised in terms of its structure and performance. With the use of digital software, like Rhino and Grasshopper, to modify and evaluate complex parametric curves and surfaces, can provide a higher flexibility to optimise the objects using control points and achieve the most desirable form (Issa, 2010). Resonant String Shell at Villa Pennisi in Musica is an example of using digital form finding process to generate a shell that can amplify and project the sound according to a certain directivity (Villapennisi inmusica, 2016). By using digital software to study the distributions and directions of sound rays, and then change the structural and panels’ shapes, a cost effective structure with simple manufacturing is generated. Computation improves the performance of design and can even reduce the time and cost for constructions. ENHANCE COMMUNICATIONS
Collaborative design between architect and engineer can be achieved by establishing a common language through computer software, and hence improves the accuracy and efficiency of the construction. Instead of just begin a design thinker and researcher, with the help of parametric modellers (Grasshopper), scriptable mediated variability and performance simulation software, architects can convey all details of their design accurately to the engineer and builder (Kalay, 2004). Thus, reduce the possibility of having design errors and improve the communication between architects and construction industries.
CONCEPTUALISATION 15
A.3 / COMPOSITION AND GENERATION AAMI PARK STADIUM MELBOURNE / ARUP AND COX ARCHITECTS / 2010
FIG.12 OVERVIEW OF AAMI PARK STADIUM. (ARUP, 2015)
FIG.13 GSA MODEL OF AAMI PARK STADIUM SHOWING THE WIREFRAME OF COMPLEX GEOMETRY. (OASYS, 2016)
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CONCEPTUALISATION
FIG.14 RENDERING OF AAMI PARK STADIUM. (COX ARCHITECTS, 2009)
BACKGROUND This week readings mainly cover about how generative design approaches, including algorithmic thinking, parametric modelling and scripting, impacts on the design processes of architectural projects. This approach mainly focuses on the process of design, where different solution candidates are explored and pruned before deciding the final solution. Benefits and potential issues of generation will be discussed in the following. PREDICTION AND SIMULATION Using of 3D modelling and computer technology, building performance, material, tectonics and parameters of production machinery can be simulated and predicted before the construction of the building (Peters, 2013). With the performance feedback generated at different stages in the design process, it helps people to analyze various design options and create a more responsive design. AAMI Park, the Melbourne Rectangular Stadium, used Generative Component (GC) to test alternative geometric configurations of the roof structure and preset the final geometry for fabrication and construction (Arup, 2015). Not only the structural performance and form of the building, the experience within the building such as circulation, natural light and ventilation are also predicted and analyzed by computer. These facilitates people to generate comprehensive designs based on every factors and possibilities that may affect the outcome.
CONCEPTUALISATION 17
SMITHSONIAN INSTITUTION WASHINGTON DC / FOSTER + PARTNERS / 2007
FIG.15 INTERIOR OF SMITHSONIAN INSTITUTION. (FOSTER + PARTNERS, 2007)
FIG.16 GEOMETRY OF THE ROOF, SMITHSONIAN INSTITUTION. (FOSTER + PARTNERS, 2007)
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CONCEPTUALISATION
FIG.17 GEOMETRY SKETCH OF ROOF STRUCTURE, SMITHSONIAN INSTITUTION. (PETERS, 2007)
ACCURACY AND EFFICIENCY To construct complex architectural projects, high accuracy of models are required to simulate the building and communicate with people like engineers and clients. Scripting is one of the approaches that engineers or architects will create their own design software and integrate into the actual design processes (Peters, 2013). This approach can allow precise control over the parametric design of the building. Smithsonian Institution in Washington by Foster + Partners develops a script that can generate the entire roof geometry and evaluate the performance (Peters, 2004). The computer-generated model can give accurate control towards the roof system and efficiently generate thousands of different options through scripting (Peters, 2013). This shorten the design generation and analysis cycle and reduce the possibility of errors during design at the same time. HUMAN INVOLVEMENT IN DESIGN PROCESS Despite all the convenience and advantages of using generation as a design approach, there is possibility that it may obscure and divert from the real design objectives and create an isolated outcome (Brady, 2013). There is no doubt that algorithmic thinking is an effective procedure by assigning tasks for computer to do (Wilson & Keil, 1999). Yet due to lack of human involvement in the generative process, even though it can come up with a unique composition, it may lost the initial idea and concept behind the form. Thus, I think computation should be integrated as a supportive tool to extend our ability in the design process, rather than using it obsessively to create something based on the appearance.
CONCEPTUALISATION 19
A.4 / CONCLUSION
FIG.18 BANQ RESTAURANT BY OFFICE DA (HORNER, 2008)
FIG.19 GREEN VOID BY LAVA (LAVA, 2008)
DESIGN APPROACH
DESIGN METHODS
From the lectures, readings and case studies, there are a few concepts would like to apply on my future design works.
After the study of various cases, I am quite interested on the sectioning and geometry. In the example of sectioning, Banq Restaurant by Office dA, the layers of plywood with contouring create the smooth topography from the ceiling to the walls and columns. With the imitation of natural landscapes, all the structural elements extrude from 2D panels to 3D structures and act together as a whole. The uses of materials can be reduced due to the spanning of each panels and create different experiences from front to side views.
SUSTAINABLE - to develop design that focus on the relationship between human, urban and natural environment instead of being humanoriented. The design should be sustainable in long term and minimize the impacts to the natural environment. GENERATIVE – to be generative with the help of computation but not using it obsessively. Explore every possibilities and develop alternatives that can achieve the objectives. CRITICAL – to be critical and sceptical on different assumptions that could refine the design in a better way. Identify the issues of each design candidates, think of solutions to minimise the problems and generate a comprehensive design.
20
CONCEPTUALISATION
For the example of geometry, Green Void by LAVA, it applies the concept of minimal surface to create the organic form that stretches between wall, ceiling and floor. With the use of digital design and manufacturing, it creates a lightweight structure with repetition of geometries that can be fabricated in short period of time. With the use of computation, I believe I can learn from these techniques and apply on my future works.
A.5 / LEARNING OUTCOMES
FIG.20 RHINO RENDERING OF SLEEPING POD’S FRAME (CHENG, 2016)
FIG.21 PHYSICAL MODEL OF THE SLEEPING POD (CHENG, 2016)
DESIGN PROJECT: SLEEPING POD / 2016 Beside all the new concepts we explored in the lectures and readings, the introduction of Grasshopper also help me to better simulate an idea without the need of fabricating the physical model. In my Digital Design and Fabrication project, even though there is a lot of ideas in mind, but only using Rhino3D and Panelling tools are not enough to model the ideas accurately. I believe using commands like “BiArc” in Grasshopper to create and adjust the frameworks of the sleeping pod; and using “Loft” to simulate the skin of the sleeping pod can improve the efficiency by testing different form of the pods in a short time.
On the other hand, with the use of Grasshopper, it can increase the accuracy of the dimension of each components of the sleeping pod. Due to lack of experience of using digital software to generate a form, we used to have dimension error when we transform the model from virtual to physical model. Using software to adjust the shapes but not by hand can create a more precise model. In the following projects, I hope to make use of computation to strengthen my design ideas so that I can better communicate my thinking to others visually.
CONCEPTUALISATION 21
A.6 / APPENDIX - ALGORITHMIC SKETCHES
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CONCEPTUALISATION
These two examples are generated from week 1 and 2 tutorial respectively. The left one was done during week 1, using three curves with different height then distribute spheres along Z-axis. After adjusting the size of spheres, density of spheres in U and V directions, the final form is generated. The bottom one created in week 2 uses “Radians” to convert an angle specified in degree to radians, then rotate the object and extend it along Z-axis. Together with the use of “Pipe” to create radial needles on one side of the loft surface. This form is inspired by my previous project – the sleeping pod that use straws as the skin. The growth of the object with twisting give a sense of dynamic movement, which I found it really interesting.
CONCEPTUALISATION 23
REFERENCE Arup. (2015). AAMI Park Stadium. Retrieved from http://www.arup.com/projects/aami_park_stadium_melbourne Dunne, A., & Raby, F. (2013). Speculative Everything: Design Fiction, and Social Dreaming. MIT Press. Fry, T. (2008). Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg. Grimshaw. (2017). Dubai Expo 2020 Sustainability Pavilion. Retrieved from https://grimshaw.global/projects/dubai-expo2020-sustainability-pavilion/ Issa, R. (2010). Essential Mathematics for Computational Design (2nd ed.). Robert McNeel and Associates. Kalay, Y. E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press.
Lynch, P. (2016). Grimshaw to Design Sustainability Pavilion at Expo 2020 Dubai. Retrieved from http://www.archdaily. com/794961/grimshaw-to-design-sustainability-pavilion-at-expo-2020-dubai Merin, G. (2013). AD Classics: The Plug-In City / Peter Cook, Archigram. Retrieved from http://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram Oxman, R. & Oxman, R. (2014). Theories of the Digital in Architecture. London, New York: Routledge, 1–10 Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. Architectural Design, 83(2), 08-15. Peters, B. (2007). Smithsonian Institution. Retrieved from http://www.bradypeters.com/smithsonian.html
Pugnale, A. (2013). Computational Morphogenesis with Karamba/Galapagos – Test on the Crematorium of Kakamigahara – Meiso No Mori – Toyo Ito. Retrieved from http://www.albertopugnale.com/2013/03/25/computational-morphogenesiswith-karambagalapagos-test-on-the-crematorium-of-kakamigahara-meiso-no-mori-toyo-ito/ Stevens, P. (2017). Expo 2020 Dubai: Grimshaw Details Plans for Sustainability Pavilion. Retrieved from http://www. designboom.com/architecture/expo-2020-dubai-grimshaw-sustainability-pavilion-01-19-2017/ Villapennisi Inmusica. (2016). Resonant String Shell. Retrieved from http://www.vpmusica.com/en/
Wpengine. (2002). Walking City, from Archigram. Retrieved from https://www.seasteading.org/2011/03/walking-cityarchigram/ 24
CONCEPTUALISATION
FIG.22 CATENARY INSTALLATION, PULLMAN, WA (TING ZHANG, 2016)
CONCEPTUALISATION 25
B / CRITERIA DESIGN Strip and Folding - a design creating senses of lightness, fluidity and movement with minimal resources.
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CRITERIA DESIGN
B.1 / RESEARCH FIELD
FIG.23 (LEFT) USING OF COMPUTATION SOFTWARE TO ANALYSIS THE ELASTTICITY OF PLYWOOD, RESEARCH PAVILION 2010 (HALBE, 2010) FIG 24 (RIGHT) CNC MILLING OF PLYWOOD SHEET, RESEARCH PAVILIOIN 2010 (HALBE, 2010)
SECTIONING / STRIP & FOLDING
FABRICATION CONCERNS
Digital design allows us to generate a structurally complex design with minimal resources. In this chapter, I will be exploring on both sectioning and strip and folding by use precedents to discuss them as different design approach. By then, this approach will be developed and evaluated through parametric modelling and physical prototypes.
Since both sectioning and strip and folding require quite a large amount of materials, 3D printing may not be the ideal solution for mass production of repetitive components due to the cost. Laser cutting or CNC milling are preferred, they can maximise the accuracy and minimise the wastage of materials. Material selection are important as only limited materials, like timber veneer in One Main Street, can be selected for digital fabrications. While the scale, thickness and size of the materials are also restricted when using digital fabrications (Iwamoto, 2009). Thus, a deeper research on the flexibility, strength, elasticity and so on of particular materials should be tested and evaluated in the following project.
CRITERIA DESIGN
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ICD/ ITKE RESEARCH PAVILION 2010 STUTTGART/ ICD & ITKE / 2010
FIG.25 ICD/ ITKE RESEARCH PAVILION 2010, UNIVERSITY OF STUTTGART, STUTTGART, GERMANY (HALBE, 2010)
LIGHTNESS
FIG.26 ICD/ ITKE RESEARCH PAVILION 2010, UNIVERSITY OF STUTTGART, STUTTGART, GERMANY (HALBE, 2010)
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CRITERIA DESIGN
With the help of computer modelling, deriving sections evolve from two-dimensional drawing or projection to a method of achieving non-standard and organic forms and structure in architecture (Iwamoto, 2009). ICD/ ITKE Research Pavilion 2010 is a temporary research pavilion formed by a bending-active structure made of extremely thin, elastically-bent plywood strips. With the use of material-oriented computational design, it minimizes the thickness of plywood sheets to 6.5mm based on their elastic bending behaviour (Menges, 2010). I appreciate how one form can create different experiences through folding; the thinness and arrangement of the strips give senses of lightness and fluidity at the same time. In the following project, I hope to create similar effects: the structure can generate an fluid and smooth surface connecting the interior space and create sense of lightness.
ONE MAIN STREET USA / dECOI ARCHITECTS / 2009
FIG.27 ONE MAIN STREET, CAMBRIDGE, MA, USA (GRASSL, 2009)
MINIMAL Regarding the exhaustion of natural resources, sustainability is also another factor that I have considered when choosing sectioning. With the spacing of each components, it is able to create large span with limited resources at the same time. One Main Street by dECOI is one of the example using parametric modelling together with CNC milling to design and prefabricate the sectioning of two planes – the floor and ceiling (dECOI architects, 2016). The entire space is a continuous surface where numerous planar components compile together and form the curvy, smooth face. With the help of milling machine, there was only 10% of wastage, pulped and recycled (dECOI architects, 2016). In Studio Air, it is important for me to explore the properties of every material, make use of computation to find the limit and generate sustainable solutions with minimal wastage.
FIG.28 ONE MAIN STREET INTERIOR, CAMBRIDGE, MA, USA (GRASSL, 2009)
CRITERIA DESIGN
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B.2 / CASE STUDY 1.0
SEROUSSI PAVILLION PARIS, FRANCE / BIOTHING/ ALISA ANDRASEK / 2007
FIG.29 FOCUS ON SEROUSSI PAVILION, PARIS, FRANCE (ALISA ANDRASEK, 2007)
STRIP AND FOLDING After considering the limitation of develop sectioning – lack of variations, which can only create forms in single-direction and restricted by the the use of different materials, I decided to shift the research focus to strips and folding, which can also create the feeling of fluidity and movement by folding and repeating a unit.
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CRITERIA DESIGN
Seroussi Pavilion was chosen due to its dynamic movement simply created by a series of curves and extrusions (Biothing, 2010). The spinning effect in each unit together with interaction and connection between each unit forms an interesting movement, which I would like to further develop and explore in the matrix.
FIG. 30 SEROUSSI PAVILION, PARIS, FRANCE (ALISA ANDRASEK, 2007)
CRITERIA DESIGN
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sweep
offset
extrude
spin
density
B.2 / MATRIX
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A
1. original model.
2. decay = 6.
3. alter graph mapper.
4. alter graph mapper.
1. apply spin force: strength = 0.5, radius = 2.
2. curves divide no. = 2; remove Point Charge.
3. graft curves divide points; curves divide no. = 3.
4. alter graph mapper.
1. set new curves; field line sample = 180.
2. create periodic curves.
3. extrude in X direction.
4. extrude in Y direction.
1. set new curves.
2. extrude in Y direction.
3. offset extrusions = 2.
4. graft curves divide points.
1. set new curves.
2. explode tree; alter graph mappers of 3 sets separately.
3. pipe = 0.3/ 0.4/ 0.5 base on the height of 3 sets.
4. create sweep surface from interpolate curves.
B
C
D
E
CRITERIA DESIGN
5. curves divide no. = 3; circle radius = 2.
6. field line samples = 350.
7. create periodic curves.
5. apply spin force.
6. field line sample = 100; move motion = -6.
7. curve divide no. = 5; field line sample = 150; alter graph mapper; radius = 1.5.
5. alter graph mapper.
6. curve divide no. = 20.
7. Alter graph mapper.
8. curves divide no. =1; field line sample = 350.
A: Divide Curves & Graph Mapper - Test different density and shapes of curves.
5. offset extrusions = 4; curves divide no.= 12.
6. alter graph mapper.
B: Spinning Force - Test curves’ degrees of movement. C: Extrude - Extruding curves in different directions and degrees. D: Offset - Create a more complex form with multiple layers.
5. alter graph mapper.
6. graft curves divide point.
E: Sweep - Test the effects of generating different kinds of surfaces with the curves.
CRITERIA DESIGN
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B.2 / SUCCESSFUL OUTCOMES & SELECTION CRITERIA
ARRANGEMENT A5 forms a series of periodic curves and each set of curves interlock with one another. The simple forms together form a complex structure that gives a sense of lightness. By using graph mapper to alter the curves’ shapes, the arrangement and density of curves, it can most give out the feeling of softness, lightness and completeness which can form lightweight structures or apply on interior spaces like ceiling and wall as decorations. Graph mapper can be further explored to developed organic curves. A8: Density and arrangement of curves
STRUCTURE AND FORM B5 formed by spinning the sets of curves around the center point and adjust the lengths of them to create a dynamic movement. By considering the visual effects of the structures, such as the degree of spinning and length of curves altered by Spinning Force, this iteration can most express the dynamic movement that I tented to achieve. This model can imitate the movement of lightweight materials like paper or strings for installation art under wind, which I want to explore more in the next part. B7: Dynamic movement of curves
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CRITERIA DESIGN
SPACIAL QUALITY Instead of only having curves, C6 demonstrates the effects of having strip surfaces in the form and create sense of transparency. Through extruding in Y direction and altering the graph mapper, it adds desirable thickness to the curves. The use of strips with various gaps on the surface can be applied on interior decorations by folding paper strips or metal strips. I would like to develop the technique of using strips to form structure in order to give a sense of void and semi-transparent in between. C7: Extrusion of surface
MATERIAL AND TEXTURE E5 shows the effects of having sweep surfaces from the curves. Applying Sweep 1 on the curves generate a smooth texture and curvy surfaces, which can be applied on a large range of architectural applications, like facades, interiors. Material and texture are important criteria as they will create various atmospheres and feelings. I’d like to generate a soft yet dynamic feeling with lightweight materials, this iteration with appropriate shifting of surfaces makes it stands out from others. Different panel tools like Quad panels in Lunch Box can be explored in the future for testing effects of different textures. E5: texture of surfaces
CRITERIA DESIGN
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B.3 / CASE STUDY 2.0 PARAMETRIC ARCHIPELAGO PAVILION RÖHSSKA MUSEUM OF DESIGN, GÖTEBORG, SWEDEN/ MARCUS ABRAHAMSSON & BENOIT CROO / 2012
FIG.31 PARAMETRIC ARCHIPELAGO PAVILION, RÖHSSKA MUSEUM OF DESIGN, GÖTEBORG, SWEDEN (BENOIT CROO, 2012)
Parametric Archipelago Pavilion was parametrically designed in Grasshopper and Rhino by Architecture students in Chalmers University of Technology and Ribo-verken. The main idea of this pavilion is to create a smooth and continuous surface that provide shading and places to rest both inside and outside. 2mm thick steel sheets were being laser cut and gave them exact curvature through compression; then the segments were constructed on-site (Grozdanic, 2012).
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I think the project has successfully expressed the sense of continuity and fluidity through the connections and compression of every metal strip. It creates a smooth and organic form which achieves the aim of providing a comfortable place for people to rest. I am interested on how they use a few basic curves to divide and generate the metal arc segments using grasshopper. In the following task, I will be focusing on how to generate a continuous surface with a variation of arcs and create the sense of fluidity throughout the whole structure.
FIG.32 FOCUS ON PARAMETRIC ARCHIPELAGO PAVILION, RÖHSSKA MUSEUM OF DESIGN, GÖTEBORG, SWEDEN (BENOIT CROO, 2012)
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B.3 / REVERSE ENGINEERING
SET CURVES
DIVIDE
1. Draw 2 circular curves at top and base.
EXPLODE T
2. Divide the circular curves into 3 parts and bake the poly lines. Draw 3 small curves between the top and bottom curves.
3. Explode the 3 cur curves; shift the c degrees in order to ob
PROCESS 1
2 CURVE
3
DIVIDE
POLYLINE
CURVE 1
3 CURVE
25
DIVIDE
POLYGON CENTER
BANG
CURVE 2
LINE
6.30 CURVE 3
CURVE 1 CURVE
25
DIVIDE
BANG
CURVE 2
CURVE 1 CURVE
25
DIVIDE
BANG
13.00
13.30
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6.3
SHIFT
13.00
SHI
SHIFT
CURVE 2 CURVE 3
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SHI
13.
TREE & ARC
rves; create arcs with curves with various btain the right angles.
LOFT
QUAD PANELS
4. Rebuild curves and loft. Further adjust the shapes of circular curves to obtain the original form.
5. Apply quad panels to create the effect of steel strips connecting the whole structure.
4
IFT
30
ARC
REBUILD CURVES
LOFT
SHIFT
5 ARC
IFT
REBUILD CURVES
U=20 V=100
CURVE 3
ARC
30
QUAD PANELS
LOFT
REBUILD CURVES
LOFT
SHIFT
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B.3 / FINAL OUTCOME
SIMILARITIES
DIFFERENCES
The final outcome is better than I expected. Using the technique of Arc, the continuous curvy surfaces of each sector works together very well and looks alike as the original one. By using the Quad Panels from Lunchbox plug-in explored in week 4 and 5, it creates a similar effect of using metal strips to combine the whole form. Through dividing the top and base curves into three segments, it also helps me to monitor the three parts separately and generate a shape that is similar to the original pavilion.
Beside the similarities, there are still a lot for me to improve. One of the main difference is that the strips of each segment are not connecting each other and forming a continuous strip; they can only from an arc in each segment. This may cause inconsistency in the whole structure. I might need to study more on how to connect the strip and express the structure as a whole in terms of using Arc functions. Furthermore, there are still some minor difference on the overall shape, I would like to explore more on how to alter the base curves by grasshopper but not manually control the curves.
FUTURE STEP I would like to take the skills of using Arc and Panels functions in the future parts. Using loft and arc can definitely help me to develop different smooth and fluid forms. I would also study the use of different panels to create different textures and effects on the structures, which I think can be used to develop the detailing of the form.
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41
panels
A
frame & skin
B
twisting
C
double layers
D
inverse
B.4 / TECHNIQUE DEVELOPMENT - MATRIX
E
42
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B.4 / MATRIX
A. PANELS Specie A demonstrates different panel tools from Lunch Box to test the effects of different texture on the structure.
1. set new curves; curve divide no.
2. curve divide no. = 15; shift: 1st set
= 25; shift: 1st set = 6.26, 2nd set =
= 3.50, 2nd set = 8.00, 3rd set = 7.85.
13.00, 3rd set = 13.30.
TECHNIQUES: Shift, Loft, Quad Panels, Diamond Panels, Cull Pattern, Cull Nth.
6. adjust quad panels: U & V=5.
7. apply diamond panels: U & V = 65.
1. set new curves.
2. divide curves = 25; create arcs with
B. DOUBLE LAYERS Specie D simplifies the original design by only using 3 curves, it mainly test the effects of having double layers of skin with different density.
the control points.
TECHNIQUES: Offset, Loft, Quad Panels, Cull Patterns.
6. loft the 2 layers.
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7. apply quad panels: U=10, V=20.
3. shift: all sets = 0.
4. loft.
5. apply quad panels: U=20, V=10.
8. apply cull pattern: F, F, T, T.
9. apply cull Nth:2; adjust diamond
10. adjust diamond panels: U & V =
panels: U & V = 40.
65.
4. offset curves inwards (-70)and create
5. create arcs with inner curves.
3. set curve from inside to outside.
arc for outer shell.
8. apply cull patterns on all panels:
9. reverse cull patterns of inner panels
10. invert cull patterns of outer
F, F, F, T.
to create denser panels on top and
panels to create less dense shell.
bottom.
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C. FRAME & SKIN Specie B demonstrates different density and transparency of the frame and skin which can be achieved by culling and lofting.
1. set new curves with shifted middle
2. create arcs.
curves.
TECHNIQUES: Shift, Arc, Pipie, Loft, Cull Pattern.
6. loft arcs : 50% transparency.
7. apply cull pattern on pipes.
1. set new curves with different
2. dispatch curves then loft.
D. TWISTING Specie C mainly studies movement of the form, using Shift and Shear functions can different twisting effects and patterns generated.
the the test the
heights similar to B.
TECHNIQUES: Dispatch, Shift, Shear, Diamond Panels.
6. dispatch pattern: T, F, F.
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7. dispatch pattern: T, F, F, F.
3. create pipe with arcs.
4. alter curves’ heights.
5. adjust pipe radius = 1.
8. alter loft option: straight.
9. create culled loft surfaces with arcs.
10. remove 50% transparent loft surface, offset culled loft surface.
3. alter curves divide points = 40.
8. apply shear angle on loft surface: angle X & Y = 6.
4. shift: 1st set = 10.20, 2nd set =
5. shift: 1st set = 32.50, 2nd set: 56.20,
36.80, 3rd set = 14.90.
3rd = 14.90.
9. apply diamond panels: U=2, V=20.
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E. INVERSE Instead of having tube-liked structures, I inverted the order of setting curves in order to create dome-liked structures. I also tried different panels effects on the surface to generate a semitransparent exterior.
1. set new curves with different
2. create arcs with curve divide points
height of small curves in the middle.
(25).
6. apply quad panels.
7. trim away collision parts. (failed)
TECHNIQUES: Arc, Loft, Triangular Panels A, Quad Panels, Cull Pattern, Offset.
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3. set curves again from inside to
4. loft the 3 sets of curves separately.
5. apply triangular panels A.
8. set curves again, loft, trim away
9. apply quad panels again: U=55,
10. offset panels: 30.
collision parts.
V=10; cull panels: T, T, F
outside.
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B.4 / SUCCESSFUL OUTCOMES & SELECTION CRITERIA
ARRANGEMENT As the brief is creating a ceiling installation in ballroom, I would like to emphasis the movement of the structure to echo with the main function of ballroom - dancing. C9 creates a twisting effect by shifting the frames together with the loft surface. The arrangement of the frames create a sense of dynamic movement which I think can interact with people movement in the ballroom. C9: Frame & Skin
SPACIAL QUALITY E10 used Quad Panel and offset to create the sense of volume within the structure. For the ceiling installation, I would like to avoid sense of oppression and achieve the spacial quality by keeping gaps in between the units. The structure can be as lightweight as possible in order to achieve the spacial performance. Thus, this iteration inspire me to create structure with a variable of offset distances and create sense of spaciousness. E10: Offset Panels
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FORM D9 is a iteration further developed from series C, which focuses on the spinning and twisting effects of strips. The form is one of the most important factor to consider, through a simple form of one unit, it can develop into a complex collection. For the project, I want to develop a form that can express the movement and sense of void to interact with the movement of people in the ballroom.
D9: Twisting
MATERIAL A9 studies the original form of the pavilion, shift the curves and push the curvature to its limit. I like how each strips being twisted through shifting and create the dynamic movement. Considering the ceiling installation can be nonload bearing structure, paper strips can create a better effects of lightweight structure but remain its movement at the same time. Together with the spinning effects, it can definitely achieve the sense of lightness and movement. A9: Strip Panels
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B.5 / SITE ANALYSIS
BALLROOM / W HOTEL / CBD, MELBOURNE
LID
LL
7m
SO
WA
2
GL
5
AS
m 13
SF AC AD E
: Mainly adults : Dancing, dining, party, social activities x 28, ~280 people FIG. 33 BALLROOM ANALYSIS (KWAN, 2017).
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OPPORTUNITIES
CONSTRAINS
Non-Loadbearing:
Connections:
The ceiling installation can be non-loadbearing, which means it only needs to support its own weight and not providing structural support to the ceiling. This means our design can focus on using wider range of lightweight materials and create movement.
The ceiling installation can only be connected with two surfaces, which are the ceiling and the two solid walls. Thus, using the technique of hanging will be most suitable to fix the installation and allow movement at the same time. In the following tasks, we will need to develop a rigid connection between the room and installation to ensure the safety of the installation.
High Ceiling: The ceiling height is around 7m, which means there will be plenty of space for us to develop variations of design without giving a sense of oppression. It give us opportunities to create a design with high variations of heights and high flexibility of arrangement.
The exposure of connections is another issue that we might face. As people will mainly look from the bottom or from the side, connections should hide perfectly to create the sense of fluidity.
Natural Light: Lastly, we would avoid placing the installation near the two glass faรงade to allow sufficient sunlight to come in the ballroom. Yet, this will limited our design with the arrangement of the units.
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B.5 / MAIN THEME
CATENARY INSTALLATION PULLMAN, WA/ DILLION J. GOGARTY & TING ZHANG / 2016
FIG.34 CATENARY INSTALLATION, PULLMAN, WA (TING ZHANG, 2016)
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The Catenary Installation by Dillion J. Gogarty & Ting Zhang used the reverse hanging method to study the tension force and hanging effect of strings (Gogarty, 2016). It inspired us to use a series of simple curves to create movement and fluidity. Yet, we think that the installation is limited by its single-direction development, we would like to explore more about the principal by adding variations to the design.
MOVEMENT
ATMOSPHERE
Regarding the first main theme of our project – movement, we agreed that the installation should echo with the users’ movement– dancing, while the structure itself can also create movement.
Atmosphere is also a consideration while deciding on the design. We want to create a relaxing and comfortable environment for people to engage in the social activities.
Material: We decided to test on different mulberry paper, which are thin and lightweight, so that they can act as the movement itself under wind or with mechanical helps. The material can also give a sense of lightness which can reduce the feeling of oppression on the ceiling. Form: We think it can be loose and create sense of fluidity so that the installation itself can create dynamic movement. Also, learning from the precedent, the form can be a series of hanging strips to create the movement.
Material: Semi-transparent and lightweight mulberry paper can give a sense of spaciousness and softness. Arrangement: Both the unit itself and the combination of units, should not be closely packed to avoid giving a sense of oppression. Spacial Quality: The installation should create sense of volume and developed in three dimensions instead of single direction to achieve spacial quality.
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B.5 / MATERIAL TEST - MOVEMENT
50g
30g
25g with gold
25g
MOVE
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EMENT
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B.5 / MATERIAL TEST - ATMOSPHERE
50g
30g
25g with gold
25g
CREASE
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SPOT LIGHT
SPREAD
D LIGHT
STRENGTH
We decided to use mulberry paper due to its lightness, softness, semi-transparent, and texture which can create fluidity and movement. We selected 4 types of mulberry paper which are 25g, 25g with gold thread, 30g and 50g respectively. Softness, crease, strength, effects under spread light and spot light are tested to decide which are the most suitable for ceiling hanging installation. From the result, we think 25g with gold thread perform the best in term of the movement, light effects and strength. The softness of it can allow adequate movement; artificial light can penetrate well if the installation cover the whole ceiling; the strength of it is also enough to support its own shape.
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B.5 / CONNECTIONS PAPER TO PAPER
1.
2.
Considering the connections between paper and paper strips that may have in each unit, we developed a technique that can interlock the paper without using additional materials like glue to avoid weight gain. 1. Cut a hole with small rectangular shape on one strip; cut another strip with 3/4 circle. 2. Interlock the circle into the hole diagonally. 3. Twist the strips until they align with each other. This method can be easily fabricated by using laser cut; yet the connection might be loosen in long term, thus we will need to further develop in part C.
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3.
PAPER TO FRAME
1.
2.
For the connections between paper strip and frame, again we developed a technique that can fix the paper into the frame without using glue. 1. Cut the end of the strip to form a small rectangle with a semi-circle on top . 2. Insert the semi-circle into the horizontally cut part of the frame by folding the semi-circle. 3. Unfold the upper part and fold perpendicularly to the frame to fix its position.
3.
This can be digitally fabricated by laser cut either. However it will be labour intensive to connect every strip to the frame, we may need to explore on method that can reduce fabrication time.
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B.5 / PROTOTYPE
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B.5 / PROTOTYPE - PROCESS
COMPONENTS
Paper Strips Paper strips are created by unrolling the extrusion of Rhino model. Templates were then sent to laser cut to ensure the sizes and length of the strips are accurate.
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CRITERIA DESIGN
Frames Two types of clear polypropylene frames were being tested: fixed and flexible top and bottom circular frames to test the strength of them. Templates from Rhino were again sent to laser cut.
PROCESS Paper strips are then fixed to the top frame by inserting into the cuts around the frame. The frame is temporarily stabilized using a chopstick.
The other end of strips are fixed to the bottom frame by folding the end of each strip. Fish-lines are used to hang up the whole structure.
Completed another prototype with fixed frame by using the same method. Movement of two prototypes are being tested in the next part.
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B.5 / PROTOTYPE - MOVEMENT & STRENGTH
The prototype is being normal and being flippe movement and strength
The first one (left fig.) creates more movemen the longer strips. The fle at the same time, harder of it. It may also deform e
The second one (right f we were exploring. The strength than we expect but remain “fluffy� even Thus, we decided to foc and further develop th each unit in order to form
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CRITERIA DESIGN
g tested in two ways d inside out in terms of it h.
that was being flipped nt than expected due to exibility of it is higher but to control the movement easily in long term.
fig.) is the original form e 25g paper has higher ted - it can hold the shape under strong movement. cus on the second form he connection between m a series of similar form.
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B.5 / PROTOTYPE - LIGHT EFFECTS
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B.5 / PROTOTYPE RESULTS
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MATERIAL
FORM
Mulberry paper works well as we expected. The semi-transparent and light weight characteristic create a soft and fluid feeling which match the aim of giving sense of lightness. Yet, the 25g paper might easily be tear and disconnect from the frame when there are strong movement. We might need to reconsider about choosing which thickness of paper in part C to ensure its strength.
The prototype is quite simple at this stage - only two circles with connections of strips. Despite the simple shape, we think it comes up quite good to emphasis the movement of strips. Yet due to the use of thin polypropylene, the structure may deform easily due to the weight of strips in long term. We might consider using clear perspex in order to provide higher strength.
CRITERIA DESIGN
SPACIAL QUALIT Y
ARRANGEMENT
The gaps between each strips together with the void create within strips create sense of spaciousness. We can further explore the spacial quality by studying the effects of various widths and lengths in each strip, then observe how narrow and how long can the strips be in order to increase and improve the movement and aesthetic effects.
The strips in the prototype is simply connected from top to bottom. It will be interesting to explore more possibilities of arranging and connecting the strips, for example spin the strips by shifting the bottom or top part of connections, or having variations of strips’ length to create different effects.
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B.6 / PROPOSAL
FORM
SPACIAL QUALIT Y
The single unit is developed into interconnected curves by dividing the curves into 6 points, then join the even-number points of one curve with odd-number points of neighbouring curve. We minimize the number of connections between curves in order to allow sufficient movement within the unit. The units are then repeated and arranged through out the whole room.
Each unit varies with its height to create sense of fluidity. The units range from 0.5m to 2.5m height to cooperate with the functions and spacing of room. Units near solid walls are longer; then gradually reduce when reaching the center and window sides. It reduces the sense of oppression and retain the spacial quality of the ballroom.
ARRANGEMENT
MATERIAL
The arrangement of units are decided mainly base on the site conditions. There are various density of units - denser around the solid wall and less dense near the window faรงades and in the center of the ballroom. This allows penetration of natural light into the ballroom and avoid blocking of view.
Mulberry paper are used to form the strips of each units. The semi-transparency characteristic of it allows interior lights to penetrate through and project soft light on the ballroom. The thinness and softness of paper strips also allow interesting movement when hanging on the ceiling; it echoes with the dancing activities in the ballroom and create dynamic movement.
FIG.35 ELEVATION OF BALLROOM. (CHENG, 2017)
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FIG.36 ISOMETRIC VIEW OF BALLROOM CEILING INSTALLATION. (CHENG, 2017)
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B.6 / PROPOSAL
FIG.37 INTERIOR OF BALLROOM CEILING INSTALLATION. (CHENG, 2017)
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FIG.38 PERSPECTIVE VIEW OF BALLROOM. (CHENG, 2017)
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B.7 / LEARNING OBJECTIVES & OUTCOMES
UNDERSTAND COMPUTATION One of the most important objective mentioned in part A are understand and develop skills on computation. Throughout these weeks of exploring Grasshopper and Rhino with the helps of online and in-class tutorials, I definitely developed a more mature skill on creating unexpected and surprising outcomes.
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Yet, there is still room of improvement on translating and further develop my ideas through computation. For example I have been studying Spinning Force in the first matrix, I really like the effect it creates, however it is difficult for me to further develop in the prototypes. I may focus on a particular technique in the future in order to achieve my expected outcome.
DISCOVER NEW TECHNIQUES
SPECULATE DESIGN
I have develop a various of skills in term of using Grasshopper which helps me to explore every possibilities. Using a wide range of commands helps me to develop different possibilities of forms, and by analysing each technique, I can make use of them in other tasks. In the reverse engineering task, I use the Arc function which was studied in the matrix task to generate the most suitable outcome.
I think I can speculate and criticize my part B proposal in the future. Since there is limited time to generate the proposal, there are lots of problems that can be improved. For instance I can consider more about the actual size and scale of the ceiling installation to come up with a rational design. To continue asking why would I have this decision and how to achieve it are also an important way to have a comprehensive design in part C.
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B.8 / APPENDIX - ALGORITHMIC SKETCHES
This exercise focuses on using Surface Frame to create a grid of frames on the loft surface, then make use of them to remap the geometry along XY plan. I really like how it use Rotate and Angle to create the effects of various densities base on different angle. This may helps me to arrange the ceiling installation with less density near the glass facade.
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This exercise focus on using different values on U and V-direction in Diamond Panels to create different sizes and densities of panels. It helps me to study more about the method of combining repeated units to form the skin of the structure.
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REFERENCE Biothing. (2010). Seroussi Pavillion. Reteieved from http://www.biothing.org/?cat=5 dECOi Architects. (2016). One Main Street. Retrieved from http://www.decoi-architects.org/ Gogarty, D. (2016). Catenary Installation. Retrieved from http://www.dillongogarty.com/catenaryinstallation.html Grozdanic, L. (2012). Archipelago Parametrically Designed Pavilion. Retrieved from http://www.evolo.us/ architecture/archipelago-parametrically-designed-pavilion/ Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques. New York, US: Princeton Architectural Press. Menges, A. (2010). ICD/ ITKE Research Pavilion 2010. Retrieved from http://icd.uni-stuttgart.de/?p=4458
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C / DETAILED DESIGN MOVEMENT, LIGHTNESS, FLUIDITY Installation that reach lightness to its maximum; create and be the movement.
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PROJECT PROPOSAL
C.1 / REFLECTION
FABRICATION
CONNECTION
In the previous prototype, the frame is too weak that it cannot support the weight of the strips. Thus, we would try using clear perspex, which can provide same thickness but higher strength to keep the structure in shape. The frames of the model can also be simplified to make it “disappeared�.
We used to fold the end of the every strips while assembling them. It is both time consuming and labour intensive to assemble the prototype; strips might be torn apart when passing through the narrow cut of the frame. Thus, we will redesign the connection with faster and easier assembly process.
UNIT
OVERALL
The thickness and length of strips will be explored with larger variations to create volume in it. While the 25g mulberry paper could be changed to 50g to increase the strength of the structure and better demonstrate the form designed in Rhino.
The design might go back to straight strips instead of using the interlocking patterns to keep the simplicity and elegance. Density, arrangement of the each unit would also be modified with site considerations and spatial quality.
PROJECT PROPOSAL
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C.1 / SITE CONSIDERATIONS BALLROOM / W HOTEL / CBD, MELBOURNE
LI
LL
7m
SO
A DW
2
51
GL
AS
SF
AC
AD
3m
E
FIG. 39 BALLROOM ANALYSIS (KWAN, 2017).
OPPORTUNITIES
CONSTRAINS
Non-Loadbearing: The ceiling installation can be non-loadbearing, we can be using lightweight 50g mulberry paper to create movement.
Connections: The ceiling installation can only be connected with two surfaces, i.e. ceiling and the two solid walls. Thus, using the technique of hanging will be most rigid to fix the installation, allow movement and hide the connections at the same time.
High Ceiling: The ceiling height is around 7m, which means there will be plenty of space for us to develop design with higher variations in height. Large Ceiling Area: The rectangular ceiling area (513m2) is large, which allows long span of installation and more variations in arrangement.
84
PROJECT PROPOSAL
Functions: The installation should not interrupt the internal setting of the ballroom. For example, the structure should be restricted in height above the stage area so it would not distract the performance on stage.
C.1 / FINAL CONCEPTS
MOVEMENT
ATMOSPHERE
The final theme is more or less the same as our first proposal. The installation could echo with the users’ movement– dancing and create movement at the same time.
Our aim is to create a relaxing and comfortable environment for people to engage in the social activities through considering the lighting, arrangement and density of the installation.
Material: We will keep using mulberry paper as the main materials due to its high transparency and strength provided by the long fibres. Yet we might change to slightly thicker (50g) paper to control the movement. Form: The form should be loose and fluid to create dynamic movement. We also decided to keep the form as simple as possible to give an elegant and clean feeling. At the same time, to duplicate the layers of the strips to increase sense of volume.
Material: 50g mulberry paper can remain semitransparent and give senses of spaciousness and softness. Arrangement: Arrangement follows grids and create a curvy surface with the variations of length in strips. Spacial Quality: The installation should create sense of volume by having variations in length of strips to create fluid surface on the ceiling.
PROJECT PROPOSAL
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C.1 / WORKFLOW THEME
FORM
SIZE - Point Charge set location of points
set circle radius
divide no. of strips
generate curves
REVERSE HANGING METHOD Precedent: Catenary Installation
POINT CHARGE
LENGTH - Graph Mapper
Precedent: Seroussi Pavilion adjust shape of curves
MOVEMENT & ATMOSPHERE
adjust height
create variations in length of strips
THICKNESS - Remap & Rotate create interpolate curves
create series with adjustable step sizes
create domain with adjustable starting points
remap & rotate curves
SITE ANALYSIS functions ceiling area ceiling height
LAYERS - Shift adjust radius, length and thickness
MATERIAL TESTS movement light effect crease strength
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PROJECT PROPOSAL
repeat steps 1-3
shift layers
create ruled surface based on lengths
TECTONIC
CONSTRUCTION PROCESS
EVALUATIONS
adjust the form of unit
FRAME
evaluate cost and fabrication time
offset radius trim holes for joints & strings
consider size & no. of clear perspex sheets needed
laser
cut clear perspex
evaluate overall appearance: thickness & length
SUPPORT set the size of nesting box trim hole for hanging strings
Assemble Components
evaluate material performance: strength & thickness
laser cut mulberry paper
evaluate joint performance: rigidity
JOINT unroll strips
consider size & no. of mulberry paper needed
add T-shaped joints
adjust size and density of joints
PROJECT PROPOSAL
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C.2 / FORM DEVELOPMENT
SIZE There are four main steps to try out different variations of a single unit. First, we set the number of strips and the overall size of the unit so that it can fit in as a ceiling installation.
THICKNESS Then, we tried to modify and vary the thickness of each strips in order to reach the maximal thinness and give an elegant, smooth and fine feeling.
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PROJECT PROPOSAL
LENGTH After that, we adjust the length of each strips to create variation in height. We aim to exaggerate the difference to create feeling of curvy movement.
LAYERS In order to create sense of volume, we add layers inside each unit and rotate them to increase the variations and give a more dynamic feeling.
PROJECT PROPOSAL
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C.2 / FORM DEVELOPMENT
SIZE We set the height of the unit to 600 mm high with 900 mm diameter. The height can be further adjusted in the later stage to fit in the ceiling height of the ballroom. While the unit are divided into 45 strips to increase the density.
600mm
140mm 900mm
Top view of the digital model.
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PROJECT PROPOSAL
1:2 model.
THICKNESS We test on effects of different thickness and gaps of the strips by laser cutting the mulberry paper from 1mm to 11mm with corresponding gaps. We found that 2mm is the minimum thinness of it as thinner strips will be torn apart and crease easily. Thus, our prototype will be varying from 2.5mm to maximum 20mm.
1mm
> 2mm
Top view of the digital model.
11mm
Testing on thickness of strips and distance between fro 1mm to 11mm.
PROJECT PROPOSAL
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C.2 / FORM DEVELOPMENT
LENGTH We test on the effect of having various length of strips in one unit. Even though we can exaggerate the length difference in digital model from 550mm (height: 110mm) to 1000mm (height: 480mm), the minimum thickness will be less than 2mm, which is impossible to fabricated. Thus, we adjusted the length to 750mm (height: 320mm) 160mm (height: 140mm) with minimum thickness of 2.8mm.
320mm
140mm Prototype testing on the variation of strips’ length from 750mm to 160mm.
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PROJECT PROPOSAL
Strips length is interconnected and limited by the thickness of the strips to avoid torn apart.
LAYERS To increase the volume of each unit, we added more layers with various radius and heights. The inner diameter of the largest layer is used as the base to set the inner layers; it is reduced by 20mm for a smaller layer; while the height of the 3 layers varies from 250mm to 480mm. The inner layers are shifted to create dynamic movements. But again, considering the minimum thickness of strips, we need to adjust the height of physical prototype so that it can be fabricated.
450mm
440mm
360mm
140mm
160mm
180mm
250mm
330mm
480mm Use 140mm diameter as the base.
Inner diameter reduced by 20mm for the second layer.
Create the smallest layer and rotate them to create dynamic feeling.
PROJECT PROPOSAL
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C.2 / TECTONIC ELEMENTS - JOINTS & FRAMES
The first prototype of joint we developed used a rectangular piece of 2mm perspex with two holes. By using another two pieces of perspex to lock the strips and frame togther. This method is not working well as the smaller pieces keeping falling out; the connection is not rigid and stable as well.
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PROJECT PROPOSAL
The second connection used five layers of 2mm perspex to form the frame; holes are created in fixed position for another piece of U-shaped perspex to fix the strip on the frame. Apparently, the frame become too bulk y and clumsy ; while having the same problem as the first prototype, the U-shape joints are not stable and keep falling out.
3mm 1mm
15mm 2.5mm
The third prototype of joint we tested used only one layer of perspex as the frame with two holes on each connection point. The joint is designed in J shape; the bottom of it used to hang the strips while the stick-out point is to avoid it from slipping out. This method can reduce the weight and allow easier assembly. Yet, the joints and strips may fall out under strong movement .
Af ter testing dif ferent joints and frames, we found out that the initial design of connection is the most time and cost ef ficient design. We enlarge the holes on the frame to 1mm thick so that the strips can pass through easily. While the T-shaped strips are reduced to 2.5mm high and 15mm wide in order to minimize the weight and visibility of joints.
PROJECT PROPOSAL
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C.3 / FINAL MODEL
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PROJECT PROPOSAL
PROJECT PROPOSAL
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C.3 / FINAL COMPONENTS
450mm
440mm
180mm
360mm
60mm
150mm
160mm
90mm
230mm
140mm
320mm 130mm
PROJECT PROPOSAL
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FRAMES STRIPS
C.3 / FABRICATION
STRIPS Strips are being laser cut after unrolling the digital model. The bottom of the strips are linked together and connect with the frame every 2 strips to ensure the strength and reduce assembly time.
FRAMES 723265 Stephanie Cheng
5 rings of 5mm wide & 2mm thick clear perspex are used as the frames. There are marks at the bottom of the first strip and responding position on the frame so that we can match them correctly.
PROJECT PROPOSAL
99
C.3 / FABRICATION PROCESS
Hang up the three frames with fishing wires to the clear perpex box.
Match the strips of the smallest layer with the frame. Start with the outer frame.
FABRICATION DETAILS
Mark each set of fishing lines of the frames with numbers so that we can adjust the height of the frame if necessary.
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CONCEPTUALISATION
Find the mark on the frame to match the starting point of each set of strips. The arrow shows the placing direction of the strips.
Repeat the previous step for the middle layer.
Enlarged 1mm gaps for slipping the strips into the frame.
Finish off the model with the outermost layer.
Fold the T-shape at end of the strips to pass through the holes.
Unfold the T-shape to avoid slipping out of the hole.
PROJECT PROPOSAL
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PROJECT PROPOSAL
PROJECT PROPOSAL
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C.3 / FINAL DETAIL MODEL
FRONT VIEW
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PROJECT PROPOSAL
SIDE VIEW
PROJECT PROPOSAL
105
C.3 / VISUAL EFFECT
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PROJECT PROPOSAL
C.3 / LIGHT EFFECT
PROJECT PROPOSAL
107
C.3 / MOVEMENT
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PROJECT PROPOSAL
VISUAL EFFEC T: The final model gives an elegant and fluid feeling. The 50g strips works better than expect in terms of the softness. Yet, strips can be thinner to create more volume. LIGHTING EFFEC T: Again, the semi-transparent mulberry paper with fibres looks fine; it can allow soft light to penetrate through the 3 layers, which is suitable for ceiling installation. MOVEMENT: The narrow strips allow movement and can swing smoothly to create a feeling of “dancing” together with the ballroom users.
PROJECT PROPOSAL
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C.3 / FINAL PROPOSAL DISTRIBUTION PLAN
HEIGHT 1.7m
0.4m
FIG. 40 DISTRIBUTION PLAN SHOWING HEIGHTS OF DIFFERENT UNITS. (CHENG, 2017).
The ceiling installation is formed by a group of units with various heights. The units are evenly distributed in grids of 16 x 19 with even size and various height, where the outer diameter is 900mm and inner diameter is 30mm.
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PROJECT PROPOSAL
There are total 4 main “domes”, where each unit’s height depends on the shape of the dome. While height varies from 0.4m to 1.7m depends on the positions. Height difference between units varies from 180mm to 500mm depends on the size and depth of the domes.
SECTION
0.5m 1.7m 4.8m
ENTRANCE
3m
STAGE
FIG. 41 SECTION SHOWING ONE SET OF UNITS (CHENG, 2017).
The section shows the variation of units in height. Minimum 4.8m will be remained to avoid giving the feeling of oppression and blockage of natural light. There is 0.5m gap between the installation and ceiling to for hanging equipments and service rough-ins.
Area above the stage is the concave part of the installation to avoid distraction from the performance. While the areas above main entrance also have lower height of units so that users can experience the curvy layers of it.
PROJECT PROPOSAL
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C.3 / FINAL PROPOSAL
FIG. 42 PERSPECTIVE VIEW OF THE BALLROOM (CHENG, 2017).
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PROJECT PROPOSAL
FIG. 43 INTERNAL VIEW OF THE BALLROOM (CHENG, 2017).
PROJECT PROPOSAL
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C.4 / OVERALL RESULTS
UNIT
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MATERIALITY & COST
FORM
50g mulberry paper performs better than we expected. As during the testing prototypes, we once criticized that mulberry paper is too weak that it cannot keep the curvy shape we developed in Grasshopper and will crease easily without proper management. We have then thought of using silk, which has similar characteristics - semi-transparent and even softer. Nevertheless, considering the expensive price (~$125 per unit) comparing to mulberry paper (~$40 per unit), we decided to use 50g mulberry paper which eventually can stay in shape and create movement.
The general arrangement of strips, including the density of strips and the layers works well; they can give a sense of volume and create feeling of fluidity. However, it is suggested that the thickness of strips can be furthered reduced to give a more elegant and lightweight feeling. This required further exploration on the Grasshopper definition. As currently the one end of strips connecting the smaller frame are much thinner than the other end connecting the larger frame; we may need to find out how to control them separately.
PROJECT PROPOSAL
GROUP
ARRANGEMENT
SPATIAL QUALITY
The ceiling installation required further development in terms of the arrangement of units. It is suggested that the units can be arrangement according to the fit-ins of the ballroom but not by grids. While the shape sizes of each unit can also be organic shapes that interact with one another instead of just circles. We think this will really help improve the visual effect of it and will create more interesting dynamic movement. Yet, we will need to study more on how to control the variations of each units with Grasshopper as a whole.
Beside changing the base form of each units, it is also suggested that filling up the whole ceiling area would be too “scary� and oppressed. We might go back to our first proposal that the unit could be concentrated in certain areas with more variations of sizes to create a better spatial quality. For instance, area above the stage might reduce in density to avoid stealing the attentions. We can use Attractor Points to define the area with denser units, then use Populate2D and Voronoi to create random organic curves and use them as the base of each unit.
PROJECT PROPOSAL
115
C.4 / LEARNING OBJECTIVES & OUTCOMES
UNDERSTAND COMPUTATION I part A and B, I have been developing skills of using Grasshopper and Rhino to achieve an idea in my mind. With the help of in-class tutorial and technical session, I have a more understanding on the principals behind each definition and developed a more mature skill on exploring different effects and results by my own.
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PROJECT PROPOSAL
Apparently, I need to further develop skills to translate my ideas through computation. For instance, I have a good control over a single unit in terms of its form and details using graph mapper and rotate, but when comes to a whole group of it, skills are still required to have an integral control over all the outcomes.
DISCOVER NEW TECHNIQUES
SPECULATE DESIGN
I developed Grasshopper skills which helps me to achieve every possibilities. By using a wide range of commands, it helps me to implement my ideas and ease the fabrication processes. When fabricating the strips, we found out using unroll Brep to unroll the model and use the curve closest point to sequence the strips can reduce time to arrange the laser cut template. These skills can surely help me in my future study.
I learned to speculate every decisions in the whole semester. Reflecting the end results of each part, there are elements that I can improve on. Since time is limited for each task, I would develop a more mature skill on using computation to test on every ideas in my mind. Then keep evaluating criticizing the ideas to generate a comprehensive and integral design. I would apply this process in my future design projects to achieve a speculative design.
PROJECT PROPOSAL
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PROJECT PROPOSAL