STUDIO AIR 2017, SEMESTER 1, FINNIAN WARNOCK CHENG CHI YAU STEPHANIE
B / CRITERIA DESIGN Strip and Folding - a design creating senses of lightness, fluidity and movement with minimal resources.
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B.1 / RESEARCH FIELD
FIG.21 (LEFT) USING OF COMPUTATION SOFTWARE TO ANALYSIS THE ELASTTICITY OF PLYWOOD, RESEARCH PAVILION 2010 (HALBE, 2010) FIG 22 (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.
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ICD/ ITKE RESEARCH PAVILION 2010 STUTTGART/ ICD & ITKE / 2010
FIG.23 ICD/ ITKE RESEARCH PAVILION 2010, UNIVERSITY OF STUTTGART, STUTTGART, GERMANY (HALBE, 2010)
LIGHTNESS
FIG.24 ICD/ ITKE RESEARCH PAVILION 2010, UNIVERSITY OF STUTTGART, STUTTGART, GERMANY (HALBE, 2010)
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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.25 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.26 ONE MAIN STREET INTERIOR, CAMBRIDGE, MA, USA (GRASSL, 2009)
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B.2 / CASE STUDY 1.0
SEROUSSI PAVILLION PARIS, FRANCE / BIOTHING/ ALISA ANDRASEK / 2007
FIG.27 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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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.27 SEROUSSI PAVILION, PARIS, FRANCE (ALISA ANDRASEK, 2007)
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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
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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.
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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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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
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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.29 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.30 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
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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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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.
10. adjust diamond panels: U=6, V=36; apply cull pattern: F, T. CRITERIA DESIGN
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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
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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.31 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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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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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.
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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.33 ELEVATION OF BALLROOM. (CHENG, 2017)
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FIG.32 ISOMETRIC VIEW OF BALLROOM CEILING INSTALLATION. (CHENG, 2017)
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B.6 / PROPOSAL
FIG.34 INTERIOR OF BALLROOM CEILING INSTALLATION. (CHENG, 2017)
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FIG.35 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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