STUDIO AIR FOLDFINDING LIANG HU (DEREK) 2016 SEMESTER 1 TUTOR: CAITLYN PARRY
a
conceptualization
2
3
Image Source: http://mir.no/work/#flyingdutchman
A.0 INTRODUCTION A.1 DESIGN FUTURING 1.1 CASE STUDY 1 1.2 CASE STUDY 2
A.2 DESIGN COMPUTATION 2.1 CASE STUDY 1 2.2 CASE STUDY 2
A.3 COMPOSITION/GENERATION 3.1 CASE STUDY 1 3.2 CASE STUDY 2
A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX
4
5
0.0 INTRODUCTION
Studio earth: Presence out of absence
Studio water: Studley Park Boathouse
I am Derek, a third year architecture student in the
be defined differently by each individual. Architecture
University of Melbourne. I choose architecture because it
provides
holds the ability to give form to an idea that otherwise
of
would
distinctive
just
remain
intangible
in
the
minds.
However,
a
people,
medium which
to
map
allows
perceptions
and each
to
the
project
the
individual space.
movement to
The
obtain program
after two years of study, I find that architecture not
is therefore extremely important. It is a method of
only represents ideas, it also generates ideas through
reinterpreting the sequenced spaces and of projecting
visualization and diagramatic methods.
the unique experience. Hence, I perceive architecture more as an ongoing process rather than a purpose or a
To me, architecture is about spatial arrangement and
final outcome.
organization. ‘Space’ is an ambiguous term that could
6
7
A.1 DESIGN FUTURING
“In today’s ultranetworked world, it makes more sense to think of design as a process that continuously defines a system’s rules rather than its outcomes1” --- John Thackara
1. Thackara, John (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p. 224 8
Architecture, which defines people’s behaviours and ways
According to Fry, in order to achieve sustainability,
of living, is no longer about appearance nor style. We
not only the design process and techniques should be
see the growing importance of design as it shapes the
changed,
perception of material world1. However, as one of the
Evolutionary design intelligence should be introduced.
influential factor, design itself is outdated towards
The focus should be on the redirection of design process,
the sustainable future, which has become one of the
which is usually behind the scene but always decisive on
most
Ideally,
the final outcomes1. The advanced design process would
architecture should become a cooperation of both nature
allow more possibilities and potentials on the design,
and human ecology with its ability to influence the
which not only influences the form and appearance, but
existing site and also user’s way of thinking. As what
also how we perceive and what we experience.
critical
concerns
since
last
decade.
but
also
the
ideology
and
entire
mindset1.
Brad mentioned in the lecture, ‘architects should become the facilitators of flow’2.
1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p. 1–16. 2. Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)
9
Image Source: http://jamesewingphotography.tumblr.com/
CASE STUDY 1
post/112792069345/arkitekcher-centre-pompidou-metz-shigeru-ban
PROJECT: CENTRE POMPIDOU-METZ ARCHITECT: SHIGERU BAN ARCHITECTS DATE: 2010
Conventionally, the solid walls define the interior and
possibilities and design potentials that initially could
exterior spaces and therefore all the sequenced spaces
not be visualized.
and programs after that. However, the undulating roof of Pompidou Centre forms a continuous structure, being
Using the timber as the only material, the architecture
perceived as roof, walls and even columns at same time.
demonstrates great cooperation between natural elements
It creates spaces that are organic, flexible and with
and man-made structure. The structure is also highly
optimal volumes. The structure is complex and simple
dependent
at same time, with a repeated pattern of hexagons and
Therefore, the building and prototyping process require
equilateral triangles.
integration
on
the
of
material
performance
multi-disciplinary
of
knowledge
timber.
about
materials, fabrication and construction . The parametric 1
Through parametric design, the form finding process of
modelling makes all these possible.
Pompidou Centre is shifted from conventional drawing techniques to programming. Although it is still complex,
Image Source: http://balmondstudio.
the
tumblr.com/post/104833243773
more
abstracted
design
process
triggers
more
1. Scheurer, F. (2010), Materialising Complexity. Archit Design, 80: 86–93. doi: 10.1002/ad.1111 10
11
Image Source: http://www.domusweb.it/en/
CASE STUDY 2
news/2015/07/14/icd_itke_research_pavilion.html
PROJECT: RESEARCH PAVILION ARCHITECT: ICD/ITKE DATE: 2014
The pavilion demonstrates the architectural potential
the architecture field. The integration with natural
of
elements
an
innovative
building
approach
inspired
by
the
design
process
allows
designers
underwater nest construction of the water spider. Being
to
one of the strongest load bearing materials in the nature,
construction
the fibre structure would help to eliminate complex
also obtain unique spatial qualities which is almost
formworks and structural support during construction .
impossible to achieve by using traditional structure
The resulted shell structure is therefore lightweighted
elements
and
to
pavilion is produced entirely through a robotic coreless
different demands of individual construction. In the
filament winding process1. With further development on
ever changing urban society, the fibre structure would
the fabrication end, future architecture would be no
be easier for demolish, recycle and reproduction.
longer a highly labour-intensive field, but rather a
1
material
efficient
and
also
highly
adaptable
generate
clean, In
12
during
this
case,
the
biology
can
be
perceived
as
a
and
future methods.
potentials The
conventional
automatic
and
in
resulted
design
materiality structure
and would
methodologies.
material-effective
process
The
that
require minimal level of human supervision.
comprehensive repertoire of fibre arrangements which
Image Source: http://inhabitat.com/icd-and-itkes-lightweight-
would creates more opportunities and possibilities in
pavilion-mimics-the-structure-of-water-spiders-underwater-nests/
1. Menges, A. and Knippers, J. (2015), ‘Fibrous Tectonics’, Architecture Design, 85: 40–47. doi: 10.1002/ad.1952
13
A.2 DESIGN COMPUTING
As a new design typology, computational design had always
“Only parametricism can adequately organise and articulate contemporary social assemblages at the level of complexity called for today.” --- Patrik Schumacher
form of logic which is independent from formal models.
been compared with design computerization. The latter allows architects to represent the drawings in more
Computational
efficient and precise way. The advanced documentation
platform for collaborative design among architects and
method also allows more complicated projects to become
engineers 4. This allows the performance simulation to
possible. However, the CAD programs simply just represent
become more effective and accurate. The contemporary
and visualize ideas that are already conceptualized in
architecture design is therefore experiencing a shift
architect’s mind1. Computerization helps to formalize
towards performative design and material design. The
the final outcome of design. On the other hand, design
resulted outcome contains higher level of complexity
computation
and
and variability, and at the same time, is still able
traditional
to be fabricated. For instance, in Guggenheim Museum,
introduces
methodology.
It
shifts
a
novel
the
design
design
process
from
design
also
provides
an
advanced
drawing methods to logical thinking, with the help of
Frank
algorithms
parametrically
monolithic objects to infinitesimal components. Design
allows designers to generate forms and spaces that could
computation creates a more fluid logic of connectivity.
and
parameters.
Designing
Gehry
demonstrates
the
possibility
to
scale
never be conceptualized through contemporary drawings .
The architecture design becomes more research based
Some people argue that computation sets up a boundary
and experimental. It shows the ability to demonstrate
and a formal standard for the design industry. Digital
the porosity of material qualities and the potentials
softwares restricts designers and eliminates creativity.
to
Nonetheless,
penetration through algorithmic calculation.
2
according
to
Wayne
Brown,
“Algorithmic
control
certain
spatial
qualities
such
as
light
thinking is the ability to understand, execute, evaluate and create algorithms” 3. Parametric design creates a new
1. Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 14
3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Method sf Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25
15
CASE STUDY 1 PROJECT: AU OFFICE SILK WALL ARCHITECT: ARCHI UNION ARCHITECTS DATE: 2010
The
wall
is
constructed
with
traditional
chinese
could
differentiate
architectures
around
the
world.
bricks. The bricks layed out in 21 different angles to
Although algorithms are used in most of the cases, the
create the undulation of the wall. It gives the wall
parametric controls of regional values would impart rich
a very soft and organic approach as if the wall is
local
made of some soft fabric which also generates lightness
“enables the versatile and customized development of
and
globalization”, according to Yuan2.
unpredictability.
With
bricks
facing
different
characteristics
into
each
architecture,
which
directions, the silk wall also starts to have various level of transparencies to reveal the interior in some
Other than material tectonic systems, the parametric
place and allow more light penetration.
approach could also integrates performative simulations with local fabrication logics. Yuan points out that without in
the algorithmic instructions and visual simulation, it
parametricism, which emphasizes on the adaptive nature
would be impossible for the builders to put each brick
of parametricism by collaborating parametric designs with
in right location with accurate rotation angles2. The
local cultures. Schumacher argues that it is necessary
parametric approach guarantees the structural integrity
to transform parametricism into a global style and a
for original design intension. The algorithms generate a
universal formula1, but I believe that the regionalist
medium for information communication between designers
parametricism could become a more appropriate approach.
and builders.
The distinctive local material performances, traditional
Image Source: https://3dearthworkshopiscteiul.
construction tectonics and regional cultural backgrounds
wordpress.com/2013/01/26/247/
The
silk
wall
examines
Silk Texture
16
regionalist
approach
Coursing
Parametric Guide
Parametric Wall
1. Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment. Archit Design, 86: 8–17. doi: 10.1002/ad.2018
Image Source: http://www.archi-union.com/
2. Yuan, P. (2016), Parametric Regionalism. Archit Design, 86: 92–99. doi: 10.1002/ad.2029
upload/20140729104019112.jpg
17
CASE STUDY 2 PROJECT: WALT DISNEY CONCERT HALL ARCHITECT: FRANK GEHRY DATE: 2003
The
undulating
facades
and
the
resulted
organic
the full potential of complex surfaces to be realized,
volumes are far beyond the capability of conventional
which ultimately differentiates the algorithmic design
computerization in the industry. The design computation
from purely image-driven architecture1.
creates spaces with higher level of variabilities and more unique spatial qualities. Through computational
Referring
back
simulation on the acoustic performance, the concert hall
development in week one, design computation should be
is also highly performative and functional.
more
strategic
to
and
the
discussion
performance
about
oriented.
sustainable
The
focus
should shift towards functional principles and societal On the other hand, the construction process was not
values such as material efficiency and sustainability 2.
as
Otherwise,
successful
as
the
architecture
itself.
Due
to
the
computational
designs
would
be
less
insufficient collaboration with engineering teams and
appreciated in this profit-driven society. However, it
lack of structural simulation, the structure design was
is the also ability of computational design to allow
almost a unidirectional process. This resulted in many
expressive structure to become structurally efficient.
problems such as
heavy structures, wasted materials
All this could be achieved through the multidisciplinary
and failures in some details. However, as suggested
communications over the advanced algorithmic platform
by Schumacher, one of the advantages of computational
created by design computation 3.
design
lies
in
the
integration
of
the
innovative
engineering methods and material tectonics with concept
Image Source: https://s-media-cache-ak0.pinimg.com/736x/49/
designs. The digital linkage to other disciplines allows
d6/d9/49d6d9191892b325b8902334d966ab16.jpg
1. Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment. Archit Design, 86: 8–17. doi: 10.1002/ad.2018
18
2. Block, P. (2016), Parametricism’s Structural Congeniality. Archit Design, 86: 68–75. doi: 10.1002/ad.2026
Image Source: http://media.architecturaldigest.
3. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
com/hotos/56a026f0f62777972f2fdf6c/master/
19
A.3 GENERATION / COMPOSTITION
Computational design is currently experiencing a shift of
To
focus from the foregrounding formal principles towards
computation provides an advanced platform which allows
functional principles to adjust societal values such
effective operations of multidisciplinary investigations
as material efficiency and sustainability . Therefore,
and simulations which would expand our understanding of
the design process also changed from form-driven top
materiality and compositional tectonics. For instance,
down style to generative bottom up design. Sketching
the Bird-oid Objects shown in lecture 3 described a
and designing through algorithms enable comprehensive
generative
explorations and analysis on the design options and
response of birds. Iterations are made out of categorized
performative decisions. The access to the algorithmic
behaviours such as separation, alignment and cohesion.
database allows multiple iterations on the design by
Similarly, most biological material systems has self-
adjusting the interrelation information .
healing
1
2
achieve
or
those
design
biological
process
based
self-organisation
advantages,
on
the
properties
design
behavioural
which
help
them adapt to the changing environments . The emerging 3
The current trend towards morphology and biological
information and research through computation enables a
designs are good demonstrations of how computational
high level of generative variabilities.
designs
can
elements
become
and
entirely
creatures
generative.
usually
have
The
the
natural
efficient
Therefore,
I
believe
that
computational
design
is
forms, materials and behaviours after millions years of
generative not only because of the capacity to analyze
evolution.
The analysis of biological behaviours and
the material system and building environments during
logics would provide a solid starting point for further
the design process, but also make effective response to
approaches .
them. As a result, the resulted design outcome would
development Bringing
on
those
architectural
the
integrative
natural scale
material
would
design
3
formations
enhance
the
into
the
achieve
material
and
efficiency within the given local environment.
optimal
spatial
and
material
qualities
and
spatial qualities of architecture.
1. Block, P. (2016), Parametricism’s Structural Congeniality. Archit Design, 86: 68–75. doi: 10.1002/ad.2026 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 20
3. Menges, A. (2015), Fusing the Computational and the Physical: Towards a Novel Material Culture. Archit Design, 85: 8–15. doi: 10.1002/ad.1947
21
CASE STUDY 1 PROJECT: TAICHUNG METROPOLITAN OPERA HOUSE ARCHITECT: TOYO ITO DATE: 2015
Architectural spaces are often defined by the structural
of one continuous surface which expands, undulates and
partitions such as walls, ceilings and columns. Building
twists three dimensionally to create spaces that are
structures are always independent from the space and
fluid and organic which promote movement and dynamism 1.
form of the architecture. There is always separation of spaces and terminated circulation patterns in the
However, although the form-finding process is highly
conventional architecture.
computation based, it is not entirely generative with
natural
caves
and
the
However, inspired by the
flow
of
water,
Ito
suggests
algorithms. Compositional planning is still necessary
a
in the design process with such large scale and complex
routes.
programming. In this case, the design is an integrated
by
the
process of both composition and generation. The opera
natural formation of caves which are interconnected
house could be seen as the result of an intertwined
individually. The morphological logic became a guidance
dialogue between two distinctive architectural languages.
an
unconventional
structural
continuous
space
The
concept
and
design
a
template
with is
that
form
numerous generated
algorithmic
which
encloses
circulation and
driven
investigations
and
iterations followed during the design process. Using
Imaage Source: http://payload338.cargocollective.
the idea of minimal surface, the structure only consists
com/1/8/264523/9068117/17-Toyo-Ito-Diagram-copy_670.jpg
1. Aziz, Moheb Sabry. “Biomimicry as an approach for bio-inspired structure with the aid of computation.� Alexandria Engineering Journal (2015). 22
Image Source: http://balmondstudio.s3.amazonaws.com/wpcontent/uploads/2006/07/Taichung-Opera-7-1024x769.jpg 23
CASE STUDY 2 PROJECT: RESEARCH PAVILION 2010 ARCHITECT: ICD & ITKE DATE: 2010
According to Oxman, “design computation had redefined
and algorithmic analysis.
architecture as a material practice which explores the potential of materiality”1.
The comprehensive investigation of elastic behaviour of timber enables the simulation of material response
For conventional architectural design, the meaning of
in the real world under gravity and frictional force.
materiality lies in the richness of natural texture
The
and colour, and sometimes the atmosphere it creates.
which integrates designers, engineers and fabrication
However, in computational design, materiality becomes
teams. The collaboration is established based on the
the basic logic and the generative driver for the entire
information sharing through the platform of algorithms.
design process. In design computation, material elements
The resulted structure is extremely efficient in terms
are defined and categorized by their behaviours instead
of material use. The timber sheets which function as
of texture profiles. The ITKE pavilion is built with
load-bearing structure and weather protecting envelope,
simple rules of elastic bending of timber strips. The
are only 6.5 millimetre thick. The spatial quality is
unpredictable behaviour of material becomes the main
not compromised as most people would expect, but rather
factor to generate and organize the design process.
unique and complex.
design
generation
is
an
investigative
process
However, the entire design process can be summarized as a gradual shift from the unpredictable behaviour of
Image Source: http://network.normallab.com/wp-content/
materials towards predictability through data collection
uploads/2013/01/10_ResearchPavilion2010_001.jpg
1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 24
2. Fleischmann, M., Knippers, J., Lienhard, J., Menges, A. and Schleicher, S. (2012), Material Behaviour: Embedding Physical Properties in Computational Design Processes. Archit Design, 82: 44–51. doi: 10.1002/ad.1378
Image Source: www.fupress.net 25
A.4 CONCLUSION
The capacity of architecture to influence the existing
However,
environments and the user’s way of thinking empower the
argument that the parametricism would become a global
architects to become one of the influential factor for this
style and a universal language of future architecture,
ever-changing society.
due to its efficiency, feasibility and sustainability. I
and
methods
are
Conventional design ideologies
outdated
in
this
I
could
not
agree
with
schumacher
on
his
computationally
believe that the move towards parametricism is not an
empowered world and towards the sustainable future.
elimination of other styles and characters. Nonetheless,
At this point, I believe what Schumacher had suggested
the core of parametricism lies in the adaptability to all
that “parametricism is architecture’s answer to this
different situations and criteria. Therefore, instead of
contemporary civilisation that is driven by computational
fusing all vernacular styles to a universal language, I
revolution in many domains”1.
feel that we should use the advantage of parametricism to
In
computational
technological
design,
innovation
the
enables
integration further
with
exploration
provoke
regional
cultures
and
characters.
Given
that as the circumstantial ground, I believe that the regionalist
ideologies
should
become
an
inseparable
of complex geometry which also reveals full potential
part of parametricism. The incorporation with regional
of materiality. Morphological investigation and natural
information and local behaviours would have distinctive
material
influences
the
behaviour
parametric
becomes
process
on
each
designs.
Computational
design
had shifted the contemporary architecture towards a performative practice and a material practice. And the
qualities which could be impossible to achieve by using
local materials would bring rich regional characteristics
traditional design methods. Computational design is an
into architecture which also allows higher variability
advanced
that
generate
for
material
intelligience
to
factors
efficient structures with unique and optimal spatial
design
design
generative
versatile
of design generation based on material behaviours and
formal and spatio-organizational repertoire which allows
obtains
fabrication logics. The resulted outcome would be more
designers to innovatively response the challenges and
specific on addressing local issues and benefit local
opportunities in the built environment [schuma].
community.
1. Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment. Archit Design, 86: 8–17. doi: 10.1002/ad.2018
26
27
A.5 LEARNING OUTCOMES
Two of the studios I did before involves large
“... has redefined architecture as a material practice and provided the media to modulate digital materiality in design�
--- Rivka Oxman
in a higher level of variability for the final outcome.
amount of prototyping on the material behaviours and structure integrity. I always made prototypes
During these two studios, the design process
and models to represent and match my ideas. Lack
always involved complex geometries and structural
of investigations on the materiality often lead to
compositions that were impossible to conceptualize
the failures of unexpected material limitations.
and visualize through CAD drawings and sketches.
The Part A researches expanded my understanding of
However, computational design enables more deliberate
materialisation in the architecture field. Looking
articulation over the geometries which could redefine
back to those projects, the unknown behaviour
the entire design process by using the language
of material element involves not only limitation,
of algorithms. Meanwhile, the digital simulation
but more importantly the opportunities.
and the physical prototyping process should become
The ability to modulate and response to material
an intertwined dialogue which would alternatively
behaviours could become the generative driver for the
lead each other during the design process.
entire design. The richness of material would result
28
29
A.6 APPENDIX
30
31
Box morph Random
Box morph Random Random Reduce
TRANSPARENCY INTERACTIVE SUBTLETY
TRANSPARENCY INTERACTIVE SUBTLETY
Compare to the previous iteration, this one with
seems
to
hexagonal
be
more
shapes
unpredictable extruding
both
The wall is made of boxes with different sizes.
The
boxes
are
shifting
both
directions with different length. The
inwards and outwards. Some boxes is
shape is also more dynamic and organic.
removed from the grid to achieve some
Transparency in this case is also variable
permeability.
with
have the potential to display or store
different
positions
and
heights.
The extruded volumes allows some part
The
zigzagging
boxes
something, even grow plants.
of the wall to be transparent while the other parts are completely opaque.
32
33
Box morph Cull Pattern Attractor Point
TRANSPARENCY INTERACTIVE SUBTLETY
Smooth mesh Voronoi Box Morph
The of
iteration unfolding
geometries, ‘iteration
process complex
structure
following indeces’
demonstrates
simple
smoothen
from
rules. distort
the
process
uncomplicated The
changing
the
orignial
geometry. The final outcome is unpredictable during the
iteration.
The
design
process
is
compeletly
generative.
Box Morphed onto a voronoi There are two sets of boxes in the structure. One set stay in position, and the other set rotate along the centroid of each box. The rotation angles are set according to an attractor point. When the attractor point move from left of the wall to the right, it creates a weave of boxes on the wall. The structure has the potential to become highly communicative and responsive to the surroundings and the users. The transparency it creates is also different from previous iterations.
The
transparency
here
is
not
generated through the shape of each small
34
35
bibliography 1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), p. 1–16.
2. Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)
3. Scheurer, F. (2010), Materialising Complexity. Archit Design, 80: 86–93. doi: 10.1002/ad.1111
4. Menges, A. and Knippers, J. (2015), ‘Fibrous Tectonics’, Architecture Design, 85: 40–47. doi: 10.1002/ad.1952
5. Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi
6. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
7. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Method sf Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25
8. Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment. Archit Design, 86: 8–17. doi: 10.1002/ad.2018
9. Yuan, P. (2016), Parametric Regionalism. Archit Design, 86: 92–99. doi: 10.1002/ad.2029
10. Block, P. (2016), Parametricism’s Structural Congeniality. Archit Design, 86: 68–75. doi: 10.1002/ad.2026
11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
12. Aziz, Moheb Sabry. “Biomimicry as an approach for bio-inspired structure with the aid of computation.” Alexandria Engineering Journal (2015).
13. Fleischmann, M., Knippers, J., Lienhard, J., Menges, A. and Schleicher, S. (2012), Material Behaviour: Embedding Physical Properties in Computational Design Processes. Archit Design, 82: 44–51. doi: 10.1002/ad.1378
14. Menges, A. (2012), Material Computation: Higher Integration in Morphogenetic Design. Archit Design, 82: 14–21. doi: 10.1002/ad.1374
15. Thackara, John (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p. 224
36
37
b
criteria design
38
39
B.1 Research Field PATTERNING
B.2 Case Study 1.0 2.1 ITERATION PART 1 / PERFORATION 2.2 ITERATION PART 2 / EXTRUSION 2.3 BEST ITERATIONS
B.3 Case Study 2.0 3.1 REVERSE ENGINEERING 3.2 LOGIC / PROCESS
B.4 Technique: development 4.1 ITERATION PART 1 / ORIGAMI TESSALLATION 4.2 ITERATION PART 2 / VALLEY FOLD PATTERN 4.3 ITERATION PART 3 / MOUNTAIN FOLD PATTERN 4.4 BEST ITERATIONS
content
B.5 Prototyping 5.1 ORIGAMI MECHANISM
3D PRINT TEST
BOLTS TEST
CONNECTION TEST
FOLDING / PROBLEMS
5.2 MOUNTAIN FOLDS / METABALL SURFACE
FABRICATION PROCESS
FORMWORK TEST
MATERIAL TEST
SUCCESSFUL PROTOTYPE
5.3 VALLEY FOLDS
B.6 Proposal 6.1 SITE ANALYSIS / CERES COMMUNITY 6.2 DESIGN PROPOSAL
B.7 Learning Outcome 7.1 DESIGN INTEREST 7.2 PARAMETRIC DESIGN 7.3 DESIGN THROUGH MAKING
B.8 Appendix 8.1 ALGORITHMIC SKETCHBOOK 8.2 BIBLIOGRAPHY 40
41
B1. Resarch Field / Patterning
Patterning in the traditional architectures are often
the architecture), such as Vienna Bridge Club (1913),
represented
as
representation.
a
source
Those
of
symbolism
patterns
were
or
cultural
the natural patterns of marble express the inner rhythm
always
embedded
of material. Patterns are not just part of ornament,
with spiritual or religious information. For example,
but are also formed subtly through other architectural
the geometric patterns and motifs on the mosaics of
components. In the Prada Store Tokyo by Herzog & de
churches and mosques created atmospheric effect for
Meuron (2003), the diamond grid patterns created by
the space. The ornamentation on the capitals on the
the steel framed structure are the main feature that
Roman columns were celebrated the adoration of nature
generates the unique spatial qualities of the building.
and technology.
The pattern here is subtle and communicative with its own functionality.
Nature is another major source of patterning. Ornament emerges from the material substrate, and the material
patterning in the contemporary architecture has the
therefore inseparable from the true materiality, and on
ability to integrate material, form and performance 3.
the other hand, material only transmits effects through
For instance, in the ITKE Pavilion 2012, the patterning
ornamentation. In the Barcelona Pavilion by Mies van
was
der Rohe (1929), the natural patterns on the materiality
materiality. The patterning was embedded into the simple
embodies
of
structure and became an inseparable part of design. It
pavilion . And even in Adolf Loos’s work, (who once claimed
demonstrates a new role of patterning in the new age, as
that ornamentation was an unnecessary embellishment on
integral to experiential quality if architecture.
is
the
embedded
ethereal
with
and
ornament .
experiential
Ornament
Through logics of generative algorithmic modelling, the
is
expression
1
qualities
2
ITKE pavilion 2012
transmitted
through
the
flow
of
structure
Image source: http://www.archdaily.com/109135/
and
Hagia Sophia
Image source: http://icd.uni-stuttgart.de/wp-content/
Image source: http://img4.hostingpics.
gallery/fp12_09_icd-itke/icd-itke_rp2012_07.jpg
net/pics/116583IMG1347.jpg
1. Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8 2. Archdaily, “AD Classics: Barcelona Pavilion / Mies van der Rohe”, 2011 <http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe> 42
3. Menges, Achim (2012). “Material Computation: Higher Integration in Morphophonemic Design”, Architectural Design, 82, 2, pp. 14-21, p. 20
Image source: http://www.prada.com/content/dam/prada/SPECIAL%20PROJECTS/EPICENTERS/ 43
B2. Case Study 1.0 PROJECT: M.H. DE YOUNG MUSEUM ARCHITECT: HERZOG & DE MEURON DATE: 2005
Herzog and de Meuron were praised for their integration of
The
tradition and vernacular forms with modern innovations .
perforation and pebble extrusions. The integration of the
In this case, the facade patterns were designed with
two adds another level of variation and unpredictability
digital design tools through image sampling which allows
onto the building facade. In the following sections,
the
my iterations on the definition would focus on both
1
patterning
to
become
more
organic
and
flexible
patterns
on
the
facade
consists
of
two
parts,
compare to traditional ways of design. On the other
perforation
hand, the choice of natural materials such as copper,
the potential and the key features of each of them
allows the design to become part of the landscape. The
separately, and then integrate the two into a combined
effect would be exaggerated with the fading colour of
system.
and
extrusion.
Firstly,
I
would
explore
copper through oxidation . Therefore, the corrosion of 2
copper itself would become part of the patterns which would gradually change along the years.
Perforation
Image source: http://41.media.tumblr.com/09157f959734f 3078b50bca5425da08f/tumblr_mmf82pZdAl1rra9h0o1_500.jpg
Extrusion
Image source: http://designbythebay.com/wp-content/ uploads/2008/06/img_1044.jpg
1. Archdaily, “Spotlight: Herzog & de Meuron”, 2014 <http://www.archdaily.com/370152/happy-birthday-pierre-de-meuron> 44
2. Archdaily, “M.H. de Young Museum / Herzog & de Meuron”, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron>
Image source: www.flickr.com 45
ITERATION PART 1.0 PERFORATION
Specie 1.1 / RESOLUTION OF IMAGE SAMPLING Specie 1.2 / COLOUR CHANNELS Specie 1.3 / SMAPLING PATTERNS 1.2
1.3
1.1
Original script for perforation
ITERATION PART 2.0 EXTRUSION
Specie 2.1 / EXTRUSION LENGTH Specie 2.2 / EXTRUSION SHAPE 1.0 Specie 2.3 / EXTRUSION DIRECTION Specie 2.4 / EXTRUSION SHAPE 2.0 (WEAVERBIRD) Specie 2.5 / MEMBRANE TEST THROUGH KANGAROO
2.2
2.4/2.5
2.3
2.1 46
Original script for extrusion
Image source: http://www.arch2o.com/wp-content/uploads/2015/04/ 47
ITERATION PART 1.0 PERFORATION
SPECIE 1.1 UV POINTS
Sampling Domain=0.01-0.05
Sampling Domain=0.01-0.05
Sampling Domain=0.01-0.05
u=40 / v=30
u=80 / v=60
u=120 / v=90
Blue channel
Red channel
Hue channel
Interpolate
Interpolate (double sided)
Interpolate (double sided vertical)
Strips and circles
Amplitude=0.07
Amplitude=+0.07 / -0.07
Amplitude=+0.07 / -0.07
SPECIE 1.2 COLOUR CHANNELS
RGB channel
Saturation channel
Black & white channel
SPECIE 1.3 STRIPS
48
49
ITERATION PART 2.0 EXTRUSION
SPECIE 2.1 EXTRUSION LENGTH Extrusion factor Z:
Random pattern:
Random pattern:
Range:
Attractor point
Attractor point
Z=2
Seed=1 / Domain=0-3
Seed=2 / Domain=(-5)-3
Domain=0-4
1 pt
2 pt
Base circle radius change
Random top radius
Base shape change
Twisted column / bottom radius change
Top=0.30 / Bottom=0.10
Domain=0.05-0.65
Pentagon
Top edge shift list=2 /Domain=0.05-0.65
2 Point vector (1)
2 Point vector (2)
Attractor point
Attractor Point
Attractor point
Attractor point
Amplitude=2.0
Amplitude=3.0
1 pt / Amplitude=2.0
2 pt / Amplitude 3.0
2 pt / Amplitude=1.5
3 pt / Amplitude=3.5
SPECIE 2.2 EXTRUSION SHAPE 1.0
SPECIE 2.3 EXTRUSION DIRECTION
50
51
SPECIE 2.4 EXTRUSION SHAPE 2.0 (WEAVERBIRD)
Scale factor of top base=4
Scale factor of top base=1
Scale factor of top base=5
WB split triangulate division=1
WB split triangulate division=1
WB mesh window top edge offset=25
WB mesh window top edge offset=30
WB mesh window top edge offset=25
Catmul-Clark division level=2
Scale factor of top base=5 WB mesh window top edge offset=8
WB bevel edges
WB Catmul-Clark division level=4
Distance=0.1
SPECIE 2.5 MEMBRANE TEST THROUGH KANGAROO
52
Stiffness=1500
Stiffness=1000
Stiffness=500
Z direction unaryforce=-5
Z direction unaryforce=-10
Z direction unaryforce=20 53
BEST ITERATIONS
The
EXTRUSION PATTERNS
triangulation
extrusions
and change. The gaps between the triangulation in were
through Weaverbird added another level of complexity
more visible the smaller extrusions which had potential
and
to generate spatial qualities and other functions.
potential
of
onto
the
original
geometry
hexagon
and
it
was
still
controllable with the size, length and direction.
With this iteration, the scale factor of the top triangle was very small, to create the sharp edge at the end of extrusion. The image of this iteration is very strong and dominant. The aggressiveness of this iteration was quite different from the other iterations within that specie. The top view at the right showed a radiating effect of the extrusions which also embed notions of motion, speed
ITERATION 2.4.2 SPATIALITY INTERACTIVE SHADOWS AESTHETIC FABRICATION COMPLEXITY
54
55
BEST ITERATIONS
EXTRUSION PATTERNS
The Catmul-clark component in Weaverbird allowed me to
original geometry which made the fabrication of this
smooth the extrusions to create something organic and
shape become possible with those 2 dimensional strips.
fluid. The outcome was very unpredictable which always
The resulted geometry also had certain sense of subtlety
surprised me with its irregular profile. By using the
and permeability.
thickening edge and triangulation simultaneously, I was able to create very different looking iterations with just slider changes.
However, the organic profile would be quite difficult to fabricate. In this iteration, the ‘Weaverbird Bevel edge’ component allowed me to extract the edges of the
ITERATION 2.4.5 SPATIALITY INTERACTIVE SHADOWS AESTHETIC FABRICATION COMPLEXITY
56
57
BEST ITERATIONS
COMBINED PATTERNS
At this stage, I started to integrate the two patterning
dialogue was what I looked for. Therefore, I reduced
systems, perforation and extrusion, into a combined
the size of extrusion and exaggerated the effect of
system.
perforation,
Therefore,
the
exploration
not
only
just
involves the patterning techniques but more importantly includes
the
dynamic
relationship
between
in
order
to
reduce
the
aesthetic
and
spatial dominance of extrusions.
multiple
patterning systems. I combined the best iterations from
The outcome was very successful, the cooperation between
two categories and explore further potentials of the
different patterns had pushed the unpredictability and
existing patterns.
its organic nature to a higher level.
My idea is to create a system that is non-hierarchical between
different
patterning
systems.
A
balanced
DERIVED FROM ITERATION 2.4.4
ITERATION 1.3.2
ITERATION 1.3.3
58
59
Image source: http://www.archdaily.com/227233/resonant-chamber-rvtr/rc_08
B3. Case Study 2.0 / Reverse Engineering PROJECT: RESONANT CHAMBER CEILING ARCHITECT: RVTR DATE: 2011
Resonant
chamber
accommodating
the
ceiling
is
a
modifiable: the overall pattern would be ever-changing with the origami folds and opens. At specific folding positions, the language between two patterning systems
become
would be very unique and responsive.
response
to
changing
of
by
rigid
in
attribute
system
origami. It allows the dynamic surface geometries to adjustable
flat-folding
responsive
acoustic
conditions, to achieve better performative qualities. During the reverse engineering process, I used kangaroo After case study 1.0, my interest of patterning lies
physics to simulate the physical relationship between
in how different patterns could be integrated as a
vertices, folding lines and applied forces. The kangaroo
single system, and what kind of response between them
physics allows me to change the folding percentage of
would occur. And I found that the fundamental principle
the system parametrically. It helps me to visualise the
of ‘mountain folds’ and ‘valley folds’ in the origami
changing relationship between mountain and valley folds.
system would allow me to achieve what I want. Different patterning languages could be applied on the mountain and valley folds respectively. The aesthetic form becomes
Individual component
Image source: http://www.designboom.com/weblog/images/images_2/2011/jenny/resonantchamber/resonantchamber03.jpg
60
61
Logic / process
Origami folding: Mountain & Valley
Mountain lines
62
Diamond grid
Valley lines
Cull for center point
Cull out mountain valleys
Patterning: attractor point
Create triangles
Patterning: attractor point
63
B4
Iterations
Technique: Development The iterations were divided into three parts: origami tessallation,
valley
fold
patterns
and
mountain
fold
4.1 ORIGAMI TESSALLATION
patterns. Compare to case study 1.0 where I explored
4.2 VALLEY FOLDS
the grasshopper techniques for more possibilities, this
4.3 MOUNTAIN FOLDS
part of iteration is more like a form finding and idea generation process for my future design. The modelling process
would
be
focused
on
the
integration
between
different patterning systems.
64
65
ITERATION PART 1
ORIGAMI TESSALLATION
SPECIE 1.1 SIZE OF ORIGAMI orignial surface size u=8
u=16
u=24
u=32
u=48
0%
20%
40%
60%
80%
Attractor point=centre
Attractor point=centre
Image sampling 1
Remapped domain=0-2
Remapped domain=2-0
Remapped domain=2-0
Image sampling 2
Image sampling 3
u=15 / v=20
u=15 / v=20
u=15 / v=20
Contour distance=0.1
Vector=Perpendicular to longest edge
Random offset
Domain=0.001-0.01
Pipe
Interpolate vertical
Offset curve loft / distance=0.05
(contours moving towards centre)
Domain=0.019-0.116
Frame added (scale 0.93)
Radius=0.003
Random domain=(-0.1)-0.2
SPECIE 1.2 FOLDING PERCENTAGE
ITERATION PART 2
100%
VALLEY FOLDS PATTERNING
SPECIE 2.1 PERFORATION PATTERN
SPECIE 2.2 STRIP PATTERN 1
66
67
SPECIE 2.3 STRIP PATTERN 2 (UNDULATION)
Divide curve count=7
Divide curve count=10
Divide curve count=10
Divide curve count=10
Divide curve count=6
Contour distance=0.03
Random on move: Domain=0.019-0.116
Domain=0.019-0.116
Random on move: Domain=(-0.10)-0.20
Random domain=(-0.30)-0.30
Random domain=(-0.30)-0.30
Strip size (loft)=0.01
Strip size (loft)=0.04
Strip size (loft)=0.025
Strip size (loft)=0.025
SPECIE 2.4 STRIP PATTERN 3 (DOUBLE UNDULATION)
Random Domain:
2 Random Domain:
(-0.3)-0.3
(-0.3)-0.3 / (-0.1)-0.1
2 Random Domain:
2 Random Domain:
Shifted list loft
Shifted list loft
Seed=0,1 / 3,4
Seed=0,1 / 5,6
(-0.3)-0.3 / (-0.5)-0.5
(-0.2)-0.2 / (-0.4)-0.4
Seed=7,8
Seed 3,4
Seed=5,6 / 7,8
Seed=7,8
SPECIE 2.5 SUPPORTING STRIPS
Divide length distance=0.2
Divide length distance=0.07
Divide length distance=0.03
Divide length distance=0.1
Loft size=0.01
Loft size=0.01
Loft size=0.01
Loft size=0.03
Original strip deleted
Original strip size=0.005
SPECIE 2.6 VORONOI SURFACES
68
Domain=(-0.2)-0.2
Random domain=(-0.2)-0.2
Voronoi / Populate 3D: Count=100
Populate 3D: 300
Populate 3D: 300
WB Catmul-Clark division:
WB Mesh thickening:
Loft
Edge size: 0.9 scale
Edge size: 0.9 scale
Edge size: 0.5 scale
level=3
distance=0.03
69
ITERATION PART 3
MOUNTAIN PATTERN
SPECIE 3.1 HEXAGONAL EXTRUSION
Hexagon
Attractor pt change position
Attractor pt change position
3 attractor point
SPECIE 3.2 WEAVERBIRD SMOOTHING
WB Catmul-Clark division level=3
WB edge thickening=0.03
WB edge thickening=0.08
WB edge thickening=0.2
SPECIE 3.3 METABALL
70
Extrusion height=0.52
Extrusion height=0.45
Extrusion height=2.43
Extrusion height=4.12
Extrusion height=6.04
Extrusion height=6.04
Threshold=20.8
Threshold=23
Threshold=4.08
Threshold=8.57
Threshold=5.12
Threshold=5.12
Domain=2.04
Domain=2.04
Populate 3D seed change
Populate 3D seed change
Populate 3D seed change
Planar surface
71
BEST ITERATIONS
VALLEY FOLD PATTERNS
The undulation occurs in both ways. The undulation on
three dimensionally, which also creates more spatial
the adjacent triangle panels had inverted directions.
interactions with potential users. I can also imagine
It allows the two panels still be able to share a single
that the system would cast beautiful and everchanging
edge and be able to connect to each other. This feature
shadows with the folding and unfolding moment of origami.
also enabled the origami system to work properly with unplanar surfaces on the valley panels.
The
undulation
the
system.
imparted
When
the
some
spatial
origami
is
qualities
fully
opened,
into the
overall profile is no longer a planar surface which was
demonstrated
in
the
case
study.
The
undulating
strips going up and down to make the folding moment
ITERATION 2.3.5 SPATIALITY INTERACTIVE SHADOWS AESTHETIC FABRICATION COMPLEXITY
72
73
BEST ITERATIONS
VALLEY FOLD PATTERNS
Based on previous species, specie 2.5 added vertical
were rotating on its own axis according to the different
components in between the undulating strips to create
undulation angles of original strips. Meanwhile, when
new
DNA
the size of original strips set very small (like in this
component wherethe strips in between will connect and
patterns.
The
shape
was
inspired
by
the
iteration), the vertical component started to have this
support the spiral strip. In this case, the vertical
anti-gravitational floating effect.
components allows the strips to maintain their positions . Therefore, the iteration became more predictable in terms of physical prototyping, which also allows more controllable fabrication processes.
On the other hand, the supporting strips also added notion of dynamic into the structure because each of them
ITERATION 2.5.4 SPATIALITY INTERACTIVE SHADOWS AESTHETIC FABRICATION COMPLEXITY
74
75
BEST ITERATIONS
COMBINED PATTERNS
Two patterns have different spatial qualities due to
the spatial language of metaball is more subtle and
their different structural performance in the origami
elegant. During the selection process, I always tried
system. The strip patterns on the valley folds would
to reduce the dominance of the mountain folds, and
be considering the spaces required for folding, while
to
the
mountain
and valley patterns. At this stage, I imagine that the
and
could
folds
have
would
extrusions
have
smaller
coming
out.
restrictions During
the
iteration process, I tried to find a balance between two
create
the
spatial
relationship
between
mountain
strips would light up and metaball surface would be made of reflection materials.
patterning systems. The metaball surface was chosen for the mountain folds. The metaball creates a smooth and fluid 3 dimensional pattern, which adds more flexibility and spatiality to the system. Compare to the other extrusion iterations in the â&#x20AC;&#x2DC;mountain foldâ&#x20AC;&#x2122; section,
ITERATION 3.3.1
ITERATION 2.5.4
76
77
B5 Prototyping 5.1 ORIGAMI MECHANISM 5.2 MOUNTAIN FOLDS / METABALL SURFACE 5.3 VALLEY FOLDS / UNDULATING STRIPS
78
79
5.1 Origami mechanism
80
81
3d print test
bolts test
Although small size door hinges can be bought from
strength was much weaker, lots of them broke during the
4
the
the panels and put washers to both ends of the
the market, I decided to 3D print the hinge joint for
fabrication.
fabrication. The M4 bolts were to loose for the
bolts to allow rotation. It also failed with the
4mm hole of the joints, and the two panels were
crack of joints. Then I switched to M5 bolts, and
more control and more potential. By fabricating the
types
of
bolts
were
tested
during
joints and testing them, I got better understanding
The size of the holes was 4mm diameter, which I thought
shaky. I tried different methods to counter
I have to drill bigger holes on the joint. Few
on
works.
would be perfect for M4 bolts, but during the prototyping
this problem, one of them was to screw the M4
drill bits with different sizes were tested. The
Two types of 3D printing layouts were tried out
process, I realized there were a lot problems with the
bolts very tight to maintain the position of
successful one was 4.67 mm.
(top row), the one on the right was better for
hole sizes, and I have to drill the holes bigger in the
mass production, and it was easier to take out the
later stage.
the
sizes
and
also
how
the
mechanism
scaffoldings. However, compare to the left one, the
82
83
connection test
84
1
2
3
4
After the getting the right size for bolts and joints, I
slide
up
and
down
and
were
still
not
very
stable.
started to test different positions and combinations of
Therefore, in prototype 4, I put two joints to the
joints to achieve optimal effect. Single connection was
other side of the panel, to switch the position of the
tested first (prototype 2), but the connection was not
joints from different panels. As a result, two joints
stable and there was a lot of load on that connection
from left panel are located on the top and bottom,
during folding. Next, I put double joints on each side
while the two joints from the right are in the middle.
(protype 3) to share the load and also to prevent two
The joints interlocked each other, and finally stabilize
panels from shaking. But with step 3, the panels would
the system.
85
folding / problems
Because the positions of joints and hinge techniques had changed along the prototyping process, but the joints were reused during the process, the joints I got were not ideal for the current connection. Two joints would crash each other and stop the further folding. Adjustment of joint sizes and joint positions could be made for next prototype.
86
87
5.2 Mountain folds / metaball surface
This group of prototypes was to create the metaball profile
of
the
mountain
folds.
The
prototypes
were
made by using the vacuum machine. The machine heated up the material and inflated air into it under the prefabricated formworks.
88
89
fabrication process
CNC formwork
90
Heat up
Inflate
Failed :(
91
formwork test
Two
sets
of
formworks,
one
metaball
and
one
meterial test
prototyping process.
voronoi, are used to test different possibilities.
92
Three sheets of plastic with different materials and
was required to soften the material. The magnitude of
thickness were used for the performance test.
inflation was much smaller than the first one. I heated and inflated three times to achieve this shape.
They are made of 12mm MDF through CNC router.
Through the prototyping process, I realized that
The thickness gives the formwork extra strength
the profile of the metaball surface is not highly
The
to resist the inflating force from the vacuum
dependent on the shape of the formwork. Different
easiest to inflate and only 75 seconds of heating was
The one on the top right corner was also 1.5mm thick,
machine.
formwork would produce similar shapes which were
required. But the material was not strong enough for
but with matte finish, instead of glossy. However, the
all quite different from the metaball generated in
the inflation, I failed twice with this material
material was not ideal for the inflation. The matte
thinnest
one
was
only
0.9mm
thick.
It
was
the
finish starts to melt before the entire sheet reaches
I cut off some parts of the voronoi to make
grasshopper.
larger holes because I realized that the inflation
is also part of the design generation which offers
The red one was 1.5mm thick. Compare to the first one,
the optimal temperature for inflation. Some kinks can
works
different possibilities compare to digital modelling.
the inflation was much harder. 90 seconds of heating
be seen from the finished prototype.
better
with
larger
openings
during
the
Therefore,
the
prototyping
process
93
Successful prototype
This
prototype
and
the page, but it also looks like they are
reflections
extruding into the page. The reflection
make the surface become more organic and
adds another level of unpredictability
fluid. In the image on the right, the
and
metaballs are actually extruding out of
creates unique visual qualities.
glossy
94
surface
has
a
finish.
very The
smooth
irrationality
onto
the
surface,
95
5.3 Valley folds undulating strips
Polypropylene was used for the curving strips
Pin
connection
was
in vally folds. The strips were unrolled from
polypropylene
grasshopper to get the correct dimension.
prototype was not as successful as the
were
previous two. Although certain extent
Optical fibres may be used for the
of curvature was achieved, it was quite
final prototype, the material would
difficult to overcome the tension and
be much harder to work with.
and
used
MDF
to
frames.
joint
The connection which were made by
This
screws took a lot time to made and not
aesthetically
satisfied.
maintain the strips in right position.
96
97
B6 Proposal 6.1 SITE ANALYSIS / MERRI CREEK 6.2 DESIGN PROPOSAL
98
99
6.1 Site analysis / Ceres community Ceres community, stands for â&#x20AC;&#x2DC;Centre for Education and Research in Environmental Strategiesâ&#x20AC;&#x2122;, is a local community which locates close to Melbourne city and next to merri creek. The main purpose of
the
community
is
to
initiate
and
support
environmental sustainability.
Ceres Community
100
Cafe
Community Garden
Educational
Natural Forest
101
Sustainability
Ceres
The pollution and damages made to the environment
the site, has been suffered from pollution and
systems educational programs, etc. These features
hosts
community
are
sustainable
degradation issues for decades. I believe that as
demonstrate
towards
development. During the site visit, I felt that
a community which promotes sustainability, there
sustainability. The community is nice, green and
the goodness of the community was almost detached
should
friendly as if it is a dreamland. However, all of
from the society and the environment around it.
water qualities in the local region. There should
the
ideal
farms,
way
of
green
living
energy
the
driving
reasons
for
these were not the reasons why we created this community in the first place.
102
be The
merri
creek,
which
locates
just
next
to
a
be
more
raise
of
responses
awareness
to
of
the
the
deteriorating
unsustainable
behaviours done to the local environment.
103
MOUNTAIN FOLDS
VALLEY FOLDS
Metaball surface
Optical fibre
Reflective material
Undulation
6.2 Design Proposal Controls electricity
Although we claim that being sustainable as one of the most important mission in this new age, there is a huge disjunction between what we propose and what we do.
My
design
will
be
criticizing
this
disjunction
through
Daily water quality of
Data from Yarra-watch
Merri creek
(updated twice a day)
the
representation of a wall, which has an astonishing looking and is fuelled by one of the misbehaviours that we do to the environment.
The wall will have an origami structure which only â&#x20AC;&#x2DC;openâ&#x20AC;&#x2122; and light up at night.
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105
Closed at daytimes
The
mountain
folds
have
metaball
shapes and are made of reflective materials.
The
image
shows
the
folded position of origami during day times.
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107
Opened at night
The strips at valley folds are ideally made of optical fibres. The origami opens and lights up at night. The lighting
and
reflection
create
beautiful
effects.
However, the amount of electricity given to the light is determined by the daily water quality of Merri creek (accessible from Yarra-watch, updated twice a day). The worse the air quality is, the lighter and prettier it is. Therefore, the â&#x20AC;&#x2DC;fuelâ&#x20AC;&#x2122; of this astonishing feature is the deteriorating air pollution. When people come to this place and celebrate this thing, they are actually celebrating their evil behaviour to the environments.
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109
Reflection of light
The curvy strips undulates up and down, creating three dimensional
undulations.
The
light
reflects
on
the
metaball surface of mountain folds creates beautiful and mystical effects. It exaggerates the dissociation between its beautiful surface and its evil nature. The dissociation also forms a critique on the disjunction between the statement of being sustainable and our actual misbehaviour to the environment.
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Design interest
B7. Learning Outcome
The lectures and the research studies in B1 helped me to develop a better understanding of what patterning and ornamentation really are. The case study 1.0 was a really good start for my technique
7.1 DESIGN INTEREST
development and my design direction. By pushing the potential of the
7.2 PARAMETRIC MODELLING
grasshopper definition of â&#x20AC;&#x2DC;de Young Museumâ&#x20AC;&#x2122;, I realized that I was
7.3 DESIGN THROUGH MAKING
really interested in how two patterns could be combined into one system and how they could response and cooperate with each other to create a new pattern which is more dynamic and organic. This also influenced my choice for case study 2. The origami system was ideal for my area of interest where the integration of multiple patterning systems offers more potentials and variations to the system. And the relationship or the dialogue between those patterns are interchangeable with the movement of origami.
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113
Parametric design
Design through making
parametric
Throughout part B, I believe that the most crucial part will be
modelling at later part of part B. It not only offered me
the cooperation between digital modelling and physical prototyping.
a opportunity to explore grasshopper components, but also
During the prototyping process, I realized that a lot of issues could
made me to think in different ways as traditional design
only be solved through making. Prototyping process is a process
methods. For instance, during the iteration and prototyping
of interpreting materiality and physical forces. It has its own
process for origami system, the kangaroo component allowed
limitations and opportunities. Digital renders were really effective
me to have real time physics simulation which helped me to
in transmitting effects and atmosphere, but prototypes optimised
visualise the movement and distortion of the structure.
my structure and made it more workable and realistic. Prototype
The
iterations
were
really
good
start
for
also have its own ability to generate form and ideas. For example, during the fabrication process of prototype 2 (metaball surface), the inflation itself was also a form finding process which dealt with, gravity, materiality and machine limitations.
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115
B8. Appendix 8.1 ALGORITHMIC SKETCHBOOK 8.2 BIBLIOGRAPHY
116
117
fractal scale / mirror loft
118
119
120
121
field positive & negative field spin feld field lines
122
field positive & negative field spin feld (larger radius) field lines
123
field positive & negative field spin feld (larger radius) field lines
124
field positive & negative field spin feld field lines
125
field graph mapper (parabola inverted) interpolate / pipe
126
127
field graph mapper (conic) interpolate / pipe
128
129
Bibliography
1. Moussavi, Farshid, and Daniel Lopez (2009). The Function of Form (Barcelona: Actar; New York), p. 8
2. Archdaily, “AD Classics: Barcelona Pavilion / Mies van der Rohe”, 2011 <http://www.archdaily. com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe>
3. Menges, Achim (2012). “Material Computation: Higher Integration in Morphophonemic Design”, Architectural Design, 82, 2, pp. 14-21, p. 20
4. Archdaily, “Spotlight: Herzog & de Meuron”, 2014 <http://www.archdaily.com/370152/happy-birthday-pierre-de-meuron>
5. Archdaily, “M.H. de Young Museum / Herzog & de Meuron”, 2010 <http://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron>
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131
c
critical design
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133
C.1 Design concept 1.0 PART B FEEDBACK 1.1 PRECEDENT STUDY 1.2 SCRIPT DEVELOPMENT 1.3 SITE ANALYSIS 1.4 FORM FINDING 1.5 ITERATIONS 1.6 BEST ITERATION SELECTION
C.2 Prototypes 2.1 FORM GENERATION
POLYPROPYLENE 0.6MM
2.2 FRAME & PANEL SYSTEM
POLYPROPYLENE FRAME 0.6MM / PERSPEX 2MM
2.3 FLEXIBLE JOINT
POLYPROPYLENE 0.6MM
2.4 PATTERN TESTING - PERFORATION
content
POLYPROPYLENE 0.3MM
2.5 RIGID FORM MATERIAL TESTING
ALUMINIUM 1.2MM / CNC ROUTING
2.6 PATTERN TESTING - METABALL
PLASTIC SHEET 1MM / VAC FORM
C.3 Final detail model 3.1 PROTOTYPE 7
MILD STEEL 1.2MM / FIBRE LASER CUTTING
3.2 FINAL PRESENTATION MODEL
MILD STEEL 1.2MM / FIBRE LASER CUTTING
3.3 SITE MODEL 1:10
POLYPROPYLENE 0.6MM
C.4 Learning objective and outcomes 4.1 LERNING OBJECTIVE
PARAMETRIC MODELLING
DESIGN THROUGH ITERATIONS
PHYSICAL PROTOTYPING
4.2 OVERVIEW TIME LINE 4.3 FUTURE DEVELOPMENT
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135
C1.
From Part B
Design Concept The feedback from part B are as follows:
136
1.0 PART B FEEDBACK
1. Improve the script to make varying foldings on the origami
1.1 PRECEDENT STUDY
system, to make the system more flexible and more original
1.2 SCRIPT DEVELOPMENT
2. Make prototypes to test the system, to help digital modelling
1.3 SITE ANALYSIS
3. To integrate vac formed metaball with origami tessellation
1.4 FORM FINDING
4. To narrow down the direction of project,
1.5 ITERATIONS
be more focus on certain aspects
1.6 BEST ITERATION SELECTION
5. More prototypes in part C, focus more on the fabrication
137
Precedent study PROJECT: BLOOMBERG PAVILION ARCHITECT: AKIHISA HIRATA DATE: 2011
The project was inspired by the growing nature of the tree branches. The design process was an integration of natural pattern studies and algorithmic scripting. The resulted form was a combination of organically undulated surface and straight sharp triangular pieces. The structure parasited onto the existing building, and fused into it not just as a roof, but also as a wall, a door and a window. The sculptural shape which according to Toyo Ito, represented â&#x20AC;&#x2DC;the intimate relationship between art & cityâ&#x20AC;&#x2122;.
However, we were more interested in the design logic and the techniques Hirata used in the project.The structure consisted of only isosceles triangles. They tessellated through simple logics which allowed them to expand constantly. Therefore, with the same logic, it is possible to incorporate any situation with any possible forms. It can be a facade, a curtain, a table and even clothes. It can be anything.
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139
Script development
Uniform folding & pattern
Deformed pattern with attractor pt
140
Deformed pattern with graph mapper
Deformed folding with attractor pt
Valley lines
Deformed folding with image sampling
Mountain lines
Diamond grid used previously
Panels colliding
Hexagonal grid
Surface colliding component
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The site The site was at the entrance of the Ceres market. There was a walk way in front of Van Ray Centre (staff office), which connected the cafe, visitor centre and the market. There was quite a flow of people at the path. The facade of the office was also aging and dirty, we realized that there would be an opportunity to have a parasitic installation on the existing facade which would also have influence on the walking experience on the paths.
Office
Ceres market
Merri Table Cafe
Bike park area Main access
Visitor centre
Van Raay Centre
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143
Site & Design
The project would adopt the material system of origami which was previously explored in part B. The installation we proposed would address following features and issues:
1. A parasitic installation which would become part of the existing building 2. Create connection between interior and exterior 3. Have influence on the walking path, creates interaction 4. Not just a wall, but also transit to other functions like canopy, providing shading.
We realized that the folding nature of origami would provide a dynamic and organic structure which could grow into different directions. As a parasitic installation, the structure would contrast the existing building in terms of both material finishing and the organic form. The folded origami would also revealed the aging facade in some parts along the flow of structure, which indicates the revealing of the nature under the manufactured structure. This would subtly demonstrate the key purpose of Ceres community, which was to unveil the destructed nature under human society, so as to promote sustainability.
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145
Form finding
The design process of this project was a form finding process through algorithmic iterations and physical prototypes. Two of them were closely related to each other during the entire design.
Few sets of iterations were made for the form realization process, which
also
concerning
specific
responses
to
both
issues
and
opportunities at site. The iterations could be categorized into 4 species listed below. Our digital script were kept developing during part C, which gave us a better form generation capacity throughout different stages.
146
SPECIE 1
SPECIE 2
SPECIE 3
SPECIE 4 (CRITERIA DESIGN)
(CONTINUE OF SPECIE 4)
SPECIE 5
DEFROMING FOLDING
DEFORMING PATTERN
DEFORMED FOLDING
SPATIALITY
‘EAT’ INTO EXISTING FACADE
DEFORMED FOLDING
UNARY FORCE
ATTRACTOR POINT
UNARY FORCE
MAIN ACCESS
CUT OUT WINDOWS
UNARY FORCE
ANCHOR POINT
GRAPH MAPPER
ANCHOR POINT
WALL & CANOPY
ANCHOR POINT
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SPECIE 1 DEFORMED FOLDING (UNARY FORCE) (ANCHOR PT)
SPECIE 2.1 DEFORMED PATTERN (ATTRACTOR POINT) (IMAGE SAMPLING)
SPECIE 2.2 DEFORMED PATTERN (GRAPH MAPPER)
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149
SPECIE 3 DEFORMED FOLDING (UNARY FORCE) (ANCHOR POINT)
SPECIE 4.1 CRITERIA DESIGN (CREATING MORE SPATIALITY)
SPECIE 4.2 CRITERIA DESIGN (MAIN ACCESS PATH)
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151
SPECIE 4.3 CRITERIA DESIGN (WALL & CANOPY)
SPECIE 4.4 CRITERIA DESIGN (‘EAT’ INTO EXISTING FACADE) (CUT OUT WINDOW)
SPECIE 5 INDIVIDUAL CANOPY (EASIER FABRICATION)
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153
best iteration 1
FORM EVALUATION SPATIALITY AESTHETIC FABRICATION COMPLEXITY DYNAMISM
SITE RESPONSE MAIN ACCESS INTERACTIVE SHADING WINDOW ACCESS
Axonometric view The structure sit across the entire existing facade, created a dynamic and continuous looking from the front elevation. It was tilted with an angle which allowed it to have some shading ability to the main paths and the windows. The transition from wall installation to a canopy demonstrated the growing nature of parasitic architecture.
However, the folding percentage was not enough to create an undulated form. There was not much variation of folding along the structure which resulted in a relatively flat and simple form. But due to its simplicity, it had less problems in digital scripting compare to others and was easier to fabricate.
Front elevation
154
Side elevation
155
best iteration 2 / future development
FORM EVALUATION SPATIALITY AESTHETIC FABRICATION COMPLEXITY DYNAMISM
SITE RESPONSE MAIN ACCESS INTERACTIVE SHADING WINDOW ACCESS
Axonometric view The most significant feature of this iteration was the transition from a wall cladding to a shading canopy, with a moderate rotation of form. Its presence was subtle and ambiguous. It had a really dynamic form and a sense of flow, which created great contrast to the existing building.
However, the twisted form was more complicated than how it looked like. The twisting resulted in the collisions of panels, and also some quad meshes at where it twisted. Nonetheless, the script was further developed at later stage with triangulation of quad meshes and also the sphere collide component to avoid collision. We would be able to solve these problems if more time were given and this could become one of our future developments.
Front elevation
156
Side elevation
157
best iteration 3 / final form
FORM EVALUATION SPATIALITY AESTHETIC FABRICATION COMPLEXITY DYNAMISM
SITE RESPONSE MAIN ACCESS INTERACTIVE SHADING WINDOW ACCESS
Axonometric view The final form was a combination of last two best iterations. It was a balance between complexity and fabrication. It was a combination of two pieces of origami structures. One as facade and canopy, and the other one hovering on top of existing structures to create north side shading. There were spaces ‘inside’ the origami, accessible for users and created more interaction.
However, the final form was also just a selection from the existing iterations that we had at that design stage. It could be further developed with more appropriate evaluations and techniques (last iteration was an example). We stopped at this point because we thought this was relatively successful and already addressed the specificity of the site. Nonetheless, it was an ongoing process.
Front elevation
158
Side elevation
159
160
Wall / Canopy
Part of building
Installation / Shading
The undulation of the wall creates new spatial experiences within the rigid rectilinear space
161
‘FOLDFINDING’
162
163
C2. Prototypes
6 prototypes were made in this stage before the presentation model. During the prototyping process, The real physical world was very different from what we saw on the screen, especially for things like materiality, fabrication defects and tolerance. Those things could only be realized during prototyping.
Meanwhile, the prototypes were not only for testing and representation. Sometimes they were part of idea generation as well, like the form generation in prototype 1 and pattern visualization in prototype 4.
1. Form generation
164
2. Frame & panel system
3. Flexible joint
4. Pattern testing
5. Material testing - aluminium
6. Pattern testing - metaball
165
Prototype 1
The first prototype after part B was made of 0.6mm thick polypropylene sheet. At the time we were still unable to generate forms with varied foldings through grasshopper. Therefore, this prototype was more of a form finding process which helped us to test and visualize the origami mechanism in reality.
The mountain lines were etched because it would be folded outwards while the valley lines were cut with dash lines.
166
167
folding cpacity It was much harder to fold than what we expected. The folding moment of each triangle occurred in different directions, and it became more difficult when we got into the centre of the sheet. However, the result was very successful in terms of its flexibility and structural integrity. It allowed us to understand the real potential of the system which also became a starting point of our digital script development in part C.
168
169
Prototype 2
Developed from prototype 1, prototype 2 consisted of two materials, black perspex (0.2mm)
and
transparent
polypropylene
(0.6mm). We were quite satisfied with the materiality
of
polypropylene
which
were
used previously. In this case, only frames were
fabricated
with
polypropylene.
It
would allow the installation of triangular panels on the top.
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171
polypropylene frame
The problem with this frame was that it lost structural integrity when we fold it because of the subtraction of centre piece. The frame started to twist under the force of folding.
Meanwhile, most triangle frames shared same vertices and edges, made the folding almost impossible.
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173
bolt connection
Mechanical were
easy
Joints to
with
control
bolts
and
(M3/15mm)
were
able
elegant jointing methods.
to
design
Also, the bolts and nuts would collide on
language of bolts did not fit with the
each other because of their giant sizes.
perspex
It stopped origami panels to fold entirely
disassemble
easily.
panels
and
However,
the
translucent
frames
as one design. We were looking for more
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175
rivet connection
The installation of bolts was very time consuming
before the panels got collided.
and expensive. Therefore, we tested rivet as
176
glue connection
We then tried glue, which might be the most
Ideally, the without the mechanical fixing,
efficient and clean way of joining the frame
the
system
could
fold
to
largest
extent
an alternative. The installation was very fast
However, the perspex panels had very fragile
and panels. There would be no mechanical
without any collision of joints. However, the
which would be better for mass production.
material qualities, and they tended to crack
fixings,
of
bending and twisting force during the folding
The size of it was significantly smaller than
under the strong force applied during rivet
floating for the black perspex panels, with
was very strong and the glue was not able to
the bolt which increased the amount of folding
installation.
the translucent frame fading away.
hold the structure.
which
would
create
a
sense
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Prototype 3
The polypropylene was still used as the connection joint
material
in
this
prototype.
The
size
of
the
joint was reduced to minimum to have a cleaner finish on the model. Rivet was used rather than bolts. The smaller
size
of
rivet
would
reduce
the
problem
of
panels colliding on each other. The new joint sit on the different sides of panels to allow maximum folding.
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179
considering material thickness
When the joint is at the back, the panels would stop folding when it folded flat. The thickness of the panels would stop further rotation.
Therefore,
joints
were
placed
at
different
sides
of
the
panels,
depending on the folding direction:
Mountain folds had joint at the back (pink) Valley folds had joint at front (blue)
180
181
problems
The polypropylene sheet was very stretchy, and the dashed lines we used made it even worse. The joint was stretched and deformed during the fabrication process. Therefore, the model lost its
Polypropylene stretching
structural integrity.
Meanwhile, the joint was only placed at the centre of the edge, the form was not stable. The panels kept twisting, and it was very hard to fold. Multiple joints would be used in both end of the edge in future prototypes.
Panels twisting
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183
Prototype 4
Another sheet of polypropylene was made to test the visual effect of patterning. It helped us to visualize the effect that the light passing through the perforation. The
polypropylene
was
0.3mm
thich
which
would be easier to fold and to maintain the folding position.
184
185
Undulation of form with deformed folding
186
Rivets at valley folds to hold position
187
188
Gradient of metaball and perforation
Gradient of metaball and perforation
Perforations at less folding
Metaball at folded place
189
Prototype 5
At this stage, the development of digital script with
allowed varied
testing
us
to
patterns.
through
generate After
polypropylene,
foldings the
form
we
were
looking for other materials which were self supporting anc could hold up the form by itself. Aluminium was the first material we tried. The reflectivity of alumunium gave each individual panel a different finishing quality under light.
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191
mechanic joints & tabs
The aluminium panels were jointed through tabs, with mechanical connections. Learning from the twisting failure
in
prototype
3,
the
bolt
connection
were
applied at both ends of the tab to provide structural stability. We used bolts instead of rivet (which were faster) because it allowed more tolerance during assembly and could also be disassembled easily.
192
193
Front view
194
Back view
195
Defects & problems
DEFECTS AND FINISHING QUALITIES
FABRICATION TOLERANCE AT PANEL JUNCTION
However, there was some problems during the fabrication process due
The folding of tabs was not as precise as what we modelled digitally,
to the special materiality of aluminium. The aluminium sheet started
the fabrication tolerance resulted in some problems in model assembly.
to bend during the CNC cutting, which caused unexpected defects such
The 3 corners of triangular pieces were not precise enough to allow
as uncut and the cut at engraving lines.
multiple panels to connected at one point. This resulted in the shifting of position of adjacent panels and affected the entire form.
Meanwhile, there was no lubricant applied on the router bit. The
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aluminium stuck on the router bit and made it blunter through the
The prototype we made was only part of the structure, but the amount
cutting process. This resulted in the furry finishings at the engraving
of tolerance were not allowed if the entire piece of origami were
lines. However, the bending of tabs would be not so sharp if there was
being made. At the later stage, we drill holes at the corner to leave
no engraving at all (the one on left).
out some space for panel connection and allow tolerance.
197
Prototpye 6
After the material testing in part B, we understand that the height of inflation was mainly depend on the size of the cut outs and also the material thickness. Due to the size limit of the origami panels, the metaball cut outs would be much smaller than part B prototypes. As a result, the 1mm plastic sheet (thinnest available in Fabrication workshop) was used. We chose plastic with glossy finish, due to its higher melting point.
198
199
200
reference sheet
failures
In order to understand the relationship between cut out sizes and the
We tried to inflate as much as possible during fabrication. We
inflation height, we made a reference sheet with varying sizes of cut outs.
heated few times, each time 75 seconds. The more we heated up, the
The sizes covered the range of sizes we needed for the final model, which
softer the material was, and the higher it inflated. The one on the
we intended to make a size gradient of metaball. Bigger size of inflation
right, which were heated 4 times before inflation, had the biggest
would be possible if the model was made in larger scales, and the effect
effect. However, the bigger cut outs started to explode because of
would be more dramatic.
the tension applied on the plastic sheet during inflation.
201
Prototype 7
This was the last prototype before the presentation model. After the material testing of aluminium and CNC router, we decided to laser cut mild steel at this stage. There were few reasons:
1. steel was harder and stiffener than aluminium, less problems would occur during fabrication 2. The finishing quality of laser cutter would be much cleaner than CNC router 3. The dashed lines at the folding had been tested in earlier polypropylene prototypes 4. The duration of laser cutting was much shorter than CNC
202
203
outcome & problems
adjustment for presentation model
The laser cut model took less time and had a sharper finish than cnc
We used longer but less dashed lines at the folding place, to make
router. However, fibre laser cutting machines worked quite differently
them continuous lines and therefore reduce the possibility of
as CO2 machine which we used previously. The cutter had to recharge
getting a burn mark. We also reduced the number of perforations
for each cut. It took lots of time and also created more burn marks
for the final model, because it took too long to cut. The size
than usual. The folding was fine with the dashed lines, but was not
of the prototype that we got was only 10 percent of the entire
as sharp as cnc engraving. Holes were drilled at the corner to allow
structure, and it already took 30 minutes.
fabrication tolerance and to avoid the collision of panels.
204
205
PRESENTATION MODEL
The presentation model was made of mild steel sheets (1.2mm). It was only part of the origami facade in 1:2 scale.
206
207
folding
Mild steel was much harder and less malleable than
Folding formwork
Folding with cut outs
aluminium. Form works were made for the folding, in order to achieve a sharp finish. We realized that the tabs and folded panels would collide on each other and affect further folding. Therefore, different form works were used under different situations.
Folding
208
209
metaball installation
We thought about using bolts to attach metaball which would be similar to panel connections. However, We felt that the finishing quality of bolt connection was aesthetically not so good, and would affect the smooth finish of steel panels. Therefore, the metaball was installed by using cohesive tapes which were mainly used at construction site. Therefore, the installation was fast and clean and strong enough to hold the metaball.
Metal tabs Bolts
Cut outs
Tape
Metaball inflation
210
211
Site model A final site model were made with 0.6mm polypropylene at 1:10 scale.
212
213
Perforations with gradient
214
Undulation of form
215
making strips for fabrication 2 RULES OF MAKING STRIPS
To avoid panels with small angle of gaps
Because of tabs, if the gap between two panels were too small or with a small angle, the tabs would collide .
We believed that instead of making individual panels and connect them (like aluminium prototype), the final model should be folded from flat surfaces, which could demonstrate the folding nature of origami. However, while we were making polypropylene prototypes, we also realized that the folding was quite difficult especially when the material was hard. Therefore, we made a balance
To avoid one full piece of origami.
between the two. We divided the final form into few strips to maintain the folding capability and also easier to fold.
The resistance of folding one full piece of origami is big. In this strip, the triangulation was divided into different strips. Therefore, the strips we made were all long and slim.
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217
tabs and rivets
Rivets were used for the connection. due to its smaller sizes and easy fabrication. We planned to put 3 rivets at each tab for stability. But when we were making it, we realized that would take a lot of time and money. We reduced the number of rivets. At the edge panels, we used 2 rivets on the sides of the rivets, while only one rivet was used in other tabs. The effect was almost similar as initial plan.
As planned
218
Edge panels
Panels in middle
219
paracite on a paracite
220
221
222
223
C4.
Parametric modelling
Learning Outcome The most significant improvement of our project since part B would probably be the digital script development in grasshopper. With
4.1 LEARNING OBJECTIVE
deformed triangulation patterns and deformed folding percentage, we were able to produce any form with same technique and principle.
PARAMETRIC MODELLING
It helped us to generate forms which would be most suitable and
DESIGN THROUGH ITERATIONS
appropriate for the site in terms of both aesthetics and site
PHYSICAL PROTOTYPING
response. At the later stage of the project, the prototyping became much easier because of the sophistication of script. In our case,
4.2 OVERVIEW TIME LINE
some foldings with complicated shapes were not achievable only by
4.3 FUTURE DEVELOPMENT
physical modelling and testing. The power of algorithmic modelling allowed us to envision forms which were more complex in a larger scale with lots of variations.
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225
Design through iteration
Physical prototyping
Algorithmic design enabled us to come out with iterations of forms
About 7 prototypes were made in part C which not only played a role
to address the issues and opportunities. The collaboration with
in representation of digital models but also helped to generate ideas
other disciplines through the platform of algorithms helped the
and forms, such as the polypropylene prototype. Some situations like
design to become more sophisticated and more responsible for the
fabrication defects and tolerance in aluminium prototype could never
requirements and the site. Since the early design stage in part
be realized only with digital modelling. The better understanding
B, I had grown strong interest in this particular design method:
of material system helped us to set restrictions while we were
design through iteration. In part C, the iteration process for form
designing. Fabrication also became one of the selection criteria in
finding
form finding process.
was more developed and resolved. The final form could
also be further pushed with more variation and more comprehensive selection criteria.
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227
Overview timeline
SCRIPT DEVELOPMENT
Uniform folding & pattern
Deformed folding with attractor pt & image sampling
PROTOTYPING
Prototype 1
228
Prototype 2
Prototype 3
Prototype 4
229
SCRIPT DEVELOPMENT
Pattern deformation: Diamond grid to hexagonal grid
Deformed grid through Att pt & graph mapper
Indicate mountain & valley folds
Folding with deformed triangulation
PROTOTYPING
Prototype 5
SCRIPT DEVELOPMENT
Panels colliding
Surface colliding component
Final digital model
PROTOTYPING
Prototype 6
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Prototype 7
Presentation model
Site model
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Future development
Selection criteria
Script development
The project could be developed in many ways. The project
As indicated in the journal, the best selection did not become
was designed through form finding iterations and criteria
our final model because of scripting limitations at that
selections.
was
stage. However, at final stage, with the developed script
still a bit too generic. More data analysis could be made for
(especially with sphere collide component in kangaroo), that
selection through few plug ins. For example, we could import
best selection became possible, and we could push that further
sun shade analysis through ladybug and structural analysis
in future. And we also believed that the form could be kept
through Karamba. This would make our final selection become
improving with the continuous development on the script.
However,
the
selection
criteria
we
chose
more specific to the site issues.
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233
Prototyping
Larger scale model
In terms of prototyping, the folding finishing of mild steel was not as
If we planned to build larger scale models, some problems
good as aluminium. We would probably go back to cnc routing aluminium
needed to be solved, such as the connection to the
in the further development. Few adjustments could be made for CNC: use
existing
new router bit and apply lubricant; use thicker material and router with
canopy. The weight of the structure would be really big
vacuum to prevent bending.
if it was all made out of steel. And due to its large
wall,
and
the
connection
with
the
existing
span, connections needed to be strong enough to resist Meanwhile, it was quite hard to fold into the correct angle accurately.
huge wind load.
It worked for presentation model because it was only a portion of it. However, there would be too much tolerance for making the entire model. As a solution, small pieces of mdf with correct angles could be fabricated just to provide the correct angle of folding during fabrication.
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â&#x20AC;&#x2DC;Foldfindingâ&#x20AC;&#x2122; as a methodology
This is probably the most significant among all future developments. Our script was able to apply origami folding on any surfaces with any patterns. The fold would be determined differently through techniques such as attractor point, anchor point and unary forces. Due to the folding nature of origami, the form would be very flexible and could be digitally shaped into any form that the designer want. The scale could vary from facade installation to a table cover. Through iteration process, designer could find the most appropriate form for their design and to address their brief.
In terms of fabrication, we provided few appropriate materials in this project, such as aluminium. polypropylene, perspex and mild steel. They could work for a whole range of scales.
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DEREK HU 2016
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