Air Studio - Sze Ming Tan by Tan Sze Ming

AIR STUDIO

2017 edition

TABLE OF CONTENT PART A : conceptualisation A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION & GENERATION A.4 LEARNING OUTCOMES A.5 APPENDIX - ALGORITHMIC SKETCHES PART B : Criteria design b.1 resarch field b.2 case study 1.0 b.3 case study 2.0 b.4 technique: development b.5 technique: prototypes b.6 technique: proposal b.7 learning objectives and outcomes b.8 APPENDIX - ALGORITHMIC SKETCHES PART c : detailed design c.1 design concept c.2 tectonic elements & prototypes c.3 FINAL DETAIL MODEL c.4 learning objectives and outcomes PART D : REFERENCES

INTRODUCTION

I am currently into my third year in University of Melbourne pursuing Bachelor of Environment, majoring in Architecture. I was born in Malaysia and has been an international student at an age of 10 where I traveled and studied in four different countries. I graduated with an International Baccalaureate Diploma in 2012 where I continues two years of my life in compulsory military service in Singapore.

sze MING TAN (22) SINGAPORE UNIVERSITY OF MELBOURNE

“ Sustainability is no longer about doing less harm, it’s about doing more good. “ - jochen zeits

Within the two years of military service, I completed my basic military training and was sent to Signal course where I managed to excel in the course and awarded “best trainee award”. In addition I was attached to one of the elite infantry unit Guards as an officer commanding signaler where I plan and draw out strategy plans along with other officers. Coming out from military service, I gained new perspectives in life and maturity. Through my education and upbringing, I have been fortunate to be exposed to a rich tapestry of cultures and people. My experiences as such have inculcated a deep appreciation of the nature of human relations and social dynamics. Architecture was one of the subject which particularly piqued my curiosity. My interest in this field started when i get to worked with the local architects to plan out the interior for my parent’s new home. I was privileged to have attended several meetings and in the process, gain valuable insights into the running of construction process. Taking Air studio, I believe it will opens a whole new perspectives and design opportunities. Further more , expanding my architectural and technical skills that will be beneficial to my future career.

PAST PROJECTS

Design studio : Water - Boat House Sem 2, 2016

Digital Design Fabrication : Folding Sem 1, 2016

CONCEptualising

PART A1 DESIGN FUTURING

2016 Evolo skyscraper competition AIR - STALAGMITE A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES

cHANGSOO pARK & sIZHE CHEN bEIJING, CHINA

Air-Stalagmite was awarded honorable mention in 2016 Evolo Skyscraper Competition, designed by Changsoo Park and Sizhe Chen who proposed a new visionary ideas of sustainable “growing” high-rise project thus the name “Stalagmite” that challenge the way we interpret the meaning of vertical architecture and its relationship with the natural and built environments. Their design was guided by the increasingly concerns on environmental impact and movement towards promoting more sustainable live style. These are represented in a form of their architecture design. Firstly, It serves as a indicator for the community that acknowledges of the environmental pollution problem. Secondly, it aims to tackle the air pollution - Smog with minimum land use and improved the surrounding air quality caused by the industrial and technological revolution1. This recovery process is done through a gigantic vacuum located at the bottom of the building to filter contaminated air and capturing of suspended particles as it is going through series of air filters located at the higher levels. The theme of sustainability is further express where the accumulation of harmful air particles is then re used as composited building material with concrete to further construct the skyscraper with 3D printing techniques (Fig 1). Thus, reducing wastage of resources and cost. Beacon tower is constructed over a time period where the shape and height of each filament represents the site specific air pollution index for the year (Fig 2), similar concept of a tree ring2. Through these indicator towers, they believe “recognition” is the first step towards encouragement of sustainability and solving environmental pollution problem.

Figure 1 : Function Layouts

Figure 2: Section Drawing, Air quality index prediction

This precedent relates back to reading by Tony Fry where he stated that “it is critical to understand the current state of the world and a clear sense of what design needs to be mobilized for or against” where conventional architectural or design is being redefine3. Hence, project such as this adapted to the modern current changes and attempt to address the issue of sustainability and notion of recovery in a form of architecture. Although this was an paper architecture, their design created a clear intention that was able to open up new perspectives towards “generative sustainability” as well as re evaluate human values and beliefs. The importance to form a middle ground coexisting between human values and ecological world in designing and promoting a way to do more than selfsustain.

References: 1. Evolo, Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities (2016) <http://www.evolo.us/competition/airstalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/#more-34959> [accessed 10 March 2017]. 2.Evolo, Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities (2016) <http://www.evolo.us/competition/airstalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/#more-34959> [accessed 10 March 2017]. 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

PART A1 DESIGN FUTURING

Reclaimed Telegraph WHBC ARCHITECTS LANGKAWI, MALAYSIA

Poles House

Further discussion into sustainability architecture, this project designed by WHBC Architects in Malaysia took a different approach toward building an environmental and economical friendly house. The client was fond of Malay houses and requested for a basic timber house on a small hillock. The architects were reluctant to use timber extensively and convinced their client in using traditional timber utility poles (Fig 3) which have only recently been replaced by concrete version all over Malaysia. Traditional utility poles are made of hardwood timber and have been treated and proven as quality structural timber with aesthetic textures that only time can create. Furthermore, different elements of the building such as floor, wall boards and roof’s materials were sources from old abandoned jetty and hotel. Using re-used timbers as main material, steel was used as a secondary element to integrated with the timber system to make the construction easier and quicker. In additional, the house took inspiration from Europe passive house’s principles and created a passive house suitable for Malaysia climate with openness, well ventilated and cooling that requires little or minimum energy cost4. This precedent relates back to the reading by Tony Fry, Dunned and Raby where both readings stated that “Power of design is often overestimated compare to the people who are buying”5 Hence, “Changing the way society thinks..Instead of how and we design”6. In this case, the architects were able to stick to their principles and belief, fulfilled the client’s brief that evolved from a passion for the Malay house to one that did away with having to cut down mature trees. The old utility post were given life that serve another purpose as a beautiful structural timber poles. In additional, WHBC Architect’s sustainable building method show us that critical design, critical thinking, breaking away from the norms just might be able to create something unique- an alternative. Its all depends on our perspectives and decision where it relates back to Dunned and Raby’s theory of 4Ps, possible, plausible, probably and preferable.

Figure 3 : Traditional Utility Poles

Figure 4 : Stairs made out of Traditional Utility Poles

“ to be human is to refuse to accept the given as given. “ - Dunned, anthony & raby

References: 4. Architecture Asia , ‘Portfolio’, Reclaimed Poles, 4, (2014), 29-33, in Timber <http://www.architectureasia.co/magazine/2014-04/> [accessed 11 March 2017]. 5. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 6. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–164

PART A2 computation

ICD/ITKE Research pavilion 2014-2015 University of Stuttgart Germany, Stuttgart

Figure 5 : Overall Design & Fabrication Processes

The Institute of Computational Design (ICD) and the Institute of building structures and structural design (ITKE) in University of Stuttgart have constructed a research pavilion base on exploration on fiberreinforced structures and concepts of bio-mimicry - specifically nest construction of a water spider. This project is follow up series of research pavilion that demonstrated the architectural potential as well as the constraints, using digital analyzing , simulation and robotic fabrication method7.

In this case, ETFE, initial inflated soft shield was modified according to the computation’s form finding generated through fabrication constraints and structural simulation. Furthermore, a digital agent was developed specifically for the robotic to navigate through the shell geometry in a selectively layout where they are required for structural reinforcement. This results in a resources efficient construction process. An adaptive computational design strategy was also developed to ensure the construction of carbon fiber reinforcement was placed in the desire location within the geometry and constantly “communicating” giving real time feedback to the operator9 (Fig 6) This overall project represents not only the resource efficient construction process but also provides a whole new set of opportunities and perspectives for computation and parametric design, as well as pulling construction and design process closer together as one where it becomes more efficient and quicker. Lastly, it also represent the innovative potential of interdisciplinary research and collaboration which related back to the question posted in the lecture. “Design futuring” , Redefining “what is architecture”, “It is no longer just about style”.

This precedent also demonstrated the theory based on the reading by Kayak where robotics and computation is used as a “wicked” problem exploration and solver8. The focus of the project is a “bottom up” design strategy where they used computation to investigate individual components such as the nest of water spider and abstract the structural principles as data. Through this analysis, these data can be utilized to simulate desired and achievable geometries which is further develop into a digital fabrication method (Fig 5). During the fabrication process, it also further demonstrated the theory by Kayak regarding “Puzzle Making and Paradigms of design” where initial goals and solution will be modified due the individual research in the conditions of uncertainty. Thus, outcome is uncertain and modified solution will be developed to meet the modified goals during the process of design9.

Figure 6 : Fabrication Process

References: 7. Institute of Computation Design and Construction, ICD/ITKE Research Pavilion 2014-15 (2015) <http://icd.uni-stuttgart.de/?p=12965> [accessed 12 March 2017]. 8. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 9. Ibid, pp.16

PART A2 computation

HARBIN OPERA HOUSE mad architects Harbin, China

Harbin Opera House designed by MAD Architects has taken its project to a great height by using the latest technologies, making futuristic vision into reality. Its dramatically expressive form derived as a response to the contextual site’s natural wilderness and climate creating an fluid and sinuous form that integrates with the surrounding topography, as if sculptured by nature itself. External cladding with white aluminum panels further emphasis the connection with the climate, creating a sharpness and seamless surfaces between the terrain. The organic nature of the building continues to flow through the interior’s grand lobby, large transparent glass, walls creating the same effect connection towards the external. Ultimately forming an architectural conceptual narrative, one that transforms visitors into performers10.

This precedent relates back to reading by Oxman where advancement of computation opens up the possibilities in designing and digital fabrication. E.g creation of mathematical model found commonly in 3D modeling softwares (Rhino, grasshopper) such as Non-uniform rational basis spline (NURBS) or delaunay edge. It enables to generate curves and surfaces with control points that allow architects and designer to have more flexibility in controlling both analytic and model shapes, shown in Harbin Opera House’s organic form. Furthermore, computation further enable form finding method with integrate data such as structural material properties to create a much efficient and feasible geometric. However, computation is not be mistaken as a creative tool but logical parameter schema that allows exploration of the designer’s creativity11. Without the initial creative solution, there will never be further exploration through computation.

“ This is an age in which digitally informed design can actually produce a second nature. “ - oxman

References: 10. Architecture Asia, ‘Porfolio’, Dramatic Art, 1, (2016), 18-25, in neo - futurism <http://www.architectureasia.co/magazine/2016-01/> [accessed 12 March 2017] 11. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

PART A3 COMPOSITION & GENERATION

CHI SHE EXHIBITION SPACE archi-union architects shanghai, china

Chi She Exhibition Space designed by Archi-Union Architects is a small scale precedent that demonstrated the uses of both parametric design and robotic fabrication to construct this organic facade filled with texture and pattern bricks which represent the vitality of Chi She and a connection between design and culture11. Furthermore, the external wall was constructed with recycle bricks from the existing building. This further demonstrated the architect’s consideration towards environmental impacts. This project might took inspiration from Gramazio and Kohler’s research project - bricks laying through digital fabrication techniques12. By putting Gramazio & Kohler’s research project to the test in an actual architecture practice. In order to construct precisely and effectively, robotic masonry fabrication technique by Fab-Union is developed. With the help of parametric software integrated with BIM, the architects are able to simulate material analysis and construction performance. These data is then input later into the robotic arm to further construct the actual design13.

This project reflects on the reading by peters where the invention of new techniques and technologies have shaped the practice of architecture14. Specifically, the uses of computerization has evolved into computation design where it is not only used for visual or representation but allow the architects to have greater control over their design ideologies. In this case, the architect requires to consider many other factors compare to Gramzio & Kohler’s project such as structure load, dynamic load, live load, aesthetic requirement, functional, etc to ensure this building is actual safe to use. Through this project, this proved that digital fabrication and with the help of computation softwares, complex forms and new construction opportunities are made possible. Furthermore, the integration of ancient material bricks, able to meet the requirements in the new era. However, for computation to be useful, they are require to flexible to constantly changes in parameters of architectural design. Designer is limited to what the software and robotic fabrication is capable of. Similarly, architects must have the ability to accommodate these changes15.

Figure 7 : Digital fabrication process

References: 12. Gramazio Kohler Resrach, Project Research (2016) <http://gramaziokohler.arch.ethz.ch/web/e/forschung/index.html> [accessed 17 March 2017]. 13. Architecture Asia, ‘Porfolio’, Dramatic Art, 1, (2016), 18-25, in neo - futurism <http://www.architectureasia.co/magazine/2016-01/> [accessed 12 March 2017] 14.Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 15. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

PART A3 computation & generation

Beijing National Stadium Jacques Herzog, Pierce de Meuron and ai wei wei Beijing China

Beijing National Stadium designed by Swiss architects Herzog & De Meuron and Ai Wei Wei is an example of biomimicry architecture. As implied by its nickname “Bird’s Nest”, the project is derived from the structure of a upturned bird’s nest. The stadium consists of an inner bowl of concrete seating surrounded by a facade of twisted steel, with a public concourse area sandwiched between the two. Further insulated with translucent ETFE panels, similar idea to how bird nest is insulated through stuffing of small piece of materials in between their main twigs 16. However the concept of bio-mimicry is nothing new. Throughout the history, human structures have been derived from nature. For Example, Australian aboriginal architecture was constructed with the similar concept but with localized materials17. Due to the advancement of technologies, It allowed us to investigate and replicate the systems that our past were unable to exploit at a larger scale. Furthermore, as the industrialize materials becomes more flexible and strengthen, the challenge of construction is no longer lies within overcoming the limits of materials but rather in managing the economy, efficiency, sustainability and ecological footprint of the entire process of construction, use and deconstruction18. Hence computational design is developed and used to achieve these factors. These are demonstrated through every precedent showed within this journal. In this project, as there are many factors to be considered, parametric design software enables the designers to quickly generate and simulate the initial design of the stadium and explore and test alternative solutions and opportunities in a fast rate - the most efficient layout of interconnected steel structure that forms a bowl geometry as well as adaptive to earthquakes, variables in the layout of the seats that all spectators has the best possible view of the field, sustainable construction that accommodate multi functional purposes19. This project does not simply demonstrated the use of parametric design to achieve better result but also will influence of future building to exploit the concept of bio-mimicry and meet the current standard of architecture practice - safer, healthier, economically and environmentally responsible. References: 16. Jinay Tan, Beijing National Stadium (2014) <https://arc239parametricism.wordpress.com/2014/03/25/beijing-national-stadium/> [accessed 16 March 2017]. 17. Australia.gov.au, Australian indigenous Architecture (2016) <http://www.australia.gov.au/about-australia/australian-story/austn-indigenous-architecture> [accessed 17 March 2017]. 18. Ann Rogers, Bori Yoon, Chloe Malek, ‘Beijing National Stadium 2008 as Biomimicry of a Bird’s Nest’, Architectural Structures, 1, (2008), 2-16, in ARH 251 <https://www.mcgill.ca/architecture/files/architecture/BiomimicrySSEFessay2007.pdf> [accessed 16 March 2017]. 19. Ibid, pp.13

PART A4 Conclusion Conceptualization part A explores the evolution of technology and materials, how it has redefined the definition and standard in architecture practice. The emergence of technology, computation method, parametric design plays a major role in architecture practice today, embraced by designers and architects as exploration and problem solving tool that creates opportunities and innovative design to tackle the current sophisticate “wicked” issues and factors in architecture practice. Furthermore, parametric design enables varies digital fabrication process, bring design and construction closer than before. Resulting in greater communication between disciplinary. As good as it sounds, computation is not be mistaken as a creative tool but logical parameter schema that allows exploration of the designer’s creativity and it is limited to what capabilities of the software.

PART A5 learning OUTCOMES Through the reading “design futuring” by Tony Fry has greatly expand and influenced my design thinking, reflecting on the complex issues and systems within architecture practice. Furthermore, equipped with zero knowledge on parametric software, the exploration of precedents within conceptualization part A enables me to developed new knowledge and perspective on capabilities and efficiency uses of computation skills in architecture and construction practice. Further expanding my perspective on generating complex shape or form that i could not achieve in my previous year. However, in order to maximize the effectiveness of computation design, computer communication (programming) is required, with the current level of understanding, i am only limited in addressing simple issues but “Practices make perfect”.

Through the research of part A precedents, my design approach towards the later part of the project would be through further exploration of natural system as it has proved to be sustainable and efficient as design solution so far.

WEEK 1 - ATTRACTION POINTS Attraction point - Recgrid

Attraction point created through calculation the distance between each point against the grid. Using sphere as the output.

Attraction point - Loft surface

Attraction point created through calculation the distance between each point against loft curves. Using sphere as the output.

Mutli-Attraction point

Using average, mutliplication of the mutliple points against the distance on the surface as attraction points in Z direction.

Using Curves as attraction points, Divide curve to create the amount of control points.

- Loft surface

- Grid / eXTRUSION

WEEK 2 - uk pavilion

WEEK 3 - Image sample

CRITERIA DESIGN Part B involves choosing one parametric design research field to be focus on, there were several that piqued my interests - Tessellation, Bio-mimicry, Materials and geometry. I believe each parametric design research field excel in its own way, by synthesizing and understanding each field allows us to have a greater control and a well integrated design.

PART B1 RESEARCH FIELD

Voussoir Cloud iwamotoscott ARCHITECTS sci-arc gall

ery, la

Textile Hybrid m1: lA tOUR DE I’ARCHITECTE References: 20. “‘Voussoir Cloud’ By Iwamotoscott With Buro Happold”. Archievenue. N.p., 2017. Web. 10 Apr. 2017. 21. “Textile Hybrid M1: La Tour De L’Architecte | Institute For Computational Design And Construction”, Icd.Uni-Stuttgart.De, 2017 <http:// icd.uni-stuttgart.de/?p=7799> [accessed 27 April 2017]

geometry Voussoir Cloud is an example of â&#x20AC;&#x2DC;Top-downâ&#x20AC;&#x2122; design strategy where they defined the general form through computational material performance simulation such as membrane or spring to form finding and evaluate the most efficient form of the design profile20. This is a great example of a well integrated parametric design where it involves several research fields. Materials , Geometry, using materials or geometry as a initial element to define the general form, then further break it down with tessellation with specifically designed individual panels to fit the geometry differently. The chosen materials further defamiliarize both structure and material to create conflicted readings of normative architectural typologies. The key take away from this precedent is the uses of fabrication method and connection details where the curvature is created through curve loft surface and applying triangular planar panels (Fig 8). Detail Connection are connected through folding corners of each individual panel.

Figure 8 : Loft Surface with triangular panels

MATERIALS This design explores the performance of textile material system. Through the exploration of material study, allows us to produce more material efficient and analogical results21. Material exploration can further uses as a form finding method where its form is directly based on the material performances (Fig 9). I believe this research field is an essential factor and act as the foundation of all design cases. The success or failure of the design itself depends on the understanding of your chosen materials system. Furthermore, the chosen materials for aesthetic will definitely has a huge impact on the atmosphere and effect your design is producing. Hence, material will be my fore most priority in my upcoming design.

Figure 9 : Textile Material

Voltadom Skylar tibbits

ICD/ITKE RESEARCH PAVILION University of stuttgart References: 22. “Voltadom By Skylar Tibbits - Designplaygrounds”, Designplaygrounds, 2017 <http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/> [accessed 27 April 2017] 23. Frearson, Amy, “ICD/ITKE Research Pavilion At The University Of Stuttgart | Dezeen”, Dezeen, 2017 <https://www.dezeen. com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/> [accessed 27 April 2017]

Tesselation Voltta Dom, by Skylar Tibbits is a project that involves “bottom-up” design approach, unlike the previous precedent above. This project starts off with a single cell connecting to multiple cells in a relationship of interdependence between cells and border22. Doubly curved vaulted surface and develop able surface was developed which allows relative ease in assembly and fabrication (Fig 10). The key take away from this precedent would be the consideration of fabrication. The ease of assembly of complex surface was possible, was due to the fact fabrication limitation was considered in the beginning of the process where computation software was evaluate whether the surface are developed surface. However, it is important to consider the flexibility of the material, as it opens up new possibility of design.

Figure 10 : Develop-able surfaces

Biomimicry ICD/ITKKE Research Pavilion is yet another precedent that involves “bottom-top” design approach. It involves design process and outcomes inspired by the natural. In this case, it explores the architectural transfer of biological principles of the sea urchin’s plate skeleton morphology 23. There are few flaws and benefits to be considered, biomimicry design has been used frequently because it is a living precedent that has existed for a long period of time. As it proven to be functional and efficient. However, choosing the right system and exploring & studying ‘new’ system requires proper resources. Without the proper equipment, the exploration can be limited. Regardless, this precedent further widen my knowledge of fabrication method with detailing of plywood panels and connection such as finger joints. Figure 10 : Finger joints connection details

CASE STUDY 1.0 - Biomimicry

The morning line - aranda lasch

The Morning Line is a collaboration work by artist Matthew Ritchie and Daniel Bosia of Arup’s AGU. This project aims to explore the interplay of art, architecture, cosmology and music. It is a playful network of intertwining figures and narratives space with no specific exit or entrance. 24 This project is bottom-up design approach where it start off by exploring simple geometry with 3 faces such as triangular cube, 4 faces pyramid, etc. The key design is the idea of fractal design where each element can be self divided into smaller individual geometry within them self. Combining with the idea of loop where each faces can be place and remove upon each other base on the user choice. This allows user to generate countless of iteration of possibilities. Further more, frame design can be produced randomly on to the surface further generating more possibilities.

Selection criteria: As we have not receive our exact brief, i have selected a few criteria based on a general ceiling installation design. LIGHTING EFFECTS: Consideration of the pattern, spacing, height of the ceiling installation. Further consideration where both artificial and natural lighting are coming from. ACOUSTIC EFFECTS: Consideration of material - reflective, absorption sound panels. Pattern design - angle, perforated

CONSTRUCTABILITY / FLEXIBILITY Consideration of fabrication and assembly process. The choices of material plays a big role in this process. Further more the resources and machines that is available to you, can restrict your choices of fabrication. Figure 11: Abstracted Design approach, intergration between fractal structure, movement and music

References: 24. “- Work - The Morning Line”, Aranda\Lasch, 2017 <http://arandalasch.com/works/the-morning-line/> [accessed 27 April 2017]

PART B2 :ITERATION

WB Split Polygons - Vertices - 4 sides Evaluate Curve 0.3 Remove Sides - 3

WB Offset 0.3 Evaluate Curve - 0.3 Jitter 0 > 5

WB Window 5 Evaluate Curve - 0.3 Jitter 0 > 5

Bz Span Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Midedge, Wb Sierpinksi Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb BevelEdge Evaluate Curve 0.3 Remove Sides - 0 > 5

WbSplitQuads, WbSplitQuads Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Offset, Wb Splitpolygons Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Window, Wb Fra Evaluate Curve 0.3 Remove Sides - 0 > 5

ame

WB Sierpinski - 2 Evaluate Curve - 0.3 Jitter 0 > 5

WB Frame - 10 Evaluate Curve - 0.3 Jitter 0 > 5

Wb Sierpinksi, Wb CatmullClark Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Frame, Wb Window Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb SplitPolygons, Wb BeavelEdges Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Mid Edge, Wb Sierpinski Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Mid Edge - 1 Evaluate Curve 0.3 Remove Sides - 0 > 5 Remove Sides - 3

Wb Offset 0.3 Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Window - 5 Evaluate Curve 0.3 Remove Sides - 0 > 5

Bz Span Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Mid Edge, Wb Sierpinski Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb BevelEdges Evaluate Curve 0.3 Remove Sides - 0 >

Wb Frame, Wb SplitQuads Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Offset, Wb Split Polygons Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Split Polygons Evaluate Curve 0.3 Remove Sides - 0 > Removes sides - 3

Wb Sierpinski - 2 Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Frame 10 Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb CatmullClark, Wb Sierpinski Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Frame, Wb Window Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Frame Evaluate Curve 0.3 Remove Sides - 0 > 5

Wb Split Polygons, WB Beavel Edges Evaluate Curve 0.3 Remove Sides - 0 > 5 Removes sides - 3

PART B2 :Successful Species

Derived from simple geometry has high design potential through a simple system or logic. Folded side allows to create an acoustic effect to reflect and minimize noise.

Derived from simple geometry, advance from previous geometry with sides trim, high design potential, creating totally different panel even though it is the same element as the previous choices

Framework, lightwork design, potential design for lighting effects. However, loses the acoustic effect from the previous two.

Framework, lightwork design, very dynamic shape, potential design for light effects.

CASE STUDY 2.0 - REVERSE ENGINEER The morning line - aranda lasch

reverse engineering process: Step 1: Understanding the principle of design: Dragon skin pavilion is a bottom up design whereby it started out using single planar surface and bending the panel through steam bending. Similarly, by using grasshopper, we are able to generate single square with surface divide. With the equal number of points generated through U and V, we are able to create curves through UV direction which can be loft creating a surface. Extracting and cap creating a thickness of the material. In addition, by extracting the curve points and connecting it to graph mapper, it allows us to bend and control the direction of the curve manually.

Step 2: Bake the panel which allows us further orient the panel on the two arc loft surface with surface grid and scale NU. This allows us more flexibility to change the parameters and generate multiple rows and columns of panels oriented on the surface. However the placement of the panel is inaccurate. Hence rotation and movement of every alter row points are required to adjust. Step 3: Once everything is place and intersecting at mid point of each panels. We are able to use intersecting component to extract all intersection point / solid to remove the intersecting part which create s a section cut.

Step 4: Join all breps as one element which can be used to unroll back to planar surface with intersecting cuts. There are other ways of achieving this design such as box morph or twisting box. However through my exploration, i found out that box morph or twisting box is not particular good component to use, if the design is meant to fabricate because of the lost of information in between the loft surface and brep. Furthermore, if not done properly, the morphing can be easily overshoot through the surface.

PART B4 TECHNIQUE: DEVELOPMENT Species ITERATIONS

Double Brep Isotrim Isotrim UV 0.5

Isotrim U 0.5 - 1

Isotrim U 0.5 - 0.6

Isotrim U 0.5-0.6 V 0.5-1

Isotrim U 0.5-0.6 V 0.5-0.5

Double Brep Pattern E4, 1

E4, 3

E3, 1

Cull Pattern T,

F,T

F, F

E1, 3

E1, 2

T , F,

Twisting

Orient

Series 4 F

0 Rotation 0.5 scale

40 Rotation 0.5 scale

Series 3

F,T 80 Rotation 0.5 scale

Series 2

180 Rotation 0.5 scale

Series 1

240 Rotation 0.5 scale

Series 0

T,F

F, T

PART B4 TECHNIQUE: DEVELOPMENT Species ITERATIONS

Twisting

Box Morph

Weaver Bird WB Stellate

Seed 1

WB Frame WB Window

Seed 2

WB Stellate

Seed 3

WB Frame

Seed 4

Seed 5 WBWindow

Box - Triple Brep

Graph Mapper Rotation 0 Mirror

Rotation 30 Mirror

Rotation 45 Mirror

Rotation 90 Mirror

0;0,0;0

0;0,1;0

1;0,1;0

1;0,0;0

0;5,0;5 Rotation 180 Mirror

5;0,5;0

4;2,7;2

7;3,5;2

2;3,1;8

1;8,4;8

PART B4 Succesful Iteration

PART B5.1 Site Analysis & criteria

Figure 12 : Isometric View / Function

Site characteristic: The brief of this project is to create an aesthetic pleasing looking and functional ceiling installation in a ballroom. Ballroomâ&#x20AC;&#x2122;s dimension is 30000mm length by 16000mm wide space with 7100mm high ceiling. It is surrounded by four columns and window curtains. Stand towards the north west side and a partition towards the center separating salon 1 and 2. Intended user for younger generation and Melbourne context must be considered.

REFINED Selection criteria: The main benefits of computation software such as grasshopper is the ability to produce countless of iteration through a set of parameters and definitions. Hence it is important as a group to set a common theme and criteria towards our next design process. This allows us to work towards a common goal without conflicting. It also acts a recommendation list where it allows to select related potential design for future design.

INTENDED USER / FUNCTION: According to the brief, the ballroom is intended for younger generation which leads us towards a decision of modern theme with a grand atmospheric effect. LIGHTING EFFECTS: Lighting is one of the key role in relation to creating the atmospheric of the room. The desired lighting effects would be bright with a very sympathetic and orderly pattern that creates a formal yet grand effect within the space. ACOUSTIC EFFECTS: Acoustic effect is directly relate to material choices as well as design. The ideal effects is to achieve a design that minimize noise transfer to surrounding rooms. CONSTRUCTABILITY / FLEXIBILITY The objective is to create an efficient and flexible design that allows ease fabrication and assemble. This would be directly link to our prototype to test out the most efficient fabrication method for our design.

Site context: Extracting the city and landscape of Melbourne, as a design approach for our ceiling height potential.

Figure 13: City grids layout around W hotel

Figure 14: Landscape Contours with city grid layout

Figure 15 : Placement of Melbourne contour as our ceiling potential height

PART B5.2 TECHNIQUE: PROTOTYPES

GROUP tasking: As for our final project, we were given a brief to create an aesthetic pleasing and functional ceiling or wall installation of a ballrooms in W hotel 2020. Teamwork is preferred as it allows greater potential ideas and technical support. However it is both challenging and benefits as a group to integrated ideas and proposal from different field work and interests. Hence we set few restrictions and criteria based on our site analysis which allows us to take different design approaches towards the common goal. Through these testing and prototypes, we will later combine and select those useful design and techniques toward our initial proposal design. Figure 16 : Thomas’s reverse engineering : Exotique, Projectione. Focus on “Top to bottom design approach”

Figure 17 : Cassandra’s reverse engineering : Canton Tower. Focus on “Structural Connection”

Group tasks are split into three different categories : Through past precedents, Thomas mainly focus on projects that evolves around “Top - down” tessellation design techniques such as Vossoir Cloud by Iwamoto Scott and Exotique, projectione. His objective is to produce a desirable design form as a starting point and breaking down into smaller components with connection details (Fig16). Cassandra mainly focus on projects that evolves around geometry design techniques such as Grid Shell and Canton tower. Her objective is to explore and produce several structural framework that allows connection detailing. Mine focus on the projects evolves around “bottom - top” The morning line, dragon skin pavilion. Micro - elements design approach where i explore and produce single element as a starting point and build upon towards a general form. In additional to the prototyping of my reverse engineering, i was inspired by the technique of timber bending which i taken upon as an individual prototype to create a flexible timber panel or strips.

Figure 18 : Sebastian ‘s reverse engineeing : Dragon skin pavilion. Focus on “bottom up design apprach”

The three categories or task towards the design is very important, as we are limited with time constraints. By approaching the design from different angle, it allows us to tackle issues from multiple angle where my design solution may be a solution towards a problem faced by my group mate. Furthermore, as each field focus on different components. it allows us to further expose to variety of grasshopper definition and techniques.

Individual prototyping: As mentioned in the early stage of designing phase, the group have show interest and decided on the uses of timber veneer as a primary material. I was inspired by the technique of timber bending during the exploration of my case study 2.0 which leads me into further exploration toward other method of timber bending as a solution towards one of the issue faced in my design approach towards initial proposal.

Figure 19

Based on the site analysis, the ceiling is 7meters high which our initial material choice - 0.6mm flexible timber veneer paperback may not be able to create a very impaction atmospheric effect. Hence i started to explore thicker panel choice such as MDF. Even though, the aesthetic effect of MDF may not be very pleasing. However, this can be solves through timber pressing on timber veneer onto MDF. With the availability of laser cutting, i started testing timber bending technique, kerfing method. By cutting different profile and spacing on to the MDF, allows to create different type of bending as shown in the photos. Opportunity:

Figure 20

With the correct spacing and kerfing profile, it allows high level of flexibility bending and twisting. It also shows there are some potential lighting effects. Connection between panel can be achieve through sectioning. Limitation: The pattern on the kerfing can be both benefits or limitation as there are no additional space for further development and the kerfing can be not obstructed for bending to work.

Figure 21

PART B5.3 TECHNIQUE: FOrm Finding - bottom top approach AXO - GRASSHOPPER

PROCESS: As mentioned above, we used the Melbourne city and landscape contour as a design context where it is linked to the ceiling designâ&#x20AC;&#x2122; s height potential. I started the form finding method by creating 6 simple straight curve. Each curve is references into grasshopper and divide curve to generate multiple points on the curve which can be used to link to a graph mapper that allows me to manipulate the direction X,Y,Z of each individual points manually to match the contour diagram we created in our site analysis. Once the X direction is set according to the contour, i manually start moving the curves in Y and Z direction randomly. Furthermore twisting the strip by series of 9 degree per point on curve.

PROTOTYPE 1 PHYSICAL MODEL

REFECTION: We uses paper as a testing material to simulate the effect of twisting through 4 section frames. Even though the physical model strips can be seen aesthetically pleasing at a certain angle. Similarly to the digital model, it had no logic or system behind the strips placement and no restriction on the twisting. Overall it seems very chaotic which is drifting away from our selection criteria that we set earlier on. In terms of lighting effect testing demonstrated that the connection of the framework must be consider as it disrupt the flow of the strip which ultimately defeated the purpose of the idea of continuous flow of strip. Lighting effect will be further explore in the future prototypes.

PART B5.3 TECHNIQUE: FOrm Finding - Prototype 2 PHYSICAL MODEL

ISOMETRIC VIEW - Spin Charge

ISOMETRIC VIEW - Spiral Movement

FURTHER PROTOTYPING : Bring forward to prototype 2, we try to develop a system on how the strip flows. By using grasshopper, we uses the component spin force to generate an evenly force charge in a spiral direction away from the â&#x20AC;&#x153;standâ&#x20AC;? which is represented (Fig). As the logic behind is to push the focus on to the stand. Similarly, using the same logic, we created an spiral movement from one end of the room to the stand (Fig) In addition, we added attraction points on several area to generate different thickness strip throughout the space to test out the lighting and effect. We took the spiral iteration and tested out with physical model, using timber veneer paperback. Through this test, we discover several more issues with this design. First issue being the degree of flexibility on twisting timber vener paperback where it is only more flexible depending on the direction of the grain. Second issue being overlapping issue where intersecting strip of thicker strip. Lastly, even though the layout seems less chaotic compare to the previous prototype, we feels we should create more boundary and restriction between the strips. These should resolve certain of the issues we are currently facing now.

PART B6 TECHNIQUE: initial design PROPOSAL CHARACTERISTIC OF THE DESIGN:

GENERAL DIRECTION OF THE DESIGN:

1. Ceiling design created from multiple twisting and blending strips of timber veneer.

Based on the prototypes reflection, we have decided to restrict the movement of the strips within their own boundary of grid and radius (Fig22) where there wonâ&#x20AC;&#x2122;t be any intersecting. This set of restriction creates a disconnection between each strip which we resolved it through the placement of the light. By considering the placement of the light (Fig24), we push the strip away from it but closer to other curves without intersecting them (Fig23). In term of the section, it remains the same as it is linked to the Melbourne landscape contour. We will test out a few more options before we start all the detailing during part C.

2. The curvature and twisting of the strips are based on the landscape contour as well as the function placed within the ballroom. CHALLENGES OF THE DESIGN: 1. Twisting and bending of timber / Difficult to control the twisting and bending of timber in a clean and orderly matter. 2. Ways to keep the stripâ&#x20AC;&#x2122;s flow undisrupted in a long span. Scale issues 3. Fabrication methods and connection details

Figure 22 : RESTRICTION GRID

Figure 24 : Testing Lighting Layout

Figure 23 : Initial Proposal Plan View

SECTION

PART B6 TECHNIQUE: design PROPOSAL - cONNECTION DETAIL

Our initial proposal involves twisting and bending of timber veneer which requires multiple framework to hold the twisting effect in place. Customized plywood framework is cut and bolted with tension cables pulling in three different direction to hold the panels in place and preventing them from twisting away. This is one of the challenges we faced during initial phase prototype where the twisting forces is very difficult to control. The digital design drawn on grasshopper did not consider any forces as well as the material properties. i believe if we are to continue towards the same approach of design, we should start using kangaroo simulation to test out the twisting effect with proper constraint. This way we able to fabricate joint at the right location with accuracy. Another way of solving this by steam bending where the twisting is fixed. Hence the connection frame work is just holding the dead load from the timber panel. More exploration and detailing are required for our upcoming part C. As it is very important not because of the structural purpose of holding the whole system together but the aesthetic and atmospherically effect its creating as well. The consideration of size, scale must be carefully plan out.

Figure 25 : Connection between the frame and bolted cables

Figure 26 : Connection between the strips and the frame

PART B7 LEARNING OBJECTIVES AND OUTCOMES Part B focus on both design and techniques exploration, where we began by understanding the key principles of selected precedent and field on how parametric design has been used in the industry to achieve aesthetic pleasing and functional design. The importance of understanding how algorithms and definitions can be used to help us fabricate and assemble complex forms and shapes. 1. Interrogating a Brief We have given a brief that is allocated in a ballrooms where it requires the understand multiple aspect of the site - aesthetics, acoustic, lighting, constructibility, etc. That being said, we came up with a list of criteria that set a restriction or desirable outcome we are trying to achieve. With the help of precedent exploration in the early stage and the help of computation software such as grasshopper, i was able to produce multiple iteration through form finding that tackle the site criteria. However we are unable to resolve much of the list criteria as we wanted which i hope we are able to push harder in part C in resolving and refining our design issues.

2. Generating A Variety Through the exploration of case study 1.0 and reverse engineering of case study 2.0, has undoubtedly improve my knowledge on grasshopper skill. Through iteration and integrating to the brief, it has been an interesting and sometimes frustrated experience for me to push the design limits. However it is also important to sort out the restriction and boundary in the early stage to prevent your iteration from drifting away from its design purpose. 3. Three-Dimensional Skills Through the practice of case study, i became familiar with the work flow from algorithm to a digital model. However in term of digital model to physical fabrication and assembling physical model, requires more of my attention. I believe by exploring and studying the principles of relevant precedent should improve my skill in that area. This will greatly help me in my part C.

4. Architecture & Atmosphere Through out the part B prototyping, we are constantly tackling the issue of linking our design according to the site criteria through physical modeling as well as grasshopper. There are improvement as we test each prototype. However there are still unresolved issues such as scale, connection details that may affects the overall atmosphere of the space. Based on the feedback given, we will push the design limits and refine our design in part C. 5. Making a Proposal This objective is the foremost important for our project, i believe by defining our proposal early allows us to track and test our details and theory. However, we have failed a couple of times in coming up with a resolved proposal to tackle our challenges and issues. We should look more into past relevant precedent and understand what has been successful and what has not. This way it would be much more efficient and time saving rather then testing out fresh theory.

6. Analyzing Projects I feel the group members has done a great analysis on the precedent that each of us have chosen. However there is a lost of connection between our proposal and the principles we have learn in our past precedent. This may be due to the mismatch of our criteria with the approach our precedent has conducted. As mentioned previously, we should look into more relevant precedent and apply the principles to our design in part C 7. Understanding Computation This is a very challenging task as it is difficult to fully understand computation. I have the basic of understandings of parameters and looking forward in improving my understanding toward it. However it is important to note that grasshopper is just part of a design process where we should balance out our focus on other fields as well. 8. Personalized Repertoire As each precedent focus on different parameters, I feel it is more important to understand the basic and how data work-flows works, allowing us to create our own definition. Precedent and sketchbook is a good place to practice

PART B8 APPENDIX - ALGORITHM SKETCHES

BOX MORPH - divide domain^2

orient

- DIVIDE SURFACE WITH SCALE

orient

- DIVIDE SURFAEE with scale & rotation

LUNCHBOX

- isotrim with domain

LUNCHBOX

- cull pattern with scale -cull pattern with points

Detailed design

Part c1 - Design concept

The main design concept remains unchanged from our interim presentation, where as it has been refined and strengthen. Our previous design focus on strips and twisting system that represents the fluidity and movement of flow within the ballroom, creating different ambiance. However, it lacks of â&#x20AC;&#x153;orderâ&#x20AC;? which leads to a chaotic layout that overwhelm the elegance of design. Furthermore, the lack of control in our parametric design leads us to an inconsistent design and scales. In order to create a more sophisticated ceiling design, we strengthen our concept through creating several systems or logics that bind the surrounding and site context closer to our design form. Through these systems, we are able to re investigate other new possibilities and design form.

While pushing our concepts and design, the group had to address other issues such as scales and constructability of the design through prototyping model. The process of designing and prototypes is inseparable where only through testing, we are able to tell whether the design is feasible. This affects greatly on the design and should be taken into account early stage of design. In the following pages, the details of our design process and approached will be discussed.

Part c1.2 - TECHNIQUE AND CONSTRUCTION

GENERATING FORM

TEC

Site Analysis

Concepts

Surrounding Context Intended Functions / Users

Flow and Fluidity Movement

Strips and Folding System (Plan Forming) Generate grid as site boundary Form 20 curves within grid Bend curves according to point attractor

Contour (Section Forming) Extract contour data into HUE value map Create topography surface through Image Sampling and surface grid Curves projected on mesh surface

Redefine Boundary

Perpendicul along curve Pattern Overlapping Intervals

Arc Variation (Section Forming)

Mid point identified & move Z direction Arcs formed between two curves & mid point Divide arcs and formed lines between points Loft along lines as strips

Lightning Effects

Offset selected panels

Intersection

Offset towa thickness Project onto

Iteration forms General Form

Divide curves Lines formed between neighbor curves

Split strips u Deconstruc Splitting pan Extend and panel B to c

Concealment Shingles & Scales

Deconstruc Divide leng Form line, D Points form

Deconstruc Divide leng List points Creating L

Material be connection

FABRICATION

CTONICS

installation

Panels

unrolled ct brep - edges nels into A and B offset Panel A referencing to create overlapping

Unrolled surfaces

Suspended Steel Cables

Sectional Frames

lar frame duplicated in series direction in 1600mm

n between frames and panels Indexing items

ards Z direction to create

o strip to creates patterning

Joints Connections

ct brep - edges gth at 10mm Divide length at 10mm m circles

Panels

ct surface - edges gth at 20mm - Join plates

Frames

Material & Bolts Testing

ehavior on selection of bolts & ns

Laser Cut

Module Module Assemblage Assemblage On site off site

Part c1.3 - key concepts

Site Consideration Similarly towards our interim presentation, we look closely into the intended functions and users within the specific space. The key location we focused on was the movement between standing and seatings, as well as the relationship between the surrounding context and views from the window towards the interior space. Furthermore, we look into the potential lightning layout in relation to the function within the space. Lastly, the height and scale of the room should be closely look at as it will affects the overall design and intended atmosphere or effects.

In order to create a sense of fluidity and connecting the different elements of the ballroom together, the way we overcome these challenges was through the binding of site context and surrounding context into our plan and section form morphing. These form finding process will be discuss detailed in the following pages.

Sense of Flow

The general form and the grain of the timber-veneer flows between different elements

Lighting Layout & Effects Strips of opening creating a flow of lighting effect according to the intended function within the space

Arc Forming

Creating a sense of volume

Contour & Movement

Through the use of city topography, creates a sense of interaction between the users, enhancing movement within space.

Key Concept As shown on the figure above, the key concept of the design can be broken down into four main concepts. 1. Sense of Flow and Fluidity The main objective of flow and fluidity is to create a connection between the different elements - view, window, seatings and standing. Similarly, creating a flow that direct the users attention towards the two end of the flow - View and Standing which are two significant element of the room 2. Contour Projection The main objective of contour is to create connection between the room and the surrounding context. Furthermore, creating an interaction between the users and enhancing movement within spaces

3. Arc Forming The main objective of arc forming is to enhance the effect of fluidity from the strips. Creating a 3D, sense of volume. 4. Lightning Effect Undoubtedly lightning effect is one of the most important element of a ceiling design. Without overwhelming our concept, the lighting effect is creating through the opening of strips, further enhancing the effect of flow and fluidity across the room.

Part c1.4 - Form finding method Plan Morphing Plan morphing act as the â&#x20AC;&#x153;systemâ&#x20AC;? and the boundary of our design. As mentioned previously, our design ties the functionality of the room to our design form. Through trials and errors, we decided on integrating the lighting requirement and potential layout as the key element that shapes our form. By taking the intended function, we can map out the which specific area requires higher intensity of light. As shown the diagram, we felt that the standings and the seatings require most of the lightning. Thus larger or more openings are require for light to penetrate through. By taking this set of information, we move on to our next design process.

SEATINGS

STANDS

Figure 27 : Plan Morphing Consideration : Grid system with lightning layout and requirement

Through the use of algorithm software, plan morphing started out using a simple grid system with 20 straight curves running across. By importing the data we collected previously, we are able to pin point location on the grid and create an attractor point that pushes the set of lines away from each other. With the help of the script, iteration can be created quickly. Multiple points are able to apply on to the grid system which creates more opening. Furthermore, the â&#x20AC;&#x153;forcesâ&#x20AC;? of the attractor points are able to control which allows us to push or pull the line more closer or away.

ITERATIONS

Part c1.4 - Form finding method Section Morphing Similiar to plan morphing, section morphing act as a ceiling height boundary or potential space. It mainly focus on two main element - Surrounding Contour of the city gird and the intended function in relation to the movement within the given space. To further increase depth within our design, we included another concept - Arc forming to further push the ceiling height to form an interaction between the users and encourage movements within the space. However, there is a limitation where the drop of contour can become an obstacles between the room and the views. Hence we limit the stripâ&#x20AC;&#x2122;s height drop that are located near the windows.

Figure 28 : Image Sampling - Topography & Section Morphing

By extracting the contour data from the city grid and turning them into a HUE value map, we are able to import the data into image sampling where grasshopper are able to generate the topography. With the topography created, we are able to project our “plan morph” iteration onto the contour surface. Further smoothen it through the use of Nurb curves. In order to give volume to the design, we creating another script that generates “Arc” through multiple points on the neighboring curves. The arc forms naturally through the plan curves. However it provides us more control as how much volume is given on each curve. This allows us to slightly adjust the ceiling height without completely overshadow the contour created previously.

ITERATIONS

Part c2 - Tectonic elements & prototypes

Prototype 1: Structural Joint methods

Prototype 2: Panel to Panel connecting methods

Prototype 3: Material behavior in relation to orientation

Prototype 4: Frame to Panel connecting methods

Prototyping: Prototyping stage is the fore most important stage within our design process. The constructability of the design affects greatly on both aesthetic and feasibility of the design. The prototyping can be broken down into 4 main element. In order to create a successful prototype, each elements must be build in relation to each other to work as one system. Decide on the most effective connection through these testing.

Part c2 - Tectonic elements & prototypes Prototype 1 Prototype features: As our material is fairly thin, it is important to establish the types of joint connection we can use for our design. As shown in the photo below: 1.Bolts and Nuts (Chosen) Bolts and Nuts has the most level of consistency through out the connection. The nuts allows the user to control the tightness between the bolts and nuts. Control is the key in this prototyping due to the thickness and level of tearing point of the timber veneer.

Prototype Issues: The main issue with bolts and nuts connection would be the expose of heads. We want the connection to be expose at the minimum. Finding a flat head or color coating may minimize the expose of connection.

2. Rivet Bolts Rivet Bolts has the flat head surface which creates a clean finishing. However, we could not acieve a consistency connection where the bolts move out of place due to the force applied to break the pin (Shown in the photo on the right). 3. Chicago Bolts Chicago Bolts was loose due to the thickness of the material where we could not find the right diameter bolts that fit such thin material. Furthermore, the head was way too big which was not aesthetic pleasing.

Chicago Bolts

Bolts & Nuts

Rivet Bolts

Bolts & Nuts

Front

Bolts & Nuts

BACK

Rivet Bolts

Front

Rivet Bolts

BACK

Chicago Bolts Front

Chicago Bolts BACK

Part c2 - Tectonic elements & prototypes Prototype 2 Prototype features: This stage is very important as it represents the core of the design concept. As the scale of our site is about 30 meters by 16 meters wide, the timber panel must be broken into a smaller scale. Thus this issue of connecting panel to panels is challenged. The main objective of this prototyping is to create a clean connection between the panels without breaking the flow of strips. 1. End to End Connection End to end connection is a very ineffective way of connecting which requires too many connection and it creates an inconsistent gap in between the panels which breaks the flow of strips. 2. Overlapping Connection (Chosen) Overlapping Connection seems to be a more effective connection, creating an consistent cut between the panels and requires less connection.

Prototype Issues: The main issues with the overlapping connection is the clean cut. It exposes the connection and cut which may break the flow we intended in our design. However, by taking our tutor suggestion, these cut allows new design potential where we are able to play with the orientation and layout of the timber panels. Ultimately creating control panels, making the design more dynamic and detailed. Note: the layout of panels require to work closely with the frames. Due to the weight of the material and connection, it will tend to bend more.

End to End

Overlapping

Panel layout patterning

Part c2 - Tectonic elements & prototypes Prototype 3 Prototype features: This prototype focus on the understanding how the material behave when bending force is applied on to it. These testing depends on other elements such as framing and connection. Depending on the situation the grain direction can work for or against certain design. 1. Panel A - Grain Against the force (Chosen) Panel A allows a control level of flexibility, certain rigidity remains. Another feature to be consider is the direction of grain in relation to the overall design flow direction. 2. Panel B - Grain along the force Panel B allows a high level of flexibility with minimal rigidity. This has lower chance of the timber veneer tearing due to the bending force. However, the direction of the grain is against the flow of the overall design.

Prototype Issues: Panel A aligns with our design concept and our design requires minimum bending from each panel. However, the issue of choosing Panel A is dependent on the framing method chosen. In order to create a smooth control bending throughout the whole design, frames are required to be placed in between panel to create a fixed connection. These method requires more framing, whereas if frames are reduced, the panels will be pull by the gravity, creating additional bending, results in lesser control.

Panel A - Grain against the force

Panel B - Grain along the force

Grain Direction Force

Part c2 - Tectonic elements & prototypes Prototype 4 Prototype features: This prototype focus on the section frame running across the room. These frames play a huge role in creating a smooth flow between each panels. Thus the objective of this prototype is to figure out what is the most effective way to connect all the elements together. 1. Frame A - Solid Initially we design the frame to be fully solid out of Plywood or MDF. However we realized it is waste of material to hold up light weight material such as timber veneer paperback. We moved on to Frame B. 2. Frame B - Hollow (Chosen) We made the sectional frame hollow to reduce material waste, as well as for light accommodation running through the frame. 3. Frame C - Suspended Frame This may or may not be a better cost efficient solution. However, it reduces the frame cutting into simply the space of the arc.

Prototype Issues: Even though suspended ceiling seems to a better choice, in term of construction flexibility. However it will not work due to the lack of rigidity to hold the frame in contour we had design for it. Noted: Due to the scale of room, connections are still required between the frames.

Frame A - Solid

Frame C - Suspended Ceiling

Frame B - Hollow

Part c3.1 - Final detailed model 1 : 55 Scale Final Model The one to fifty five scale model demonstrated the general design form and flows. It also display the strips of lighting effects we intended to have.

Feedback / Improvement: - Color of the panel is too dark - Frame can be reduce - Form is too “safe”

Part c3.1 - Final detailed model Exploded View - Final Detailed Model - 4 Main Elements

Ceiling Slab

Suspended frames

Arc Frames

Timber Paperback Panels

Part c3.1 - Final detailed model

Close Strips - Close Arc

Part c3.1 - Close strips - close arc

Part c3.1 - Final detailed model

Offset Strips - Wide Arc

Part c3.1 - oFFSET STRIPS - OPEN ARC

Frame A & B Layout

1 : 5 Model The 1:5 model seems off compare to the 1:55 model due to two main reasons. First reason is the “connection” making the model stands out. Second reason is due the lack of contour, the model is missing the contour frames that forces the panel to bend. However we are able to see that “connection pattern” is working from our placement of frame A and B . Furthermore, the L plate works fine according to our design, connecting both panels and frames together.

Part c3.2 - FABRICATION SEQUENCES Pre - drilled elements (L plate , Frames , Timber Veneer Paperback)

Align overlapping panels

Insert M3 Bolts

Laser Cut Frames, Timber Veneer Paperback ( Index number has been label)

Cutting Size

2380mm x 600mm 690mm x 600mm

Insert L plate, screw tight

Align with frame, insert bolts

Screw tight with nuts

Average Overall Assembly Time : 27 Minutes Approximate: 1. Production of individual L plate 15 minutes ( 1 minute per ) 2. Hole punching to panels and L plates - 10 minutes ( 4 secs per ) 3. Drilling holes to panel, L plate & frames - 5 minutes (20 secs per ) 4. Bolting L plate to panel and frame 7 minutes ( 10 secs per)

Part c3.3 - budget CONSIDERATION

The main elements of our design : Timber Veneer Paperback, Bolts, L plates, Framing panel (plywood panels) Timber Veneer Paperback Area : Approximately 603.3m2 Cost: $21,115 AUD ( $35 AUD per m2) Structural Connection: Approximately $14,500 Framing Panel: Approximately $20,800

Part c3.4 - FINAL RENDERING

Part c4 - Further development - FORM FINDING

Even though with the improvement from our initial proposal, our previous overall form “Wave” was “too safe” which i agreed. The fact our design was restricted in a grid system makes the design very simple and repetitive. Keeping the core principle from the previous design, we push the design further by breaking the boundary and created a new form “ Seashell”. It Create more unique finishing towards the front view which was limited by a simple straight ending boundary in the previous design. This form creates a much more sophisticated form that further expresses the curvature of the strip. Ultimately enhancing the concept of fluidity and flow.

Part c4 - Further development - Form Finding

Previous Form - WAVE

New Form - SEASHELL

Plan View

Section Front View

Section Side View

Part c4 - Further development - Iteration

Part c4 - Further development - panel Connection & concealm

One of the feedback from the final presentation was the exposure of connection. Thus, we started looking into way to conceal the connections and also start exploring whether we can push our design further through this concealment.

Color coated bolts & Flat head

Shingles & Scales - Triangular Finishing

ent

Color coating bolts is a very un-innovative way to solve this issue which does not leads to any design growth or new aspect towards the design. Shows lack of detailing within the design.

One of the suggestion from our tutor : Shingles and scales. We started developing our own version of shingles and scale that conceal the bolts to a certain degree and added new bending form towards the design.

Part c4 - Further development - panel Connection & concealm

Shingles & Scales - Flat Finishing

Slip & Slotting - Triangular Cut

Slip & Slotting - Triangular Cut with gap

ent Flat finishing has a more rigid connection where the bending is controlled compare to the triangular finishing above.

Using the same concept of shingles & scales, we tried out slotting connection where the material interlock itself with a “male” and a “female” connection.

Trying leaving a gap to test out the lighting effect it creates.

Part c4 - Further development - Prototypes

Prototype 1 : Square Cuts - Slip & slotting connection

Prototype 2 : Straight Cut - Slip & slotting connection

Prototype 3 : Double Slotting

Based on what we have tested, we further tested in a larger scale with a new cutting. This time we tried square cut. This creates a unique finishing which creates patterning on the connection along the neighboring panels. However one of the limitation was there was too much movement between the panels which leads to gaps between panels.

Moving forward, we tested with the same system but changes the cut into a straight cut. This creates a more rigid connection between the panels due to the lack of space for movement. However, slotting is not a fixed connection where it is affected by the bending force from other panels causing it to bend upwards.

We uses the same connection where the panels are bolted on both ends. Between two panels, we creates a slot on each side which allows third panel to be placed over the bolts connection. Depending on the grain direction, the connection can create a further pattern. However this method will increase the uses of material, fabrication time, assembly time as well as cost.

Part c4 - Further development - Digitalized Panels

Frames

L plate

During part C fabrication stage, we realized there was too many manual work such as the drilling of holes as well as hole punching. By digitalizing our design work, we are able to laser cut it which reduce the amount of labor intensive work. Furthermore, increase the precision and accuracy of the outcome. However, it is important that the digital files are done properly and double check for errors because computation software are not always necessary right. There will always be certain degree of error within the digital model.

Part c4.1 - Further development - Color Combination

Coppertone + Walnut Rapture

Walnut Rapture + Porto

Limed graphite + Castlestone

Blizzard + Carron

Blizzard + Verdi

The types of timber veneer and its color finishing plays a huge role in creating the perfect atmosphere within a space. We looked into a few color combinations that may fit well in our design. Depending on the atmosphere that the client requires, brighter colors creates a sense of spacious and fresh feeling. Whereas Darker color provides a grand and mysterious atmosphere towards the users.

Pewter + Malamute

1. Interrogating a Brief Part C was a process of continuously addressing previous issues from part B. The process of establishing, developing and refining critical elements of the design. Furthermore tackling the project brief in an attempt to add further sophistication and depth to our design. We developed several system that closely links to the brief and site context which ultimately generate a very unique form. I really enjoyed this project brief where it was very different from all the studios i had. 2. Generating A Variety Even though part C guideline does not focus on design iterations, i found that it has became a second nature where while i am developing, refining and pushing the boundaries of a design concept. I always uses iterations to further push the boundary which leads to design growth.

3. Three-Dimensional Skills Through the countless of hours and sleepless night spending on Rhinoceros, grasshopper, plug ins, fabrication lab, part C has undoubtedly further developed my skills and knowledge in both design computation and physical modeling ( Prototyping ). 4. Architecture & Atmosphere I believe we have tackle this part of fairly well in part C where we not only generated a new unique forms but integrated movement, flow, lighting into a developed concept which leads to a more desirable atmosphere for the ballroom. Sometimes we are required to take risk and try out new rules and system in order to push our design boundary into design growth.

Part c4.2 - Learning objective & outcome

5. Making a Proposal I believe from initial proposal to final proposal and further developed. We have improved in many different ways, not only in terms of ideas but diagrams illustrating the key concepts as well as physical modeling. However, i felt we should improve our verbal presentation skill. This is very important because with a bad presentation is the same thing as throwing away your hard work design out to the window. 6. Analyzing Projects As our brief is at the W hotel 2020, the site itself has not been build. Hence, we can only analysis what was given to us. However i believe we can create a stronger concept by studying the architecture building the W Hotel and integrated their concept into our design may further creates a connection with the building rather then the room itself.

7. Understanding Computation In Part C, we first hand experience the advantages of computation where we able to generate iterations, forms, very quickly. However the data extracted from it, may not be always right. For example: Fabrication stage, we had to manually correct a few cuts due to minor error within the digital model unrolling stage. 8. Personalized Repertoire This studio has been a great and different experience for me comparing to other studios. I learned a lot of knowledge and skills not only about computation softwares such as grasshopper but also the skill to integrate physical modeling into the design process. Understanding the material characteristic and fabrication process, it has been a great learning experience.

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IMAGE REFERENCES Figure 1: 1. Evolo, Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities (2016) <http://www. evolo.us/competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-pollutedcities/#more-34959> [accessed 10 March 2017]. Figure 2 1. Evolo, Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities (2016) <http://www. evolo.us/competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-pollutedcities/#more-34959> [accessed 10 March 2017]. Figure 3: Architecture Asia , ‘Portfolio’, Reclaimed Poles, 4, (2014), 29-33, in Timber <http://www.architectureasia.co/magazine/2014-04/> [accessed 11 March 2017]. Figure 4: Architecture Asia , ‘Portfolio’, Reclaimed Poles, 4, (2014), 29-33, in Timber <http://www.architectureasia.co/magazine/2014-04/> [accessed 11 March 2017]. Figure 5: Institute of Computation Design and Construction, ICD/ITKE Research Pavilion 2014-15 (2015) <http://icd. uni-stuttgart.de/?p=12965> [accessed 12 March 2017]. Figure 6: Institute of Computation Design and Construction, ICD/ITKE Research Pavilion 2014-15 (2015) <http://icd. uni-stuttgart.de/?p=12965> [accessed 12 March 2017]. Figure 7: Architecture Asia, ‘Porfolio’, Dramatic Art, 1, (2016), 18-25, in neo - futurism <http://www.architectureasia.co/magazine/2016-01/> [accessed 12 March 2017] Figure 8: Ann Rogers, Bori Yoon, Chloe Malek, ‘Beijing National Stadium 2008 as Biomimicry of a Bird’s Nest’, Architectural Structures, 1, (2008), 2-16, in ARH 251 <https://www.mcgill.ca/architecture/files/architecture/BiomimicrySSEFessay2007. pdf> [accessed 16 March 2017].