STUDIO AIR
2017, SEMESTER 1- Final Journal FINN #8 YUEBING XIAO / 751795
Part A Conceptualisation
Part B Crite
A0. INTRODUCTION
B1. RESEARCH FIELD/
A1. DESIGN FUTURE
B2. CASE STUDY 1.0
A2. DESIGN COMPUTATION
B3. CASE STUDY 2.0/
A3. COMPOSITION/GENERATION
B4. TECHNIQUE: DEV
A4. CONCLUSION
B5. TECHNIQUE: PRO
A5. LEARNING OUTCOMES
B6. TECHNIQUE: PRO
A6. APPENDIX
B7. LEARNING OGJEC
A7. REFERENCE LIST
B8. APPENDIX B9. REFERENCE LIST
eria Design
Part C Detailed Design
/ SECTIONING
C1. DESIGN CONCEPT C2. PRECEDENT STUDY
PATTERNING
C3. SITE ANALYSIS
ELOPMENT
C4. TECTONICS DEVELOPMENT
OTOTYPE
C5. PROPOSALS
OPOSAL
C6. FABRICATION
CTIVES & OUTCOMES
C7. FURTHER DEVELOPMENT C8. LEARNING OUTSOMES C9. REFERENCE LIST
A CONCEPTUALISATION
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Introduction
A.1 Design Future
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Case A.1.2 The Grawling Gardens of Wabern
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Case A.2.2 “Kinetic Wall”
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A.3.2 National Aquatics Centre
A.2 Design Computation
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Case A.1.1 Munich Olympics Stadium
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Case A.2.1 Robotically Fabracation Pavillion
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A.3 Composition/Generation
A.3.1 “Morning Line”
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Conclusion & Learning Outcomes
Appendix & Reference List
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INTRODUCTION I am Yuebing and my friends always call me Taylor. Now I am already a
third year student majoring in Architecture in University of Melbourne. Originally a science student in middle school and everybody thought I was going to study the field of engineering in China. However, at the end I went overseas to study realm of architectural design. Fortunately, till now I never regret to make this decision. Being an architect or designer is really excited to me. I began to know digital design since last year I took the subject called Digital Design & Fabrication. From that design project, I learned a lot in terms of how our design concept develops with the help of digital method, but the most difficult part for me is the process of fabrication. It might because of limited knowledge on using computer or material systems that we can not actually build our idea. This semester, hope I can deeply develop my skills on digital fabrication.
FIG.0: THE OPPOSITE SECTIONS OF MY DESIGN IN EARTH STUDIO-A PLACE FOR KEEPING SECRET.
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A.1 DESIGN FUTURE
Iwith n the current world, human is confronted a tough living environment and the future tends to be unsustainable, which is caused by a few past design practices. The question of “how can a future be secured by design?” is posed by Fry to challenge us as designers starting to think about what we can do to fix the defuturing situation [3].
According to Dunne, it is important to be aware of that design is not just about solving problems, but “as a means of speculating how things could be speculative design”.[8] Conventional methods of designing do not always work well in the present or even future, so critical design and thinking becomes necessary, which offers opportunities to find alternative perspectives on existing weakness and move forward positive impacts. Specifically, it is unavoidable to generate a lot of wastes and destroy natural environment in the process of architectural replacement and construction year by year. To achieve the target of sustainability, two precedents are going to be discussed, which gives us examples of what future will look like.
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CASE STUDY A.1.1 MUNICH OLYMPICS STADIUM
“every man doing in architecture is to go against nature. This idea is to be aprt of natureis a brand new idea of last century.”[6]
Munich Olympics Stadium b Behnisch is seen as a beginn structure with membrane co beginning, this idea was not a at the end, he engaged and model approach, specifica mathematical procedures to d form and behaviour. Otto and from natural environment, co of natural form and fin continuous sweeping roof wit that flows over the “organic-
by Frei Otto and Gunther ning of lightweight tensile onstruction. In fact, at the acceptable by Frei Otto, but d started from a technical ally, using computerised define the final architectural d Behnisch took inspiration onsidered the opportunity nally conceptualised the th a tensile cable structure -shaped� park landscape.
The large canopies membrane is stabilised through a network of smaller cables that attach to a larger steel cable extending over the entire span into concrete footings at either end and the flowing curve is generated by connecting with vertical masts. The spaces created by huge membrane are flexible for people standing and also avoid the problems of congestion during the period of Olympics games. As designers, we have to understand and well explore the relationship between human and nature. In this case, using light and less materials is a more environmental solution to the future.
Architect : Frei Otto & Gunther Behnisch Location : Munich, Germany Date : 1972
FIG.1: THE OVERVIEW OF CONNECTION BETWEEN STADIUM AND SURROUNDING LANDSCAPE
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CASE STUDY A.1.2 THE GRAWLING GARDENS OF WABERN
Buchner Brßndler redefines the urban high-rise for a more natural environment. This building gives us another approach to explore the relationship between human and nature in the future. Under the background of increasingly crowded living environment ,especially in urban area, it becomes more difficult for everyone to live with nature. Even though it is located in edge of city, a place with more natural landscape, it still provides a possibility to design high-rise buildings with gardens in crowd area. The idea of how it looks is got from an green rock, gardens with verticle plants surround the building core. The upturned slabs with arms, which are intended as seats, and the plant troughs sunken into the floor, which is made of stone. The edge of building is installed by Filigree metal mesh in place of compact balustrades to access closely natural landscapes. The distribution of balconies is as random as it seems, however, there is a logic to the randomness, that each apartment has two openinngs created by arms and a regular number of prefabricated troughs which were in this position before concrete slab was poured. So many countries have implemented vertical gardens, which is inspitated by this building. Furthermore, the vegetative layer with its climate plays a significant role in the living atmosphere over the course of seasons. For example, in summer, shade can be provided for human’s inhabitation. The concept of constructing gardens in highrise building seems all the more important to us in face of more and more crowded city.
FIG.2 : GARDEN-TOWER GREEN RESIDENTIAL TOWER WABERN
Architect : Buchner BrĂźndler Location : Bern, Switzerland Date : 2007
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A.2 DESIGN COMPUTATION
A
ccording to Oxman, with the appearance and evolution of the digital technologies in architecture during the last decades, the digital design now becomes possible and being applied to architecture[9]. With the aid of computational methods in architecture, designers are able to deal with complex situations, while we have to understand the logical thinking in digital design a nd, at the same time, learn to know the digital tools like softwares and robot. Nowadays, the digital theory and technology being applied to our natural environment and used to explore natural organic forms in relation to our living environment. For example, the students in University of Stuttgart are experimenting natural form of Pavilion with the help of robot. However, computation is not only used in a static construction but experimented with dynamic designs.
FIG.3: THE ROBOT PAVILION
CASE STUDY A.2.1
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ROBOTICALLY FABRICATED PAVILION BY UNIVERSITY OF STUTTGART STUDENTS IS BASED ON SEA-URCHIN SHELLS
This example specifically show the potential of computational design, simulation and fabrication processes in architecture. Oxman mentions that the expending relationship between computer and architecture defines a digital process from design to production and from generation to fabrication [9]. I will explain how the digital theory and process are applied to it.
Generation:
The concept is based on sea-urchin shells, so at the begining, students did a lot researches to explore the prototype of the design element. Besides, computer is generally utilised to investigate how the natural structure could be applied to construction, like how the sheets actually join with each other in physical model.
Digital design process
Biological Rule Models (plates) Biological Principles - plate growth - fibre & finger connection - double layer - material differences Biological Transfers - plate growth - fibre & finger connection - double layer - material differences Global design - computer
Fabrication: In terms of fabrication process, this case tended to use robot to bend sheets made of custom-laminated beech plywood to create double-layered segments. And then an industrial sewing machine was passed through by them to connect both the pieces tightly and to prevent the layers of laminated wood from separating. The stitched joints transfer tensile forces between the segments, playing a similar role to the fibrous connections found between the plates of a sea urchin’s shell. The robot and the sewing machine are both controlled through custom software.
Conclusion : The pavilion reveals how the computational tool uses to deal with the complixity among material, form and robot fabrication and at the same time, they gain an innovative approach of timber constructure. This multidisciplinary research approach does not only lead to performative and material efficient lightweight structure, but also explores novel spatial qualities and expands the tectonic possibilities of wood architecture.
Material Design - preparation
- vacuum laminated - CNC milling
Fabrication Setup Robot Sewing (sewing optimization)
On Site Assembly
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CASE STUDY A.2.2 “KINE TIC WALL” BY BARKOW LEIBINGER (2014)
“Utopia Dream of moving architecture” Apart from using computation and robert ,specifically, to constructe static pavilions, the skill of computation can also apply to create dynamic forms in architecture. Here is an example I found to show how it works on a dynamic form and how it make an impact to human ‘s world. The concept is “revisiting the utopian dream of an architecture that can move”. The design mainly consists of a light timber frame behind the movable surface and a series of motoried points which extend and retract to activate an elastric translusent synthetic fabric move in and out periodically to produce “peaks and valleys“.Digital controlled kinetic wall with partition wall next to it creates a passage and the changing width of the passage generates an inmediate, intimate and coproral relationship with the viewer experientially.
“Kinetic Wall offers an alternative future, an architecture that is materially and spatially dynamic of both natural and synthetic/recycled materials.”
Figure 3 below reveals different shapes of surface as a result of digital control.
FIG.4: DIAGRAM ON MOVEMENT OF “KINETIC WALL“
FIG.5 : FABROCATED “KINTIC WALL“
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A.3 COMPOSITION/GENERATION
C
omputational tool development in architecture provides potential possibilities and opportunities for us in design process, fabrication and construction, which is increasing efficency and allowing for better communication, as well as for conceptual sketching of algorithmic concepts. Not only it is a tool to help process design through an existing understanding model but also has potential inspiration that goes beyond our intelligence. According to Peters, architectures nowadays is in face of a change from the drawing to the algorithm as the metod of capturing and communicating designs, which requires designers not only to capture complexity of how to build a project but also the multitude of parameters.[2]
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CASE STUDY A.3.1 “MORNING LINE�
GENERATION This project is conceived by an artist Richie ranther than an architect. It is an attempt to represent the entire universe and the structure of knowledge, which is seen as a collaborative platform to explore the multiple interplay of art, architecture, cosology and music. Imagined as a ruin from the future, the Morning Line is a drawing in space (to the environment), where ach line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it.
Even though it is a art work and derived from drawing, its construction was following the generation from single element (triangle).Unlike architecture, it is not a static fix structure, but dynamic with random different scale of elements, which represents random universe. It is a really cool concept and technology to change the form with changing environment and world and also a changeable rule to generate.
Architect : Matthew Richie Location : Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany Date : 2008-2013
FIG.5: CONCEPT OF MORNING LINE
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CASE STUDY A.3.2 NATIONAL AQUATICS CENTRE
FIG.6: MODEL OF WATER CUBE
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CASE STUDY A.3.2 NATIONAL AQUATICS CENTRE
COMPOSITION WATER tube is inspired by the natural formation of soap bubbles and its parametric algorithm design mainly represents on its structure. The whole frame is based on the Weaire-Phelan structure with cubo-octahedron and icosahedron shown on figure (), derived from the natural pattern of soap bubbles. And the final outlook of water cube is slicing through complex Weaire-Phelan pattern at a certain angle and then the facade becomes more irregular as we see now. Finally, the exterior claddings are made of ETFE bubbles. According to the reading “the building of algorithmic thought“, computation tools are really helpful for creating and representing such a comlex form like water cube and it is really efficient with help of algorithmic methods. However, it also has limitation because of poor knowledge in using computational tools. [2]
Architect : Chris Bosse Location : Beijing, China Date : 2008
FIG.7: PROCESS OF FORMATION OF WATER CUBE
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CONCLUSION & LEARNING OUTCOM
CO N CLU S I O N The part A is based on the conceptualised thinkings like design future, design computation and generation & composition. Through the readings and analysis of precedents, it really inspired me a lot and enhanced my understanding towards the future studies. In terms of design future, even though our future is not good as imagined and we are till in face of random complex situations, we always need to find ways to deal with problems to improve our relationship with natural environment. As designers, we have responsibility to help human live better in the earth. By exploring the precedents, in fact, so many examples give us good views to be sustainable. Besides, the increasing development of digital technologies offers us opportunities to deal with more complex problems in the process of designing future. It is going to be efficent, economic and sustainable concerning design works. In Conclusion, the first part of study concerntrates on conceptualisation, which is really helpful for us to understand the fundamental start of this subject. For next part B, I am really interested in the field of sectioning and patterning.
MES
LE ARN I N G OU TCOM E S After the first three weeks, I think I start to understand what we are going to do in this subject. Through the study of part A, the precedents I explored really helpful for me to understand conceptualisation, specifically, the digital theory applied to architecture. Besides, at the begining, it might be difficult to think logically in grasshopper because it is not always working as you expect. Therefore, I need to study harder in grasshopper to enhancemy skills in designing process. For me, I believe that the digital in architecture is a tendency to lead the road in future and create more efficient world. Furthermore, the computation also has the potential to provide inspiration and go beyond the intellect of the designer, in other words, it gives us more opportunitites to think about the new aesthetics. The sketchbook is useful to develop your own ability to deal with complex problems. For example, last year when I took DDF (Digital design and Fabrication), I met really a lot of problems that I cannot move forward our design because of poor skill on digital technologies and at the end, the design is not successful as we expect. By studying the example of Robort Pavilion, I learned how to start from generation to fabrication, how we can use the digital to build project step by step, which is really clear for me now. Finally, I hope I can always be aware of using this new approach to deal with problems and trying to think more about how the relationship between we human and the nature get better by means of digital studies. I am really looking forward to Part B & C, to get more practice with digital technologies.
APPENDIX
attraction point
box morphing
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REFERENCE LIST [1] Amy Frearson, ‘Kinetic Wall by Barkow Leibinger explores “utopian dream of moving architecture” ‘, Dezeen, (2014), < https://www.dezeen.com/2014/06/18/kinetic-wallbarkow-leibinger-elements-venice-biennale-2014/>, [access 17 March 2017] [2]‘Computation Works: The Building of Algorithmic Thought’, by Peters, Brady, Architectural Design, 2013, 83, 2, pp. 08-15 [3] Design Futuring: Sustainability, Ethics and New Practice, by Fry. Tony, (New York, NY: Berg Publishers, 2008), pp 1-16. [4] ‘Garden Tower’, Swiss-Architects, (2016), <http://www.swiss-architects. com/en/projects/view/54475>,[access 17 March 2017] [5] Jessica Mairs, ‘Robotically fabricated pavilion by University of Stuttgart students is based on sea-urchin shells’,Dezeen, (2016), <https://www.dezeen.com/2016/05/05/roboticallyfabricated-pavilion-university-of-stuttgart-students-plywood-icd-itke/>,[ access 17 March 2017] [6] Martin Filler, ‘Frei Otto’s Airborne Architecture’,NYR Daily, (2015), <http://www.nybooks. com/daily/2015/05/06/pritzker-prize-frei-otto-airborne/>,[ access 17 March 2017] [7] Rose Etherington, ‘Watercube by PTW Architects’,Dezeen, (2008), <https://www. dezeen.com/2008/02/06/watercube-by-chris-bosse/>,[ access 17 March 2017] [8]Speculative Everything: Design Fiction, and Social Dreaming, by Dunne, Anthony & Raby, Fiona (MIT Press, 2013) pp. 1-9, 33-45 [9] Theories of The Digital In Architecture, by River Oxman and Robert Oxman, (London; New York: Routledge), pp 1-10. [10] ‘The Morning Line’, <http://arandalasch.com/works/the-morningline/ Aranda/Lasch>, (2017), [access 17 March 2017]
B DESIGN CRITERIA
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B.1 Research Field/sectioning
B.2 Case 1.0 BanQ/office dA
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Selection Criteria
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B.4 Technique - Matrixs
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B.6 Technique - Proposal
B.3 Case 2.0 De Young Museum
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Selection Criteria
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Learning Objectives & Outcomes
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Iterations Experiments
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Reverse Engineering Process
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B.5 Technique - Prototype
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Appendix & Reference List
RESEARCH FIELD
-SECTIONING & PATTERNING
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B.1 RESEARCH FIELD S EC TI ONI N G
Sectioning that used on algorithmic design can be defined as is a technique of taking numerous cross sections through a form (3D). Besides, in terms of construction, it is a method to produce not only surface but structure and in terms of digital fabrication, it is a very efficient approach as a result of all necessary data for CNC-milling and laser cutting are offered by computer.[1] For this field, even though basic sectioning is a simple algorithimic modelling in comparison with other fields, it tends to be complex by applying wafflegrid, contour and patterning etc. At the same time, dividing, curving and extrusion are the actions to generate sectioning forms. Various methods and cases of sectioning tecnique to be constructed are explored and discussed. For example, the two cases shown on this page being selected represent two different outcomes regarding sectioning concepts.
Metropol Parasol -Las Setas-, Sevilla
One Main Office Renovation / dECOi Architects
Specifically, the process of producing the first example, One Main Office Renovation, shows how the curved surface is generated by utilising contour lines or height mapper components. In this case, the sectioning project presents the sense of continuity by going though whole huge space between both ceiling and floor. Personally, I think sectioning field can be well utilised in a huge public or office space because its continuity and efficiency of installation. For the second example, as one of the largest timber structures built in the world, it is constructed by wafflegrid. Metropolâ&#x20AC;&#x2122;s interweaving waffle-like wooden panels rise from concrete base reinforced with steel, which are positioned in such a way to architecturally form canopies and walkways below the parasols[2]. This case gives us an opportunity to create such a huge structure using sectioning technique. From my own understanding, sectioning parametric designs provide possibilities and solutions of shapes for huge spaces and it can also apply to small sculptures with sense of movement. Besides, the frame is kind of curved actions and the material gennerally using plywood is raw and natural which help to expresss the organic form and ideas.
http://www.designstrategies.org/design-strategies/principles/sectioning/
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B.2 CASE 1.0 BanQ/officce dA Location: Boston, MA, United States Architect: office dA
The script below shows an example of how the sectioning technique is used to create a space for this case. The method is to start from creating a point grid on a referenced surface. Using white and black image to decide whether the points on the referenced surface move vertically or not, and also the distance between end point and based surface. after moving points, use comment that surface from points to create the curved surface. And then, on the other side, using union box and setting preframe to cut the surface that is created by moved points. After cutting it, I got a series of curves that are cut from curved surface and at the end, loft vertivally these curces and the curves on the reference surface.
divided surface: creating grid of a surface and then get the points
image sampler: to create the different heights of points
move points: using math sets to adjust the distance between end point and base surface(point)
partition: using union box and preframe to create the number of layers should be cut along one direction
loft curv and ex
t: between base ve on base plane curve created by xtruded points
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ITERATIONS
v - value: mainly adjust the shape of movement
v=3, u=30
v=4, u=30
v=4, u=30
Height Mapper + Image Sampler
the second method of generate a sectioning form: It starts from drawing a referenced surface. After that, type comment of “pointson“ on the rhino and then use comment of “rebuild“ to set up a gridgroup of points on thid surface. Now I can control these point to get the curved surface I want. In grasshopper, I only need to define the curved surface I’ve doe and then connect contour.
v=7, u=30
v=12 u=30
u - value: mainly adjust the offset between each plate
v=10, u=2
v=10, u=5
v=10, u=10
definition of how to create the sectioning
v=10, u=20
v=10, u=100
extrusion by different based shape
cut in different vectors 45 degree
extrusion based on contour lines
wafflegrid
SELECTION CRITERIA Though exploring and experiementing with grasshopper script, it can be found that some of iterations that are tend to be failed from several reasons. To evaluate the success of all experiments, my selection criteria are shown below:
AESTHETIC QUALITY
CONSTRUCTABILITY FOR FABRIICATION
EFFICIENCY OF INSTALLATION
POSSIBILITY OF FUTURE DEVELOPMENT
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This iteration is a simple sectioning form that using image sampler to create the curved surface and being cut into layers. It is easier to be fabricated and installed.
This iteration is got by extruded lines at first and then transform vertical lines to cylinders or other shapes. The extruded lines in fact are coming from the intersection between wafflegrid structure. The difficulties from criteria are fabrication and installation because the shape of cylinder is not easier to get than timber plates by laser cutting or CNC.
This form is generated by extruding contour lines based on a curved surface and the extrusion direction is controlled by a curve rather than just in z direction. Besides it is a wafflegrid structure, that is, the upper layer as a supporting structure to interlock with lower layer. The essential difficulty is fabrication, like laser cutting or CNC because the pattern of curves is not straight line.
This form is a wafflegrid structure, that is eaiser to fabricate and install because the elements of whole structure can be laser cut and then insert all element in to a wafflefrid form.
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B.2 CASE 2.0/ P A T T E R N I N G DE YOUNG MUSEUM Location: San Francisco Architect: Her zog & De Meuron
In this case, for the facade, the architects exploredmainly utilise the grasshopper technique, thatâ&#x20AC;&#x2122;s is image sampler to create the varied and dynamic patterns for the museum. The material that is applied for the facade is copper. The reasons of using this material ,firstly, because the texture and colour of copper allows the design to be part of surrounding environment, secondly, oxidation and the corrosion of the copper help the facade gradually change, then got a new pattern years by years. At end, the facade with void and solid parts gives the way of light in. The patterning that is applied on the facade consists of two layers, which are perforation and extrusions.[3] In the conventional architecture, patterning as a kind of ornament is mainly used as a symbolic decoration to present associated culture at a specific period, like Islamic ornamentation. Apart from using patterning in relation to culture, during the period of modernism, some of architects started to use patterning to display the raw material texture, for example, Barcelona Pavilion by Mies. Nowadays, patterning as a tectonic can be achieved much more complex than the previous by using computation tools, like grasshopper. From my understanding, generallly the patterning used in architecture are designed by a series of scripts to get complex random or repeating shapes. It is not always for construction purpose but as responsibility for architects to formulate architectural language and express design ideas. Sometimes, the pattern is not just for the purpose of facade aesthetics but for functional consideration, like creating interesting forms of shading and light. I chose patterning form as my reverse study because I want to explore the possibilities of complex shapes that can be applied to my design. Furthermore, I think there are several ways I can try to create various patterns,like image sampler, attraction point/curves, cull pattern and projecting repeating elements and so on.
FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)
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REVERSE PROCESS evaluate surface
rectangle grid
image sampler
evaluate surface
rectangle grid
image sampler
base surface
r
r
circle
remap
remap
expression
circle
circle
loft move
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B.4 TECHNIQUE - ITERATIONS
1
5
2
6
3
7
4
8
9
10 11
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SELECTION CRITERIA
PRECEDENT
Project: Aoba -tei Restau rant Location: Japan Architect: Abe, Hitoshi
PAPER CHANDELIERS BY CRISTINA PARREÃ&#x2018;O ARCHITECTURE AND MIT
Combination of two iterations, that voronoi form. When light is on, the im
applying patterns on the surface of extruded mage will be reflected on the ground.
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B.5 TECHNIQUE - PROTOTYPE
64
B.6 TECHNIQUE - PROPOSALS WA F F L E G R I D
WA F F L E G R I D J O I N T S M E T H O D
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LEARNING OBJECTIVES & OUTCOME After few weeks study on grasshopper, my skill has improved, especially after working with two case studies. However, it is still not enough. In part B, I selected two fields to explore, sectioning and patterning and now know how to change or define some simple patterning forms but not enough to be complex. Later, I will try to combine some of simple script I wrote to produce more complex proposals.
In terms of design process, after mid-term presentation, the problems I have got are that firstly, iterations are not enough and interesting and the studies of precedents are not influencial to my design. There are improvements of my design process, specifically, later, I should try to combine or create new scripts that is appropriate for the ballroom design. Besides, the technique on the fabrication should be considered as well, especially, the connections between different elements.
For part C, I am going to redefine a design proposal and develop it. The research field I am going to do is sectioning because I am thinking for a large ballroom, the design should go though the whole ceiling continuously and has a better relationship with the ground and wall, besides, this choice is much more efficiency to be fabricated and installed. I will further develop the iteration on the right and to find an approch to produce and construct.
ES
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APPENDIX
REFERENCE LIST
1. ‘Sectioning’, Designstrategies for computing design, (2017). Retrived from <http://www.designstrategies.org/design-strategies/principles/ sectioning/>
2. ‘Metropol Parasol : The World’s Largest Wooden Structure’, Yatzer, (2011). Retrived from < https://www.yatzer.com/Metropol-Parasol-The-World-sLargest-Wooden-Structure-J-MAYER-H-Architects >
3. ‘M.H. de Young Museum / Herzog & de Meuron ‘, Archdaily, (2010), Retrived from < http://www.archdaily.com/66619/m-h-de-young-museumherzog-de-meuron >
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C DETAILED DESIGN
76
78
82
Feedback From Part B
C.1 Design Concept & C.2 Precedent Study
C.3 Techniques & Construction
84
C.4 Site Analysis diagram analysis
110
C.7 Feedback & Finak result
92
94
C.5 Proposal
C.6 Fabrication scale/material testing/laser cutting/installation
122
124
Learning Objectives & Outcomes
Reference List
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FEEDBACK FROM PART B
Through discovering the method of creating sectioning from part B, generally, there are two approaches to achieve that. Specifically, contour lines are applied to a curved surface in z-direction or slicing a brep by parallel lines. The problem is that the sectioning pieces are continous in one direction, even though wafflegrid form goes only 2 directions. The problem is that these two kinds of forms only gives us a chance of viewing and flowing in one or two directions, so for further development, the sectioning forms should be more opportunities for continuity.
method of joint
From iterations, I got one result that lines are not going straightly unlike the two I just mentioned. It is created by contour lines being applied to a curved surface in x or y directions. However, it is still a problem that closed curves are generated because of the peaks on the surface. The closed curves in between open curves increased the difficulty of installation, as a result, it should be addressed in further development.
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C.1 DESIGN CONCEPT F L E X I B L E M O V E M E N T & I N S TA L L AT I O N E F F I C I E N C Y
My design brief is obviously from the research field of sectioning. In my opinion, the feature of sectioning forms is flowing through whole space dynamically and continuously , which is suitble a huge public space like ballroom. The design concept is from the iteration studies and problem analysis. Unlike the precedents I mentioned about sectioning in part B, my desirable ceiling design and forms would provide more experiences of views for people rather than just one or two perspectives. Besides, the method of installation must be efficient and sustainable that can be applied to different buildings with different functions. Concerning my concept, I realised that the choice of materials is important because the timber slices used for the majority of sectioning forms cannot be bendable. It limits the flexibility and possibilities of my design forms. As a result, I chose materials that is bendable like papers with different textures.
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C.2 PRECEDENT STUDY The photo on the left shows interior ceiling design in Book Live Aqua Mexico City Hotel, the other photo shows the hotel lobby area in Hilton Pattaya. This kind of design are generally found from huge public spaces, like receptions, hotel lobbies, libraries and ballrooms. Unlike the precedents mentioned in part B, these looks much more continuous and flexible. Specifically, for example, the dynamic wave lines on the right lead the movement of visitors towards exterior seafront behind the glasses.
Furthermore, it also provides people more experiences of viewing from different directions. At last, the use of material is different as well, timber veneer paperbacks are utilised for ceiling rather than timber slices. As a result, each pieces can be bended to any directions as you expect. In conclusion, the approach they use to create ceilings becomes efficient and sustainable if the ceillings can be installed and changed easily.
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C.3 TECHNIQUE & CONSTRUCTION W G E N E R AT I N G F O RMS
TEC TON
UV control divide surface
points on surface image sampler
influence forms?
SITE ANALYSIS
sun light
height between N and S
artificial light
height between W and E
circulation
leading “lines” stage view
perspectives
gates view audience view
move points to adjust height
create surface from points
offset curves
project
curved surface brep|plane Pframes
WORKING CHART F A B R I C ATIO N
NICS
INS TALLATIO N
MATERIAL TEST bake closed curve
extrude
2.7mm plywood STRUCTURE
laser cutting copy two layers MAKE 2D
loft
PANELS
unroll surface
Timber veneer paperbacks
Data of materialâ&#x20AC;&#x2122;s twisting behaviour
Assembly of components
84
C.4 SITE ANALYSIS
ARTIFICIAL LIGHT & STAGE/AUDIENCE VIEW
SUN LIGHT & GATES VIEW
CIRCULATION ANALYSIS
S TAG E
MAIN G ATE S
SUN PATH
ARTIFICIAL LIGHT & STAGE/AUDIENCE VIEW
ARTIFICIAL LIGHT
A
The artificial light that is applied to the ceiling influences the sectioning form, especially the density and height. From the axis between A and B, the stage area (B) and back area (A) need darker atmosphere than the middle area. Consquently, the flowing of the form from A to B is going up and then going down the stage. Besides, the density of sectioning slices (see lines on the right) determinate the different lighness of ballroom. Middle area should be lighter than two edges so that lines are less dense in the middle (see diagram below).
S TA G E / A U D I E N C E V I E W
People on the stage and audience need different feelings towards lightness. For example, people from stage need more light, while audience need less light in order to watch stage area clearly. The sectioning form should create the difference of lightness between stage area and audience area. Specifically, from A to B, the light might be less than the opposite direction.
low
B
high low
SUN LIGHT & GATES VIEW
SUN LIGHT
From the 3D site model analysis, it can be found that sun light goes along the facade of glasses. In order to get sufficient light in the day, the level of the form that is along glass wall need to be higher. However, it is because of huge area of glass curtain wall that this part of design should be created to prevent sun light as well.
G AT E V I E W The view from D to C should be different from C to D. The part of design that is along the interior wall should be lower so that the audience inside the ballroom can be led by continuous lines to find the gates easily. By contrast, the glass curtain walls give them opportunities to see the scenes outside so that the level along the glass walls can not be higher in order to provide open views for the audience.
right
D
C
higher
high
lower
D left
C
C
D
CIRCULATION ANALYSIS
G A TE 1
The circulation line follow
ws the flowing of the sectioning form.
GATE 3
GATE 2
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C.5 TECHNIQUE - PROPOSAL TECHNICAL PROCESS
move points to adjust
points on surface
UV control divide surface
right
image sampler
create surfac from points Pframes
front
s
e
t
brep|plane
offset curves
project
left
94
C.6 DIGITAL FABRICATION PROCESS
SCALES
M AT E R I A L T E S T I N G
REAL MODEL PHYSICAL MODEL
2.7 mm PLYWOOD TIMBER VENEER PAPERBACK - SNOWFLAKE
S
LASER CUTTING STRUCTURE - 2.7mm PLYWOOD PANELS - TIMBER VENEER PAPERBACK
I N S TA L L AT I O N JOINTS & CONNECTIONS
SCALES
REAL SCALE
2143mm
600mm
max. 600mm min. 100mm
PHYSICAL MODEL SCALE
site model 1:50
prototype 1:20
MATERIAL TESTING TIMBER VE NE E R & T I MB E R VENEER PAPER BACK ?
In terms of bendable materials, like timber veneer that can be bended to a certain extent, however, it is easy to crack when it exceeds the extent of twisting. I found the quality of timber veneer paperback that has a piece of paper behind it is similar to paper. As a result, I selected timber veneer paperback as main materials. Besides, the texture of veneers should be considered as well because different textures have different extent of twisting behaviour. For example, the texture I selected is mainly from barks that has no rings. Specifically, the textures of snowflake are parallel lines, it is easy to bend along parallels.
TIMBER VENEER PAPERBACK !
T H E WAY O F T W I S T I NG A N D P R OBLEM S (WHI CH S UR FACE I S BE TTER?) -
1
2
1. BEND PERPENDICULARLY TO THE TEXTURE 2. BEND ALONG THE TEXTURE & BEND TIMBER VENEER SURFACE 3. BEND ALONG THE TEXTURE & BEND PAPERBACK SURFACE
C O MPARIS ON
3
2
3
3
3. BEND ALONG THE TEXTURE & BEND PAPERBACK SURFACE !
LASER CUTTING
STRUCTURE - 2.7mm PLYWOOD
PANELS - TIMBER VENEER PAPERBACK
INSTALLATION
STRUCTURE - 2.7mm PLYWOOD
GLUE TIMBER PAPERBACK TO STRUCTURE OF INSTALLATION
110
C.7 FEEDBACK & FINAL RESULTS
D E TA I L E D P E R S P E C T I V E S
122
C.8 LEARNING OBJECTIVES & OUTC
Through the studies of part C, It is much clearer for me to understand how design brief and concept wellachieved by logical thinking and digital tools. In term of Part B, I got a lot of problems and did not sucessfully finish an interesting proposal that might because of poor knowledge in computering use.
However, this detailed design inspired me a lot. I learned how to look back to think the problems and solve them. Besides, precedents are really useful for me to learn how to develop your design concept by a lot of diagram analysis concerning site and space. After that, it is clear for me to imagine what the form looks like and then based on digital tools to Build it.
At last, I thought the most important and useful things are the tectonical process and construction (digital fabrication). Before you start them, the working chart can be used to clear your mind to proceed all the process logically. I spent a lot time on it, it is really significant.
COMES
124
C.9 REFERENCE LISTS 1. Hilton Pattaya Hotel by Department of Architecture, (2017). Retrived from <https://www.dezeen.com/2011/03/11/hilton-pattaya-hotel-by-department-ofarchitecture/>
2. “Book Live Aqua Mexico City Hotel”, (2017). Image from <https://au.hotels. com/ho420328/live-aqua-mexico-city-hotel-spa-mexico-city-mexico/>
3. “ Hilton Pattaya Hotel”, (2017). Image from <http://www.architectureartdesigns. com/10-astonishing-lobby-design-ideas-that-will-greatly-admire-you/>
THANK YOU
END