Studio Air - Final Journal - Thai Bui - 842574

STUDIO AIR

Thai Quang Bui 842574

Hi there!

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Hi, I’m Thai Quang Bui, currently a second year Architecture student in Bachelor of Environments, University of Melbourne. When I was still in high school in Vietnam, I mainly studied Maths and Physics. I had a significantly strong basis in Science, but I’ve always love to draw, to sketch and to play music since I was a child. Therefore, as I grow up, I believe that Architecture is a field where I could fully immerse myself into the beautiful abstract aspects of ideation, while at the same time, take advantage of my background and put it into use when dealing with the practical act of creation.

Because it lies in the gap in between Arts and Science, its elegance fascinated me.

As we’re living in the digital world, the help of technology has really push architecture into a whole new level. Even though I’ve been introduced and trained with the tools of digital design and digital fabrication through one of my subject, parametric techniques and algorithms scripting is definitely the next level of computational design that I’d like to try.

FIG 1: DIGITAL DESIGN & FABRICATION PROJECT: THE WEAVING SKIN

FIG 2: STUDIO EARTH: SECRET OF THE HERRING ISLANDS

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CONCEPTUALISATION

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A.1

Design Futuring

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Attitudes towards the future Since the 1990s, we human had already started to care about sustainability and the future of The Earth. Technology helped us to envision the horrific outcome awaiting if we are unable to slow down the act of killing the planet. However, as Tony Fry pointed out in Design Futuring, ‘the actual changes required to establish the ‘sustainability’ has hardly begun’.1 The reason is because human are easily satisfied with what they have. Particularly in architecture, the level of sustainability of a building is measured by an energy rating system, which could be considered as very innovative back then. Decades have gone and in the 21st century, still, architects and people in the industry are working to get at least 6 stars energy rating in order to get building permission, while the design of the house is chosen from a list of cheap software-generated variations that could reach the quantity of thousands within second from a minimal input as a floor plan. As Fry emphasised, ‘design has been reduced to just appearance and style’, while decisions are taken away from designers. We are living in the age of post problem-solving: the problem is very clear and we are consistenly reminded of it everyday. In a way, human are all designers and it is our responsibilty to articulate another future by design. However, the key point is, before we change our future, we need to change our way of thinking, almost creating a flow to steadily reach a better mode of sustainability.

1. Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014), pp. 1-16.

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Case Study 1 The Bamboo Wing Vo Trong Nghia Architects

FIG 3: THE BAMBOO WINGS BY VO TRONG NGHIA ARCHITECTS

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FIG 4: SECTION OF THE BAMBOO WINGS.

Ecological Materials Sustainable Habitation The unique structure of the Bamboo Wing by Vo Trong Nghia Architects has greatly contributed to the ecology aspect of architecture. Floating over the natural landscape of a site situated near Hanoi, the building maximises the usage of bamboo, which is available widely in Vietnam, by using this material not only for the finishes but also for the structural components. Visitors are allowed to experience a 12 meter open space without seeing any vertical columns or man-made structural materials. The project has been given the 2012 Building of the Year Award, one of the most prestigious prizes in Asian architecture, for its innovative contribution in ecological materials field of future architecture.

of creation, there are always things that are destroyed. As our resources are not unlimited, our planet is suffering from the lack of design intelligence. That is something this project has brought to the industry, a delivery of the mean to make crucial judgements and interventions that could slow the rate of defuturing and increase our futuring potential.

This method of approach could possibly impact architectural designs for the sustainable future.

Buildings that could optimise the collaboration and interaction of all of their parts by maximising the strength and efficiency of a locally active sustainable material, directly tackle the need of more sustainable modes of planetary habitation that human needed to be redirected towards. This is one of the two tasks that ‘Design Futuring’ needs to confront to solve current defuturing conditions as we have reached this critical moment in our existence.1 Whenever something is brought into being from the act FIG 5: THE BAMBOO WINGS CLOSE-UP.

1. Tony Fry, Design Futuring (London: Bloomsbury Academic, 2014), pp. 1-16.

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Case Study 2 Verlan Dress New Skins

FIG 6: FULLSCARE VERSION OF THE VERLAN DRESS

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In the 21st century: Designers’ way of thinking The Verlan Dress can be considered as a second skin project that applied computationally-based design methodologies. The piece of garment is created by New Skins, a workshop led by Francis Bitonti, who is a pioneer in the digital fashion design space. Taking place at Pratt’s Digital Arts and Humanities Research Center in Brooklyn, New Skins consisted of twelve students worked together to create the geometry for the dress using different digital modeling tools.

From the 3D anatomical models of the human body, abstracted hidden lines and vectors of the human body such as muscles, veins and arteries are projected into curves outside the body.1 Afterwards, the design was 3D printed with a new material that allows flexibility and comfort movement when worn.2 Bitoni emphasised: “With new technologies, the design process can now be linked directly to the manufacturing process with no translation, no loss of resolution. It’s a very powerful time for designers.”3 Speaking about the future of fashion design, Bitoni compared the way designers learn to work with machines and computers to the way they learn to sew previously. By allowing students to work with different platforms to recognise similarities and differences between the softwares, they are encouraged to be flexible and influenced by Bitoni’s way of approaching problems in the 21st century, to think about the process rather than focusing on something specific. Technology is changing our ways of thinking, and in this case, it is about experimenting with how much flexibility the computer can provide.

FIG 7: STUDIO COMPUTER SCREENS.

FIG 8: FABRICATION USING 3D PRINTING.

FIG 9: DIFFERENT ALTERNATIVE VERSIONS OF THE NEW SKINS.

1. “New Skins: Computational Design For Fashion Workshop - Week Two Report - Core77”, Core77, 2017.

2. “New Skins: Computational Design For Fashion Workshop - The Premise And Process Behind The Verlan 3D-Printed Dress - Core77”, Core77, 2017.

3. “New Skins: Computational Design For Fashion Workshop, By Francis Bitonti - Core77”, Core77, 2017.

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A.2

Design Computation

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“Architecture is recasting itself, becoming in part an experimental investigation of topological geometries, partly a computational orchestration of robotic material prodection and partly a generative, kinematic sculpting of space”1 Peter Zellner.

Impacts of computation We are living in the 21st century in the Information Age, and in the same manner that the Industrial Age has been revolutionised, the building industry is being challenged not only on the way buildings are designed, but also how they are manufactured and constructed, or in other words, on the design process. Digital technologies are changing architectural practices in “the conceptual realm, computational, topological, kinetic & dynamic systems, and genetic algorithms.” 2. As stated by Kolarevic, the digitally-driven design processes are characterised by the dynamic, unpredictable and consistent transformations of three-dimensional structures. They are opening up new dimensions in architectural design and architectonic possibilities.

1. Peter Zellner, Hybrid Space (London: Thames & Hudson, 2000).

2. Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp.

3-62.

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Computation in Architecture Representation Computers, by their nature, are superb analytical engines. They can follow a line of reasoning to its logical conclusion. They will never tire, never make arithmetical mistakes, and they can store endless heaps of information.

However, because of their incapability of making up new instructions for themselves, they should be treated as a creative tool rather than a replacement for human’s creativity.1 Therefore, as stated by Kalay, the majority of computer-aided design (CAD) research within the industry over the last fifty years has been focusing on computational systems that provide assistance to human in the representational parts of the design process, such as drafting and modeling systems.2 This transition has been noted in Lynn’s interpretation of Deleuzeian’s concept for architectural theory of the 1990s, anticipating the representational aspect is the dominating operative mode in design of the new architectural era.3

to production & exploration However, it has been revealed by Oxman that the impact of digital emergence has reached beyond representation to production,4 or in Kolarevic’s words, to exploration.5 Introducing the generative design method, which from an intergral logic articulated by designers, could produce a range of possibilities for designers to choose and further explore, he clearly summarised:

“The predictable relationships between design and representations are abandoned in favor of computationally generated complexities.”

Replacing the traditional method, the digital generative processes not only opens up new opportunities for conceptual and techtonic exploration, but also articulate the industry’s focus to the adaptive propertives of forms. As a consequence, the designer’s role has been shifted from ‘making form’ to ‘finding form’.

Computerisation vs Computation The practice of architecture is being redefined by computation. However, as mentioned in Elias in the lecture,6 ‘ computation’ is a term that is often misused with the term ‘computerisation’.

‘Computerisation’, relating to the mode of operating, suggests the act of digitalising actions and procedures in the design process.

Meanwhile, ‘computation’, could be defined as ‘the processing of information and interactions between elements’ that ‘influences the interrelation of datasets to generate complex form and structure’.7 Using computers to increase the decision of drafting is something that has been around for decades, while ‘using computers to process information through an understood model which can be expressed as an algorithm’ is completely different.

Computation and the way it allows exploration of new ideas and increases capability to solve complex matters is the concern of this part. By examining the following two projects, an insight of using computation as a design method could be revealed, and certain aspects of the computational impact could be found useful for the coming project.

1 2. Yehuda E Kalay, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004), pp. 5-25.2. Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp. 3-62.

3 4. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 1-10.

5. Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp. 3-62.

6. Bradley Elias, “Design Computation”, 2017.

7. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15.

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Beast

Neri Oxman Structural Geometry: Nature’s Way In the biological world, ‘nature has the design capability of generating complex structures of multifuctional composites’, and since they are all made of fibres, ‘their multifunctionality often occurs at scales that are nano through macro and typically achieved by mapping performance requirements to strategies of material structuring and allocation’.8 Being interested in this approach, Neri Oxman’s prototype ‘Beast’ for a Chaise Lounge embodied the geometry found in natural systems. ‘It adapts its thickness, pattern, density, stiffness, flexibility and translucency to load, curvature and skin-pressured areas’. ‘Beast’ is also a representation of Oxman’s new materialism, where he inverted the typical architectural hierachical sequence ‘form-structurematerial’. ‘Material first’ is always the case in the biological world and Oxman accommodated this approach in the design.

and fabricate material corresponding to multiple fuctional constraints. Having the ability to control the density and directionality, structural properties becomes a function of perfomance that anticipate the form. The application of Voronoi cell tessellation, which is a tiling algorithm technique that allows generating biological cell structures, determines positions of different materials on the continuous surface. ‘Stiffer materials are positioned in surface areas under compression, and softer, more flexible materials in surface areas under tension.’

Material-based design computation Variable property design (VPD) is a design approach and a computational framework by which to model, simulate

FIG 10: MATERIALS DISTRIBUTION ON SURFACE.

8. Neri Oxman, “Structuring Materiality: Design Fabrication Of Heterogeneous Materials”, Architectural Design, 80.4 (2010), 78-85.

FIG 11: FULLSCALE OF BEAST

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Responsive Surface Structures Steffen Reichert Performance-Oriented Design: Material Behavior Similar to Oxman’s materiality design approach, which allows material properties to control functional and structural matters, Steffen Reichert explores the possibility of utilising the dimensional changes of wood induced by changes in relative humidity in the environment in order to develop and fabricate a surface structure that adapts in response, which might substantially contribute to the aspect of performance-oriented design. Once again, the aim of the project is proving that the material responses and the system’s behaviour need to be taken into account during the design process. Different experiments were taken and it was revealed in the Achim Menges’s article that the key constraint of the fabrication embedded in the set-up of the related computation.1

1. Michael Hensel, Defne Sunguroglu and Achim Menges, “Material Performance”, Architectural Design, 78.2 (2017), 34-41.

FIG 12: SURFACE STRUCTURES REACTION TO MOISTURE CHANGE.

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Computational Manipulation The surface structure consists of a load-bearing substructure, which is defined as a folded system with planar faces connected to the sensitive veneer composite elements, which can react to moisture changes. In order for this to happen, the overall form & curvatures of the structure needed to be parametrically determined so that the orientation and exposure of each moisture-responsive veneer element could be mathematically calculated. Computational manipulation allows the overall system to be tested on specific environmental inputs that directly influence humidity such as sunlight, thermal energy and airflow.

Furthermore, as described in Menges’s article, the parametric setup of this computational differentiation process also incorporates manufacturing and construction. The derived geometries of the substructure system are fabricated with a cutting plotter before assembled to form the full-scale prototype.

‘This high level of integration of form, structure and material performance enables a direct response to environmental influences without the need for additional electronic or mechanical control.’ Menges’s conclusion in Architectural Design.

FIG 13: SUBSTRUCTURE ON RHINOCEROS.

FIG 14: FABRICATION OF THE SUBSTRUCTURE

FIG 15: ASSEMBLAGE STAGE.

FIG 16: CLOSE-UP OF THE PROTOTYPE.

FIG 17: FULLSCALE PROTOTYPE.

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A.3

Composition to Generation

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“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.”1 1. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15.

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Case Study 1 Waterloo Station Nicholas Grimshaw

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FIG 18: INTERNATIONAL TERMINAL OF WATERLOO STATION

Benefits of Parametric Approach to design One of the typical and early project that instigated parametric modeling is the International Terminal at Waterloo Station in London, by Nicholas Grimshaw and Partners. The building’s most significant architectural feature defining its complexity is the long glass cladding roof structure. Kolarevic’s described the structure as a series of 36 dimensionally different but identically configured three-pin bowstring arches.1 Because of the asymmetrical geometries of the platforms, every single arch is different and unique.

This specific situation is when the parametric approach to design offers the most benefits in terms of developmental demonstration. In Fabian Scheurer and Hanno Stehling’s words, parametric modeling could save designers from manually modelling thousands of different components.2 Each arch was not modeled separatedly but a generic parametric model was created based on the related span and curvature rules of the arches. Figure 20 demonstrated the different truss spans being assigned values based on the scaling factor of parametric modeling. Furthermore, the parametric model could be even further extended from structural description to corresponding cladding elements, forming the whole building. As a result, a highly complex series of independent architectural elements could be parametrically controled and modeled, developing the project further from conceptualisation to construction.

Parametric approach to design has proven to have tremendous impact on not only the nature of the design process at different levels but also on the entire architecture and building literature. Architects no longer determine the form of the building conventionally but set out series of coding sequences of parametric equation that embody their ambition.

Therefore, stated by Brady Peters, this transition encouraged the scripting cultures to write programs to customise design environments in existing softwares such as RhinoScript or Visual Basic for Applications (VBA), propelling the computation usage in architectural practice.3

FIG 19: 36 IDENTICAL BOWSTRING ARCHES

FIG 20: TRUSS SPANS BEING ASSIGNED VALUES BASED ON SCALING FACTOR.

1. Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp. 3-62.

2. Fabian Scheurer and Hanno Stehling, “Lost In Parameter Space?”, Architectural Design, 81.4 (2011), 70-79.

3. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15.

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Case Study 2 Nine Bridges Golf Club Shigeru Ban Architects

FIG 21. THE ATRIUM OF NINE BRIDGES GOLF CLUB.

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Parametric approach to design: materiality As mentioned by Kolarevic, the parametric approach to design could even extend its impact further if consistenly applied from the conceptual phase.1 In the case of the Nine Bridges Golf Club in Yeoju, Korea, its significant architectural feature of the timber columns spreading into a hexagonal wooden grid shell roof structure was parametrically conceptualised. Shigeru Ban architects, taking an inspiration of a Korean’s traditional summer cushion, created the structure of the roof based on the pillow’s form and interpreted it in a way that allows breeze to flow through the interiors. Scheurer and Stehling described the roof as a tri-fold grid that is vertically projected to a curved surface. Continous girders are created in all three directions, on every projected grid line and intersect at almost 7,500 crossing points. Therefore, 2,000 independent joints had to be described in detail and only a parametric system that could automatically generate the detailed models from a reference surface could allow the project’s constructability.2

Algorithmic thinking Once again, the beneficial aspect of parametric approach to design is proven. However, allowing computation and the used of the computer to facilitate and share the accumulation of idea is one of the way which Peters suggests to build the algorithmic thoughts, and the project has successfully delivered that means .3 In relation to the scripting cultures, Peters claimed the power and availability of the scripting languages instigated the visual languages, hence, propelled algorithmic thinking. He concluded that in the modern days, it could possibly reach a point when architects have a sufficient understanding of algorithmic concepts and algorithmic thinking, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.

FIG 22: TIMBER ROOF STRUCTURE GRID-SHELL.

FIG 23: DIFFERENT INDIVIDUAL LAP JOINTS.

FIG 24: THREE-WAY CONNECTION OF GIRDERS.

1. Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp. 3-62.

2. Fabian Scheurer and Hanno Stehling, “Lost In Parameter Space?”, Architectural Design, 81.4 (2011), 70-79.

3. Brady Peters, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83.2 (2013), 8-15.

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A.4

Conclusion Computation is redefining not just the practice of architecture but also the building industry everyday. The digital world and physical world are becoming more intergrated in design as the design process could be directly linked to fabrication and manufacturing. As a result, the different roles within the industry are becoming narrowed down into consolidation.

Speaking as a student pursuing an architectural degree in a highly appreciated university, in order to carry out his/her responsibility in the process of articulating the future, an architect needs to have a dynamic understanding of parametric modeling and scripting, enpass the limitations of static geometries and of the physical world, and non-stop considering and instigating new approach methodologies of different profession.

What I’ve taken away from the first three weeks is in The Information Age, the parameters of architectural design is constantly changing. Case studies have clearly pointed out that even though computational tools and techniques could provide plenty of assistance, a designer first need to be flexible in the way of thinking and to have the ability to adapt quickly with the design environments.

Moving to the next stage of the project, I find it essential to always keep an open mind throughout education and throughout this course specifically: be willing to letting go of the processes and prejudices that I’ve become familiar to and be ready to immerse myself into new opportunities.

Learning Outcome A.5

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A.6

Algorithmic Exploration The following pictures are the most interesting algorithmic sketches. What I’ve learned from the process of practicing Grasshopper is that numerous versions and variations could be derived by simply adjusting the inputs of the original geometry. The results of changes can be easily and almost immediately visualled. As a designer, I think that now the forming phase can be translated to the phase of exploring different properties to generate designs that fit personal intention and ambition. As a result, unexpected and complex outcomes could be generated and further encourage designers to have more control by exploring.

FIG 25: INTERESTING ALGORITHMIC SKETCHES.

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Bibliography Elias, Bradley, “Design Computation”, 2017 Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2014), pp. 1-16 Hensel, Michael, Defne Sunguroglu, and Achim Menges, “Material Performance”, Architectural Design, 78 (2017), 34-41 Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004), pp.

5-25 Kolarevic, Branko, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp.

3-62 Menges, Achim, and Sean Ahlquist, Computational Design Thinking (Chichester, UK: John Wiley & Sons, 2011), pp. 10-29 “New Skins: Computational Design For Fashion Workshop - The Premise And Process Behind The Verlan 3D-Printed Dress - Core77”, Core77, 2017 <http://www.core77.com/ posts/25482/new-skins-computational-design-for-fashion-workshop-the-premise-andprocess-behind-the-verlan-3d-printed-dress-25482> [accessed 10 August 2017] “New Skins: Computational Design For Fashion Workshop - Week Two Report - Core77”, Core77, 2017 <http://www.core77.com/posts/25346/new-skinscomputational-design-for-fashion-workshop-week-two-report-25346> [accessed 10 August 2017] “New Skins: Computational Design For Fashion Workshop, By Francis Bitonti - Core77”, Core77, 2017 <http://www.core77.com/posts/25287/new-skins-computational-designfor-fashion-workshop-by-francis-bitonti-25287> [accessed 10 August 2017] Oxman, Neri, “Structuring Materiality: Design Fabrication Of Heterogeneous Materials”, Architectural Design, 80 (2010), 78-85 <https://doi.org/10.1002/ad.1110> Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 1-10 Peters, Brady, “Computation Works: The Building Of Algorithmic Thought”, Architectural Design, 83 (2013), 8-15 <https://doi.org/10.1002/ad.1545> Scheurer, Fabian, and Hanno Stehling, “Lost In Parameter Space?”, Architectural Design, 81 (2011), 70-79 <https://doi.org/10.1002/ad.1271> Zellner, Peter, Hybrid Space (London: Thames & Hudson, 2000)

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Images References Fig 3-5. Retrieved from http://www.archdaily.com/521995/vo-trong-nghia-winsarcasia-building-of-the-year/53aff4a2c07a80790f0000e5-vo-trong-nghia-wins-arcasiabuilding-of-the-year-photo. 9 Aug 2017.

Fig 6-9. Retrieved from http://www.core77.com/posts/25482/new-skinscomputational-design-for-fashion-workshop-the-premise-and-process-behind-theverlan-3d-printed-dress-25482. 9 Aug 2017.

Fig 10-11. Retrieved from Neri Oxman, “Structuring Materiality: Design Fabrication Of Heterogeneous Materials”, Architectural Design, 80.4 (2010), 78-85. 9 Aug 2017.

Fig 12-17. Retrieved from Menges, Achim, and Sean Ahlquist, Computational Design Thinking (Chichester, UK: John Wiley & Sons, 2011), pp. 10-29. 9 Aug 2017.

Fig 18. Retrieved from https://grimshaw.global/projects/international-terminalwaterloo. 9 Aug 2017.

Fig 19-20. Retrieved from Scheurer, Fabian, and Hanno Stehling, “Lost In Parameter Space?”, Architectural Design, 81 (2011), 70-79. 9 Aug 2017.

Fig 21. Retrieved from http://www.archute.com/2016/01/17/shigeru-bans-nine-br/ 9 Aug 2017.

Fig 22-24. Retrieved from Scheurer, Fabian, and Hanno Stehling, “Lost In Parameter Space?”, Architectural Design, 81 (2011), 70-79. 9 Aug 2017.

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CRITERIA DESIGN

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B.1

Research Field Biomimicry Inspired by nature Biomimetic architecture can be conceived as a comtemporary concern in architecture that looks for solutions in nature to design a more sustainable future.1 By examining and understanding the rule and principles of natural systematic forms, human can be inspired to apply their understanding into architectural designs. Therefore, certain aspects of nature systems such as ecological, aesthetic or structural standard are taken into consideration to measure the efficiency and effectiveness of human innovations.2 Personally, after being introduced to the concept of design computation and its relation to the future in part A, I believe Biomimicry can be a research field where I can look further into understanding its underlying systematic rules then start applying these natural algorithms into architectural designs that ecumulate natural forms and functions.

Furthermore, the studio assigned site is the human body, which I believe in the cycle of nature, has a lot of references to natural species in terms of structure, pattern and performance, making Biomimicry a field worth exploring.

1. â&#x20AC;?What Is Biomimicry?â&#x20AC;?, Biomimetic Architecture, 2010 <http://www.biomimetic-architecture. com/what-is-biomimicry/> 2. Janine M Benyus, Biomimicry (HarperCollins e-books, 2009).

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FIG 26: ELYTRA FILAMENT PAVILION

by Achim Menges 31 31

B.2

Case Study 1.0 The Morning Line Aranda Lasch

FIG 27. THE MORNING LINE PLAN

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FIG 28: CONSTRUCTION PROCESSES.

The Morning Line is a experimental project by architects Aranda\Lasch in collaboration with the artist Matthew Ritchie and Daniel Bosia of Arup’s AGU. The project aims to explore interdisciplinary interplays between art, architecture, mathematics, cosmology, music, and science.1 Being a modular structure, The Morning Line consists of fractal building blocks that were scaled in three dimensions, creating continuous lines and curves movement patterns with no single begining or end on these blocks defining its structure in space.

Therefore, it could be considered as a drawing in space the forms by a network of intertwining figures that deliver the narrative of a ruin from the future.2 The provided Grasshopper definition reveals that the main technique behind the construction of The Morning Line is by tracing out the network of lines from its original form (Fig 28). Formerly, the fractal structure was created by a recursive tree algorithm

that could be typically generated by plug-in like the Python scripting language for Grasshopper.

Its visual complexity is defined by the various scales of the densely generated web, that was made of continuous curve that moves around multiple centers of the fractals, representing the complex interelation of ideas in art, architecture, science and the human’s place in it throughout history.

The following pages will exhibit a matrix of personal explorations within the fractal species forming the structure of The Morning Line to witness its transformation in scales of geometry and pattern before examining how an additional plug-in (Weaverbird) affects the outcomes.

1 2. “The Morning Line”, Aranda Lasch <http://arandalasch.com/ works/the-morning-line/>

Exploration Fractal Species 33

KPI 34

ITERATION 3

ITERATION 4

Perspective

Top View

ITERATION 2

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity

Top View

Connectivity

Perspective

SPECIES 2

KPI

SPECIES 1

ITERATION 1

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity

y

y

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity 35

KPI 36

ITERATION 3

ITERATION 4

Perspective

Top View

ITERATION 2

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexit

Top View

Connectivity

Perspective

SPECIES 4

KPI

SPECIES 3

ITERATION 1

y

y

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity

Connectivity

Connectivity

Connectivity

Connectivity

Elegance

Elegance

Elegance

Elegance

Geometric complexity

Geometric complexity

Geometric complexity

Geometric complexity 37

With the introduction of the pipe tool, this iteration derives the original definition to an extend where it distinguishes itselfs enough from the original pattern of the fractal to make it looks geometrically elegant and interesting enough but still embodies certain aspects of the original.

This iteration was considered successfull by achieving a transitional state between the two opposite completely solid and completely patterned state in the process of making The Morning Line. However, species 2, as a whole, failed to represent the elegance aspect because of the lack of curvature.

Species 3 aims to develop iterations that improve from the witnessed outcomes of species 1 and 2. With the help of Weaverbird, the rigidity of the original structure was made soft and visually attractive. However, Weaverbirdâ&#x20AC;&#x2122;s Loops components allow too much randomness for a singular module, which will generate difficulty for a recursive system.

Species 4 also incorporated Weaverbird but restrained its irregularity and amplified the repetitive hollowed patterns, aimed to increase the connecting performance criteria that is usually dragged down by the complexity of weaverbirdâ&#x20AC;&#x2122;s loops. Therefore, the number of ways to connect the fractals increase.

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Successful Outcomes Overall Analysis The iterations with higher KPI scores usually lie in the middle numbers of the species (iterations 3, 4, 5 and 6). The outcomes are arranged in the order from low to high complexity (low to high figures in Grasshopper slider bars) and from 3 sides to 5 sides geometry. Therefore, it can be concluded that with the given algorithmic definition and under the the three personal KPIs: Connectivity, Elegance and Geometric Complexity, the most satisfying outcomes could be delivered when the figures in relations to the number of sides and the complexity of patterns on the surface are both at the values where one is not too higher or lower from the other. The exploration process could be improved by stepping out of the orginal provided equation that sets up the relation between the number of sides/height, and apply to an actual model of recursive tree algorithm instead of being restricted only to the fractal.

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B.3

Case Study 2.0 Airspace Tokyo Faulders Studio

The Airspace Tokyo is a project by Faulders Studio, with Proces2 in San Francisco Building Design, creates a 3,000 square foot exterior building facade / skin for a new four story multi-family dwelling unit in Tokyo, Japan.

Previously, the site was occupied by its owner’s family with a residence uniquely wrapped by a layer of dense vegetation. After being a part of the new larger accomodation developments, the vegetation was demolished.

Therefore, the architectural facade was designed to aesthetically perform with similar attributes to the former green strips, wrapping around the building and atmospherically protecting the interior space. The thin, densed and open-celled meshwork is layered in response to the inner workings of the building’s program, making it an area where artificial blends with nature.

As the second and more essential objective of B.3 after case studying is reverse-engineering, this project is personally analysed and predicted to be made in the following simple three steps respectively: Voronoi2D, Adding Thicknesses and Smoothing the intersections. The following spread will reveal the reverse-engineering attempt and conclude whether this personal prediction is correct/incorrect to what extend and how to improve the outcome.

1. “AIRSPACE TOKYO - FAULDERS STUDIO”, Faulders-Studio.Com, 2007 <http://faulders-studio. com/AIRSPACE-TOKYO>.

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FIG 29: AIRSPACE TOKYO

41

ILLUSTRATION DIAGRAMS

REVERSE ENGINEER PROCESS

FRAME1 Count = 30

FRAME 2 Count = 70

FRAME 3 Count = 120

1. POPULATE POINTS

2. VORONOI PATTERN

SIMPLIFICATION

It was visually identified that the facade could be analysed to be a comb three layers of frames with three levels of density and thicknesses. Theref be optimised to make three individual frames with different counts of po before completing the voronoi + smoothing process and then combine This simplification method save up quite some time and effort to think of that can perform in that particular way.

42

5. ASSEMBLY

3. ADDING THICKNESS

4. SMOOTHING

ination of fore, it could opulated points them together. an algorithm

6. COMPLETION 43

Original Model

FIG 30. AIRSPACE TOKYO - ORGINAL MODEL

Reverse Engineer Model

FIG 31. AIRSPACE TOKYO - REVERSE ENGINEER ENDERED

44

Comparison Techniques It can be seen that the Simplification method of Reverse-Engineering the Airspace Tokyo proved to be quite effective in terms of representing the overall characteristic of the project (Fig 30 comparing to Fig 31) as the two versions look significantly similar to each other, by only incorporating the Voronoi component with the Weaverbird plug-in.

However, when identifying the characteristics of the project, only the ‘Layered’ concern was taken into consideration and the ‘Density responding to inner programs’ question was forgotten. As a result, the reverse-engineered model has almost equal distribution of density to the facade surface, while the original skin distributes its strips unequally and based on the different areas of the building to ‘protect’. Taking this outcome into consideration before moving to part B.4, it could be significantly more effective if the component Attractor Points or Curves could be added to the fairly simple created algorithm.

Attractor Points /Curves could scale the mesh to be denser at certain parts of the surface in response to the functions of the interiors.

FIG 32: CONSTRUCTION PROCESSES.

FIG 33: CONSTRUCTION PROCESSES.

45

Site Area Movement Joints.

Veins

Mapping the ‘pro

In relation to the human body, programs or mapping the wor could help to understand the fun the site in order to create a des ‘response’ properly to these prog the main concerning programs be taken into design considerat could possibly be the two work connection with each other in veins). However, veins that lie in more important as they need to underneath. Therefore, the follo different parts of the site and t from B.3 to create a nature-like s part to perform ‘one’ or ‘a few’ s the underlying systems.

FIG 34. SITE ANALYSIS - SIDE VIEW

46

B.4

Technique Development Application to site

gramsâ&#x20AC;&#x2122;

I personally think by mapping the rking systems underneath the skin nction, strength and weaknesses of ign, like the skin of Airspace Tokyo, grams. Fig 34 and 35 further explain of the site that might be useful to tions. Movements and Vulnerability ing/performing criteria that have a number (more movements - more the arm / bicep part are bigger and o carry the blood to all other parts owing matrix experiment on these ry to incorporate what was learnt skin that wraps around the selected scientific functions that response to

FIG 35. SITE ANALYSIS - FRONT VIEW

47

48

Series A1

Series A2

The M

Constructability Complexity Structural Stability Visual Impact Wearability

Constructability Complexity Structural Stability Visual Impact Wearability

Series A3

Matrix

Constructability Complexity Structural Stability Visual Impact Wearability 49

Series B1

Constructability Complexity Structural Stability Visual Impact Wearability 50

Series B2

Constructability Complexity Structural Stability Visual Impact Wearability 51

Series C Constructability Complexity Structural Stability Visual Impact Wearability 52

Series X

Constructability Complexity Structural Stability Visual Impact Wearability 53

Series A Series A focuses on Wearability,Stability and Constructability in order to ensure design outcomes that can be worn on the site.

Besides exploration in these criterias, one essential purpose of this series is to guarantee a significantly desirable outcome to prototype later, in order to increase successful chance for B.5.

As a result, even though only 60% of the iterations are fairly simple in constructing methods, almost every iterations are wearable, with no interfering elements.

Constructability Complexity Structural Stability Visual Impact Wearability

Series B & C Series B and C aims towards more complex outcomes that immediately impacts the visual sense. As a result, series Bâ&#x20AC;&#x2122;s iterations successfully deliver many complex designs that vary in different scales, forms and patterns. Series C, however, focuses on the hand, which could be considered as more complex than the arm, produce less visually actractive and creative designs, as the main panel components of Lunchbox failed to work.

Constructability Complexity Structural Stability Visual Impact Wearability 54

Series X

Constructability Complexity Structural Stability Visual Impact Wearability The main purpose of series X is to explore outcomes with Extreme impact on any of the five selected criterias.

Because series A, B and C successfully produce many iterations that match the initial design intentions, series X is allowed to be as creative as possible with maximum level of freedom. With the introduction of the Attractor Point in the algorithm, series X produces excellent designs with extreme Complexity and Visual Impact. On the other hand, 90% of series Xâ&#x20AC;&#x2122;s iterations have very low Constructability, Structural Stability and cannot be worn as the interference of the form to the body is unable to be deleted. The only iteration that is wearable and can be foreseen in the method of Constructing, surprisingly, has scored very high in these category. Therefore, this iteration scores the highest in every criteria and possess many future potential.

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The skin of nature Authorâ&#x20AC;&#x2122;s collage

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57

B.5

Prototypes

Frames

Iteration 9 (Series A2)

Infills 58

Optix Card - Lasercut

FIG 36. OPTIX CARD PROTOTYPES.

Iteration 9 (Series A2) was chosen to prototype as it was quite obvious in the way it can be constructed. It can be divided into two parts: the frames and the infills. As being in charge of the frames, I unfolded the frames and nest them into fabrication templates to lasercut. As the cut-outs for the sides of the hexagon frame will need to be folded, Optix Card 200 GSM was chosen as this material is fairly easy to fold. However, as the command to make folding tabs (the parts to glue

the components together) did not work for the file for unknown reason, the sides components does not stick together so strongly. Therefore, I thought of using stronger and thicker material like MDF as it will eliminate the folding process and improve the stability of the frame. However, as can be seen in fig 3x, the frames are not horizontally flat and needed to be cut at certain angles. Laser cutter cannot do this. As a consequence, the frame was not properly constructed.

Balsawood Ba sawood - Handcrafted

FIG 37. BALSAWOOD PROTOTYPES.

3Dprint

Meanwhile, the complex infills of the iteration are different at each position on the frame. Therefore, it is difficult to precisely represent them by handmade methods. 3D printing was a reasonable choice as the sizes of these infills are quite suitable and economical. However, because the group chose the 3D printing material as strips, the 3D printed object was extremely fragile. For a better outcome when using this fabrication method for part C, it is more recommended to use powder printer. Lack of teamwork and shortage of time made B.5 lack of depth and exploration.

FIG 38. 3DPRINT PROTOTYPE.

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B.6

Technique Proposal In application of Case Study 1.0 and 2.0 to the site, a protective, possibly camouflage and vegetation alike second skin might be an interesting proposal. As being constructed with modules that might be connected by hook connection, this might allow the skin to be open and close depending on the situation for convenience. The distribution, density or connections of the modules might be arranged in response to the position of blood veins underneath the skin, in relation to case study 2.0.

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Veins

61

B.7

Learning Objectives & Outcomes Digital Design Part B really pushed me into exploring the power of Grasshopper and Digital Design generally. By having to create matrixes with many iterations and species, students needed to force themselves into gathering everything they have learned from tutorials, video series and technical sessions to maximise their design possibility. Personally, I think the advice to â&#x20AC;&#x2DC;bakeâ&#x20AC;&#x2122; the outcomes regularly extremely helpful. It allowed me to witness different situations when the smallest changes in inputs could result in big changes in outputs and vice versa. Therefore, I could determine the distinguising characteristics of different series and compare them precisely.

to Fabrication On the other hand, even though having familiarised myself with moving back and forth between digital design and fabrication through previous subjects, I still found the transitional process between the two states quite challenging. In this case, as Grasshopper allows so much creativity, randomness and complexity, it was quite difficult for me to think of different fabricating / prototyping strategies besides 3D printing. As a result, it also narrowed down my choices of iterations to prototype. Furthermore, the fact that the members of the group did not work together effectively could have a negative impact on the outcomes as miscommunication happened in jobs allocation. Moving to part C, I personally think the team needed to work much harder in order to reach the high standards of the toughest part of the Studio.

and Presentation Lastly, the Interim Presentation had taught me precious lessons.

Because of having not put myself into the guesses situations, where they had not yet familiarised themselves with the studio brief and progresses, made my presentation unsuccessful.

Focusing too much on the matrix made me spent less time on collages and tasks that might have helped showing how my designs could have been used in reality. Therefore, I would have been more successful to discover actual functions and purposes of the designs, which is essential. Hard work needed to be presented properly and working hard needs to be combined with working smart. Moving to part C, the concept and definition of purpose, precision, accuracy, heirachy and response should be taken or retaken into consideration for more desirable outcomes.

62

B.8

Algorithmic Exploration Close-up

63

64

65

66

67

Bibliography “AIRSPACE TOKYO - FAULDERS STUDIO”, Faulders-Studio.Com, 2007 <http://fauldersstudio.com/AIRSPACE-TOKYO> [accessed 11 September 2017] Benyus, Janine M, Biomimicry ([Place of publication not identified]: HarperCollins e-books, 2009) [accessed 11 September 2017] “The Morning Line”, Aranda Lasch <http://arandalasch.com/works/the-morning-line/> [accessed 14 September 2017] “What Is Biomimicry?”, Biomimetic Architecture, 2010 <http://www.biomimeticarchitecture.com/what-is-biomimicry/> [accessed 14 September 2017]

Images References Fig 26. Retrieved from http://inhabitat.com/biomimetic-pavilion-shows-how-robots-arerevolutionizing-architecture/elytra-filament-pavilion-2. 11 Sep 2017.

Fig 27. Retrieved from https://www.flickr.com/photos/arandalasch/3275850570. 11 Sep 2017.

Fig 28. Retrieved from http://arandalasch.com/works/the-morning-line/). 11 Sep 2017.

Fig 29. Retrieved from http://www.arch2o.com/airspace-tokyo-faulders-studio/. 11 Sep 2017.

Fig 30. Retrieved from http://faulders-studio.com/246-AND-COUNTING. 11 Sep 2017.

Fig 32. Retrieved from http://faulders-studio.com/AIRSPACE-TOKYO. 11 Sep 2017.

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69

70

DETAILED DESIGN

71

C.1

Research Field

Digital Tectonic

Prototype

Concept

7.0 8.9 6.8 6.5

Overall

7.3 72

The team has a good understanding of the research field, from its definition to the concept and the direction that it was going in the architecture world.

However, our intepretation lacked of depth and has not fully reflected our understanding.

The team has generally worked well in the digital world (both Rhino and Grasshopper) despite being under time pressure. The iterations, which were diversely derived from the original definition, have reflected strongly the narrative and technique that have been discovered from the case studies.

Prototyping was one of the teamâ&#x20AC;&#x2122;s weaknesses.

Because the digital explorations were fairly complicated, they were relied heavily on digital fabrication. Furthermore, the team has not so much experience and communication led to the fact that the material choice was not appropriate. However, we have learned a lot for final model.

The concept was the biggest let down, based on the feedbacks from the guess critics. Because we could not fully reflect our understanding of the research fie to our design, it has not revealed the logic of nature behind the concept visually. Therefore, no matter ho interesting it might communicate visually, its function was not there.

Overall, the team has done a decent job for the interim submission. There has nothing we could not possibly do more, given the amount of time and resources, so we should not care about the losses but focus on the upcoming more importan objectives based on the feedbacks.

Interim Feedback

Personal guide for new objectives

h

e

eld

ow n

nt

I believe the key word on concern in the case is Proposition.

Despite how well we understand the research field, we need to have our own opinion and thought about it in order to have a more profound interpretation.

Key

Proposition

Hierarchy is the main concern because in Biomimicry, the logic behind the system is what we care about. The digital tools can only reveal its fullest capability when a designer truly understands the logic and play with it in the direction that he/she intends to, rather than simply changing numbers of input and rely on the program to randomly come up with the needed look.

Key

Hierarchy

Considering Construction method, especially material capabilities and its performance in different forms and shape, I believe, can dramatically improve our physical model because it immediately relates to our decisions and directions of our fabrication methods.

Key

Construction

Narrative is the last keyword because for me, it has a broader meaning. I think it contains all of the previous keywords because a good narrative communicates everything behind the design: the concept, the logic, the construction or the considerations... even though it is fairly difficult to have one, I think sometimes it can be as simple as having an idea and willing to develop it.

Key

Narrative 73

Scaling

FIG 40. SITE ANALYSIS. Mapping the positions of the circulatory system Interpreting

FIG 39. BODY SITE ANALYSIS.

FIG 41. VEINS & ARTERIES DIAGRAM.

Form Finding Concept development: In relation to a function reflective design

Propo

Review for the functio system its cont

Going of the c to map mimic t

74

1 Mimicking internal veins and arteries network system Surface Evaluation

Shortest Walk

4 Transform and combine the external network system with the primary structure (carving on the surfaces).

Variable Pipes

Shortest Walk

1

4

Pipes R=1

Carve to surfaces

FIG 43. VESSELS SYSTEM DESIGN.

2

3 FIG 45. FINAL DESIGN.

FIG 42.

CONCEPT DIAGRAM.

2 Working on the requirement for a primary

3 Developing another primary structure

structure in the form of planar surfaces, holding the secondary structure of veins and arteries system.

Nurb Curves

Loft Curves

Pipes

with more control over form. Doubly curved surfaces allow more extending space for the secondary structure.

FIG 44. PRIMARY STRUCTURE DESIGN.

Nurb Curves

Loft Curves

Pipes R=3

osition and Hierachy

wing the site analysis is the starting point team as the Proposition is to mimic oning and programing structures of the ms that has strong relation to the site and text (Fig aa: Concept Diagram).

through the veins and arteries diagram circulatory system, the team decided p out the positions and try to digitally the form of the network to create an

external version. The Hierarchy encouraged exploration that could add certain depth and systematically complicated design. Hence, it required a refined and fairly controlled structure that supports, and its systematic form should reveal the influence of the more important functioning secondary structure of the veins and arteries.

75

FIG 46. VASOCONSTRUCTION DIAGRAM.

Vasoconstriction The process of shrinking the diameter of blood vessels that supply the skin of endotherms to avoid losing heat to the environment through the skin.

FIG 48. BLACK-TAILED JACKRAB

Case Study Extension: The Natural Mechanism Arteriovenous Anastomoses (AVAs)

76

Rabb Temp

As an e the me animal vessels heat ex environ argum they sit functio

FIG 47. VASODILATION DIAGRAM.

Vasodilation The process when these same blood vessels get wider, or dilate, increasing blood flow to the skin to help endotherms lose some of its heat through the skin.

BIT AND ITS EARS.

bit Ear: perature Management

explanation to the exploring direction, echanism of blood vessels in warm blood s, or endotherms, where the blood shrink/widen to restrain/encourage xchange between the blood and the nment through the skin, is the main ent. The position of these vessels where t right underneath the skin is to serve this on. Furthermore, in the case of the rabbit,

or black-tailed jackrabbit, this network of vessels, known as Arteriovenous Anastomoses (AVAs) is positioned in the ears. Therefore, they are acting as primary structure, facilitating the heat exchange of the vessels, working as a part of the rabbitâ&#x20AC;&#x2122;s temperature management.

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FIG 49: CONCEPT ARTWORK. 78 7 8

C.1

Concept Finalised AVAs System The use of GH Shortestwalk The human body and the vessels underneath the site are proved to act in the same manner with the AVAs in endotherms.1 Therefore, being inspired by the mechanism, the team create a form of an assumably prosthetic equipment that encourages heat exchange. Furthermore, it was found out that the human body signalises physical overloads by the feeling of tireness in muscles, which caused by the rising blood temperature. Stanford’s expertised biologist have pointed out from their experiments that by cooling down the temperature of this vessels network, the human body can dramatically improve its performances and maximising the physical capacities. They believe this methodology is even more effective than steroids and it is legal.2 Therefore, the team has finalised our design conceptually, and started to move to the transitional step of marketising the design into a product in accordance to the brief. The biologists’ researches have already suggested the targeted customers for the project, which could possibly be gymnasts, athletes or body builders, whose capacities are heavily restricted by the temperature management.

1. “Khan Academy”, Khan Academy, 2017.

2. Stanford University, “Stanford Researchers: Better Than Steroids”.

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B.6

Prototype Development

80

Stream 1

Stream 1

Stream 1 was developed in the earliest point of the project, where the team has not got a clear moving direction towards the design. One of the main reason and objective that determined the experiments was to purely testing possible material and manipulation that could help us have the most control over the branching form of the blood vessels. The first tested method was demonstrated quite clearly, where we aimed to create the form of the vessel network that is self-supported. Because the result was unsuccessful, we started to question the need of a primary structure that heavily determined the form of the network. The second method is considering small water pipes as a representation of the vessels. Even with the use of steel wires to help manipulating the form, the team still found the structure significantly unstable. At that point, we understood that the requirement for a primary structure is essential in terms of determining the this type of form.

Stream 2 aimed towards finding the appropriate material and method to create the primary structure. In response to my digital design, we used clay because of its high flexibility which we thought to be suitable for manipulation of such complex geometry as doubly curved surfaces. The result was significantly successful in terms of representing the structure, but allowing too much flexibility creates cracks on the surface as the struture dried. Furthermore, it was suggested from the studio that the team should prioritise digital fabrication such as 3D printing for this structure as it allows very high accuracy.

Stream 3 Stream 3 is showing the 3D printed model. Because of the Makerbot sizes restriction, we decided to scale the model down to 80% of the orginal.

Stream 1

Stream 2

Stream 81 3

B.6

Transformation

Technique Proposal

1

A1

A2

B1

B2

C1

C2

Going with the form In the digital world, the first starting point was inspired by the form of the GH’s surface evaluation curve.

Lofting these curves visualised the doubly curved surfaces. To avoid shut down in GH, I decided to seperate the form into three parts individually but applied the same transformation from populating point to proximity3d before finalised with shortestwalk. These ‘branches’ were merged together before carved into the surfaces using Boolean Difference. The initial evaluation curves were piped in a bigger radius creating the main vessels that collect the bloods after spreading to be inserted back to the body. The final model is the combination of the carved structure with the main pipes.

Overally, it was a fairly simple but effective process to work on GH and Rhino.

2

3

Tasks 1 Separation

2 Loft

3 Pipe (R=3)

82

1.1 Populating Po

oints

A3

4

B3

C3

5 6

1.2 Patterning

1.3 ShortestWalk

4 Merge + Pipe (R=1) 5 Carving Pattern 6 Combine

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STUDIO AIR - 2017 Blood-cooling Glove

by Thai Bui, Ran Li & Hui Yuan Koh The Glove of Haste At this stage, it is now important to create a better digital representation of the design by rendering simply with Rhino’s rendering tools (Fig 51 to 54).

In order for the design to be visualised in real life circumstances, a collage was made to demonstrate and establish the design’s identity and function in the appropriate scale and context. The collage is showing the targeted customers using the product, which immediately allow relation to marketing phrases such as ‘The glove of Haste’.

FIG 50. PRODUCT IN USE.

84

FIG 51. PLAN.

FIG 52. SECTION.

FIG 54. PERSPECTIVE.

FIG 53. ELEVATION.

85

FIG 55. EXPLODED DIAGRAM.

Biomimetic Mechanism An application of the AVAs

86

For such co structure, th of revealing work. It can is consisted surfaces. Th pre-determ the main ve body. As th

omplicated geometry with simple he diagrams are crucial in terms g the process and how the design n be interpreted that the glove d of three carved doubly curved he vessels are placed on top in the mined positions and connected to essels to be connected back to the he blood was extracted out from

FIG 56. FUNCTIONING DIAGRAM.

the body initially, it is spreaded out into smaller â&#x20AC;&#x2DC;branchesâ&#x20AC;&#x2122;, encouraging vasolidation or natural heat exchange to cool down.

The cooled blood are collected to main vessels before connected back to the body.

The whole process can be considered as a biomimetic mechanism.

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FIG 57. FUTURISTI

Towards the Future Opportunity in the Sport Industry

88

Legalise

In accordan possibly be mechanic c These cloth needed for

C SPORT CLOTHING INDUSTRY

ed Functioning Clothes

nce to the briefâ&#x20AC;&#x2122;s consideration of the future context that the design could e further developed, the team immediately thought of the scenario where the can be applied to clothes to create specialised functioning clothes in the future. hes can possibly be customised base on the nature of movements that typically r each sport and the affecting position of the usersâ&#x20AC;&#x2122; bodies.

89

FIG 58. MARKE

90

ETING POSTER.

91

C.3

Physical Model The Process 1 3D Print

2 Smoothing

3 Painting 4 Layering Resin 5 Smoothing 6 Touch-up

7 Adding Pipes

92

The core of the model was sent to the MakerBot as early as possible to be 3D printed.

After having received the core back, the supporting structure was removed and all surfaces were smoothened by 400 grit sand paper.

Red paint is inserted into the gaps created by branching veins in the digital model as a representational method.

After the paint is dry, a layer of resin is added on top of the surface and the painted gap, to protect the core and the paint.

When the resin is dry, the whole model is sanded with 400 grit sandpaper again to create smoothened surfaces.

After wiping out the sand and dust that came out, the model is cleaned and sprayed with clear spray to reach a higher standard for exhibiting.

The pipes, which were measured previously, were glued to the model using superglue. Pipe-to-pipe is connected by T-shape connectors. The red liquid, representing blood and its movement, was inserted lastly, finishing the whole model.

1

2

3

4

5

6

7

93 Final Model

FIG 59. 3DPRINT PROTOTYPE.

The final model reveals the discrepancy between itself and the digital model in terms of scale and materiality, which was caused by the transition towards fabrication and assembly. However, it can still be considered as an architectural representation of the gloveâ&#x20AC;&#x2122;s functioning methodology, which is believed to be the most important objective of the modelâ&#x20AC;&#x2122;s role in the Prosthetic Theme of the final presentation.

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Physical Model

95

Physical Model 96

Digital Model 97

B.6

Alternative Proposal Transparent 3D Printing & Fiberglass Prototypes In the stage of concept finalisation, the team understood that in order for the physical model to represent the working mechanic of the model most effectively, it is most suitable for the primary structure has a level of transparency, revealing what would happen on the inside of this prosthetic equipment and and the connectivity of the piece with the human body. However, the 3D transparently printed model could not be done in the same scale because of the size restriction once again, and we received the job in a very late stage into the project.

However, as recommended by the studio, experiments with fiberglass was still made.

Stream 1 Stream 1 was experimenting on the process of making fibreglass prototypes. We used a few sphrerical plastic models to be the experimental mould. They were sanded with sand paper, coated with a layer of PVA mould release (hence the blue color)

98

before applied with another layer of wax. A piece of surface tissue was placed on the mould coated with resin. The whole model was let dry. The surface tissue helped to prevent sharp edges of fibreglass.

The red paint allow us to visualised the color of the vessels when making the actual model. Lastly, another layer of fibreglass is put on top, also coated with resin. Being left overnight, the resin could completely cure.

Stream 2 Stream 2 is showing the 3D transparently printed model in a smaller size. The same process was made to create the fibreglass model but the whole model could not be completed in time.

Stream 1

Stream 299

FIG 60. CONNECTION TO THE BODY.

FIG 61. CLOSE-UP CONNECTION.

Taking it Further: Hierarchical System Patterns and Connections

100

After the the critics be consid terms of r not quite branchin to the site material i the use o

FIG 62. PATTERNING CONSIDERATION 1.

FIG 63. PATTERNING CONSIDERATION 2.

final presentation, it was suggested by s that the design, even though could dered to be significantly successful in representing the movements, it could e demonstrating the function of the g vessels, how they are connected e and the flexibility of the proposed in the futuristic context. Furthermore, of GHâ&#x20AC;&#x2122;s Shortestwalk did not quite

reveal the logic of the network system. As a result, the team had further developed the design conceptually by diagrams, showing possible proposals (Fig 60 & 61).

The patterning logic of the spreading vessels should incorporate into consideration the research about timing: how long does the blood need to be spreaded out by how much, to reach which temperature before going back (Fig 62 & 63).

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102

C.4

Learning Outcomes Studio Objectives & Personal Performance Over the semester, Iâ&#x20AC;&#x2122;ve been speding most of my time in the Digital World.

Despite understanding how crucial computation in architecture is, I think a designer can never truly understand the difficulties and challenges until he/ she involves in actual projects. Iâ&#x20AC;&#x2122;ve also gone through Part C, which I thought to be the toughest part, in the role of a digital manager, who took care and determined almost every aspect of the digital outcome. From the beginning, the studio emphasised a lot on how close the digital and physical world is nowadays, and this relationship reflected even clearer in a Prosthetic Brief.

Even though I believe in my ability to understand, reflect and manipulate using parametric modeling, I think it has to communicate more with fabrication and tectonic assembly. They could influence each other effectively to determine the design, but also could stand in each otherâ&#x20AC;&#x2122;s way. As we are looking towards the future, I think it is indispensable for an architect to have a strong basis of parametric modeling and scripting languages, as they would help to enpass the limitations of the static geometries of the physical space, making the transition from one world to the other smoother. They are the tool to initiate new possibilities of the future.1

1. Menges, Achim, and Sean Ahlquist, Computational Design Thinking (Chichester, UK: John Wiley & Sons, 2011), pp. 10-29.

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Bibliography “AIRSPACE TOKYO - FAULDERS STUDIO”, Faulders-Studio.Com, 2007 <http://faulders-studio.com/AIRSPACETOKYO> [accessed 11 September 2017] Benyus, Janine M, Biomimicry ([Place of publication not identified]: HarperCollins e-books, 2009) [accessed 11 September 2017] Elias, Bradley, “Design Computation”, 2017 Fry, Tony, Design Futuring (London: Bloomsbury Academic, 2014), pp. 1-16 Hensel, Michael, Defne Sunguroglu, and Achim Menges, “Material Performance”, Architectural Design, 78 (2017), 34-41 Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004), pp. 5-25 “Khan Academy”, Khan Academy, 2017 <https://www.khanacademy.org/science/biology/principles-ofphysiology/metabolism-and-thermoregulation/a/animal-temperature-regulation-strategies> [accessed 19 October 2017] Kolarevic, Branko, Architecture In The Digital Age (New York: Taylor & Francis, 2003), pp. 3-62 Menges, Achim, and Sean Ahlquist, Computational Design Thinking (Chichester, UK: John Wiley & Sons, 2011), pp.

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