STUDIO AIR 2018, SEMESTER 1, CHELLE YANG JESSE SHEN
1
CRITERIA DESIGN
1
2
CRITERIA DESIGN
2
Table of Contents A.0 INTRODUCTION
4
A.1 DESIGN FUTURING
6
Case Study One
8
Case Study Two
10
A.2 DESIGN COMPUTATION Case Study Three
14
Case Study Four
16
A.3 COMPOSITION-GENERATION
3
12
18
Case Study Five
20
Case Study Six
22
A.4 CONCLUSION
24
A.5 LEARNING OUTCOMES
25
A.6 APPENDIX-ALGORITHMIC SKETCHES
26
BIBLIOGRAPHY/ IMAGE SOURCES
28
CRITERIA DESIGN
3
A.0 INTRODUCTION
For those who have not read the cover page properly, my name is Jesse Shen. As of developing this project, I am a third year university student studying the Bachelor of Environments program majoring in architecture. It is a privilege to grow up during the dawn of the digital age after the turn of the millennium. What it brings to architecture is the fascination of what could be achieve beyond the comprehension of what the human mind can project onto conventional mediums. The blending of new computing capabilities within architectural practices has already raised great new limits ready to be broken again. The most significant architectural training I’ve under gone has been in the past year. I have steadily been practicing digital modelling in Rhino for the past year in both Architectural Studios Earth and Water. Most significantly was in Digital Design and Fabrication where it was critical in experiencing a direct work flow from conception to fabrication.
4
CRITERIA DESIGN
4
FIG 2: ARCHITECTURE STUDIO WATER BOAT HOUSE
FIG 2: ARCHITECTURE STUDIO EARTH PAVILION
FIG 1: DIGITAL DESIGN & FABRICATION SECOND SKIN 5
CRITERIA DESIGN
5
A.1 DESIGN FUTURING
It’s no secret that the advancement in human civilisation has placed a colossal toll on the planet. Our attempts to both design for individuals as well as to the planet have been at most trivial and at worst inconsiderate and superficial. As illustrated by Tony Fry, ‘the introduction of easy to use design software had trivialised design as a practice’ (Fry 2008: 6). With the ease in which designs can be easily altered with hundreds of variations for customers to view, the direction design has taken has followed a competitive market place in which the forefront of design is the blatantly apparent aesthetics and style. Ultimately it is the market who has final say on the product’s realisation rather than the designer.
Advancements in technology today does allow designers to extend beyond pen and paper or even digital auto-cad drawings. The introduction of algorithmic designing and well as direct design to fabrication machinery have allow designers to broaden design considerations and well as add more insight to the work flow and the consequences into each design choice. Designers today have to break away from mere just dictating the surface, but decide what’s underneath that facade. Only then can design truly achieve far more optimal results to the benefit or detriment to the planet.
The problem of such design is rooted in the lack of considerations to the totality of the design package (Fry 2008: 6). Without acknowledging the consequences of every facet of the design, more harm may be done than actual good. It can be easy to design a seemingly sustainable product on the surface, but potentially lack any insight into the how design and building process.
6
CRITERIA DESIGN
6
‘Is not simply that more people are ‘designing’ but that design become increasingly trivialised and reduced to appearance and ‘style’” TONY FRY:
7
CRITERIA DESIGN
7
CASE STUDY ONE
PRECEDENT: LOS ANGELES RAM STADIUM HKS ARCHITECTS The most fascination attribute of this stadium isn’t the architecture itself, but rather the fabrication process of the cladding. The project demonstrates an attempt at direct and efficient work flow from design to fabrication thanks to digital fabrication machinery and algorithmic design/visualisation (SHEIL 2017). Just about every component of this cladding had been deliberately designed and considered in some way by the designers themselves instead of the fabricator. From the connections to the panel shape to the perforated holes to even the fittings and nodes for assembly; each facet has been considered for optimum material usage, performance, fabrication and work flow efficiency.
FIG.4: CLOSE UP OF CLADDING PANELS
The constant reiteration of finding the most efficient manner by the designer to fabricate the cladding ultimately helps make the most effective and efficient use out of the all materials and resources.
FIG.5: ARRANGEMENT OF PANELS INTO A MEGA PANEL FOR CONSTRUCTION
8
CRITERIA DESIGN
8
FIG 6: RAM STADIUM CONCEPTUALISED:
9
CRITERIA DESIGN
9
CASE STUDY TWO
PRECEDENT: PHILLIPS PAVILION/ LE CORBOUSIER This pavilion as an earlier iteration of the concept of direct design to fabrication work flow. Limited by the lack of digital technology, both the designer and engineer had to come up with a way to profile the radically designed hyperbolic paraboloid.
Thus to the broader perspective regarding sustainability, be aware of not just the benefits, but also the consequences of their design choices through out the whole project.
The end solution of prefabricating the cladding out of steel cables and concrete casting allowed for the efficient construction of the pavilion which met both the aesthetic requirements as well as the acoustic performance necessary for its intended purpose. Thus to the broader perspective regarding sustainability, be aware of not just the benefits, but also the consequences of their design choices through out the whole project. Yet despite such work flow, there were numerous problems to consider. The biggest problems lied within the materiality which whilst made construction efficient, was not used efficiently as the structure was designed to be temporary. In addition to wasting materials, Asbestos was deliberately utilised to add texture to the wall (“Philips Pavilion Expo 58 - Data, Photos & Plans - WikiArquitectura� 2018) despite being a hazardous material.
FIG.7: DIAGRAM OF PAVILION STRUCTURE, THE CLADDING FORMWORK CAN BE DERIVED FROM A SERIES OF STRAIGHT LINES
10
CRITERIA DESIGN
10
FIG.8: MEDIUM SHOT OF PAVILION CLADDING
11
CRITERIA DESIGN
11
A.2 DESIGN COMPUTATION
As describe previously, to design for the future, designers should consider the totality of the project from concept to realisation. Design Computation provides the ‘toolset to amplify the designer’s analytical beyond what was originally possible’ (Kalay 2004:2). The precision afforded by computation furthermore affords greater control by the designer into the whole process. No longer does the separation between the designer and fabricator create as much potentially irreversible complications by the vagueness in communication between mediums. Therefore there should be no excuses for designers to merely remain in the ‘realm of representational design and visualisation’ (Oxman and Oxman 2014:1-2) because such potential to dramatically optimise/refine conceptual functionalities previously unachievable by hand. The direct design to fabrication workflow which can now be afforded thanks to digital computation encourages the designer to expand beyond representing their concepts and branching firmly into construction/fabrication as well. However, enhanced analytical prowess is just purely logic derived from mathematics. In addition, computation allows for seeming complex geometry to be easily modelled/visualised.
12
CRITERIA DESIGN
12
“Buildings, prior to the Renaissance were constructed, not planned” YEHUDA KALAY
13
CRITERIA DESIGN
13
CASE STUDY THREE
PRECEDENT: MESH MOULD/ ETH ZURICH The potential of computation as an superior analytical engine affords the possibility to model ideas into the physical quite seamlessly. In the case of this project, computation allows precise commands into a ‘robot to assemble the mesh with the capacity as both a load bearing structure and complex doubly curved geometry’ (DFAB) and others 2018); all without the need for costly form work and material wastage.
FIG.9: ROBOTIC FABRICATION USED TO ASSEMBLE MESH
Undoubtedly such an ideas in the past would have raised concerns over the practicality of the process, especially in the numerous potential issues as being able to precisely fabricate the mesh, the concrete mix leaking out and other potential issues surfacing after the initial physical testing. But with digital computation, modelling the entirety of the project as well as analysing its behaviour under different parameters allows for superior insight and better predictions of the outcome before even the physical prototyping or scale modelling.
FIG.10: CONCRETE POURING
14
CRITERIA DESIGN
14
FIG.11: MESH MOULD TEST
15
CRITERIA DESIGN
15
CASE STUDY FOUR
PRECEDENT: RESEARCH PAVILION 2015-2016/ ICD/IDKE One could describe nature as both inspiration and complex. Such is the process of which this research pavilion was conceptualised and fabricated, drawing much of its influence in both construction and design from a sand dollar. The lynch pin to the project wasn’t primarily in the geometry complex shell structure, but rather how construction logic can achieve such a shell. Focus was put into analysing the organic construction of a typical sand dollar then adapting such principles on an architectural scale. Most notably, the key success of this project lies within modelling ‘the fibrous connections working in conjunction with differentiation in materials’ (“ICD/ITKE Research Pavilion 2015-16 | Institute for Computational Design and Construction” 2018).
FIG.12: DIGITAL ANALYSIS OF PAVILION, MAX DEFLECTION
The evidence of design focused more on construction is evident in the manner in which digital computation was utilised in programming the robotic sewing construction process, or in the orientation of the grain of the multiple layers of wood. Ultimately, with digital computation comes the potential of translating and adapting such complex construction processes typically found in nature.
FIG.13: ON SITE CONSTRUCTION
16
CRITERIA DESIGN
16
FIG.14: PAVILION IN USE
17
CRITERIA DESIGN
17
A.3 COMPOSITION/GENERATION
Composition and Generation are in essence principles of tradition and modern design processes respectively. The limitations of past design mediums required the use of design principles in conjunction with a ‘focus on perfecting specific details and segments to better convey their project’s key intents’ (Peters and De Kestelier 2013:14). Whereas in contrast, generation took control from the architect away from such details to instead refocus on a more broader scale whilst achieving higher level of complexity. The results are startling as the efficiency in the design process through generation becomes more and more apparent. No longer are we meticulously re-arranging one by one the leaves and branches of a design “tree”, but instead remapping the growth of the tree itself from it’s roots to the leaves before even digging the hole. Thus its impact ripples down to the efficiency in which large scale infrastructure projects can be conceived and build whilst maintain complex geometry and variability. Generative has the capacity to visualise even the most unprecedented designs while providing the means to achieve it. Yet its roots in mathematics makes means that the designer may not have any control on the outcome.
18
CRITERIA DESIGN
18
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. BRADY PETERS
19
CRITERIA DESIGN
19
CASE STUDY FIVE
PRECEDENT: ESKER HOUSE/ PLASMA STUDIO Algorithms are adaptable in a sense by being able to ‘alter simple parameters and rules’ (Wilson and Keil 1999:11). This distinct advantage of generative design allow for greater building morphology of life which is a product of constant adaptation. The roof was ‘conceptualised like a parasite, it must adapt to the shape of its host before settling in and truly taking up its own identity. The parameters of the context are a great influence to the design because it serves as the parameter of the design in terms of bot scale and shape. Its modularity of the individual battens also allow for a greater extent of prefabrication. The individual spaces are reflected in the roof cover which controls the lighting through out the day. In a sense, it is a generative design in which the form of the roof follows the function within as its final appearance holds less importance than the utility of the project. Therefore the final outcome will always be unpredictable in some sense.
20
CRITERIA DESIGN
FIG.15: ROOF STRUCTURE FOR ATTACHING BATTENS, NOTE THE GRID SHELL FIXTURE
20
FIG.16: CONTOURED ROOF MADE WITH MODULAR WIDTH BATTENS
I
21
CRITERIA DESIGN
21
CASE STUDY SIX
PRECEDENT: P WALL (2013)/ MATSYS Generative design also has advantages in analysing material and building performance and behaviour. The P Wall project would be unrealisable if it wasn’t processed through design computation. The project parameters were conceived to ‘test the boundary between modularity and repetition’ (“P_Wall (2013) « MATSYS” 2013). The numerous yet randomised parameters in addition to modelling elastic behaviour would have made realising such a project next to impossible. Thus it becomes even more apparent that when done algorithmically, it can be efficient to not only model panels with elastic properties, but to randomise it behaviour whilst maintaining a modularity through quickly inputting different yet random parameters. The result is an outcome which can not only satisfy the constraints but also can also demonstrate a level randomness despite its modularity. Generation of where and how the panels expand effectively allows for a greater level of complexity to be achieved without become repetitive. Whereas in contrast, a compositional design would have ad difficulty in elegantly individualising any repeated elements.
22
CRITERIA DESIGN
FIG.17: EACH PANEL IS MODULAR, THE PATTERN IS PARAMETRICALLY RANDOMISED
22
FIG 18: IN CONTRAST WITH THE 2009 ITERATION, MATERIAL HAS BEEN REDUCED WITH ONLY 20MM OFFSET AT THE BACK
23
CRITERIA DESIGN
23
A.4 CONCLUSION
Design computation provides designers an opportunity to follow an divergent path from the traditional design philosophy unlike any other piece of technology before. This new opportunity entails the acceptance of certain responsibilities and even more potential unlike any before. The precedents described before demonstrate numerous advantages of design computation in optimising material usage, performance, structural capacity whilst providing a level of complexity and variability unlike ever before. No longer is there an excuse to not make the use of a new medium which has removed constraints of the past and in contrast provide accurate outcomes with enormous level of precision. Therefore it is up to architects to extend beyond composing/visualising building faรงades and programs as such perspective are narrow. Now there is a perfect opportunity to expands and broaden insight into the whole project. Only then can architects begin to understand how to address problems which find its roots beyond just representation drawings and consider the consequences it entails to realise such a project.
24
CRITERIA DESIGN
24
A.5 LEARNING OUTCOME
What I have take out from the first couple of weeks from this module is an understanding of the importance of parametric design beyond just a means of representation. The accuracy it affords gives no excuses for me to just simple stay within the boundaries of just representing designs. It is about making the most out of the resources and materials available and to not simply squander those opportunities away. Thus it is particularly important in the next stage that with the modelling tools we have right now, it is paramount to be careful with what we represent on the screen, but to go beyond and to test its performance before even beginning to fabricate the product. There is a need to me to be open about new techniques and tools, for some of the could hold great potential such as Kangaroo in modelling tensile behaviour.
25
CRITERIA DESIGN
25
A.6 APPENDIX
26
CONCEPTUALISATION CRITERIA DESIGN
26
27
CRITERIA DESIGN
27
A.7 REFERENCES/IMAGE SOURCES
(DFAB), NCCR, Wyss Institute, Oliver Mitchell, Frank Tobe, and MIT News and others. 2018. “Mesh Mould: Robotically fabricated metal meshes | Robohub”, Robohub.org <http://robohub. org/mesh-mould-robotically-fabricated-metal-meshes/> [accessed 12 March 2018] “Esker house / Plasma Studio”. 2009. ArchDaily <https://www.archdaily. com/11957/esker-house-plasma-studio> [accessed 5 March 2018] Fry, Tony. 2008. Design futuring (London: Bloomsbury Academic), pp. 1-16 “ICD/ITKE Research Pavilion 2015-16 | Institute for Computational Design and Construction”. 2018. Icd.uni-stuttgart.de <http://icd.uni-stuttgart.de/?p=16220> [accessed 12 March 2018] Kalay, Yehuda E. 2004. Architecture’s new media (Cambridge Mass: The MIT Press), pp. 5-25 Oxman, Rivka, and Robert Oxman. 2014. Theories of the digital in architecture (London: Routledge), pp. 1-86 “P_Wall (2013) « MATSYS”. 2013. Matsysdesign.com <http://matsysdesign. com/2013/09/02/p_wall-2013/> [accessed 15 March 2018] Philips Pavilion Expo 58 - Data, Photos & Plans - WikiArquitectura”. 2018. WikiArquitectura <https:// en.wikiarquitectura.com/building/philips-pavillion-expo-58/> [accessed 5 March 2018 SHEIL. 2017. Fabricate (London: UCL Press), pp. 36-43 Wilson, Robert A, and Frank Keil. 1999. The MIT Encyclopedia of cognitive sciences ([Cambridge, Mass.]: Massachusetts Institute of Technology), pp. 11-12
28
CRITERIA DESIGN
28
Fig 1 Self provided Fig 2 Self provided Fig 3 Self provided Fig 4 SHEIL. 2017. Fabricate (London: UCL Press), pp. 36-43 Fig 5 SHEIL. 2017. Fabricate (London: UCL Press), pp. 36-43 Fig 6 SHEIL. 2017. Fabricate (London: UCL Press), pp. 36-43 Fig 7 https://www.90yearsofdesign.philips.com/article/32 Fig 8 https://www.archdaily.com/157658/ad-classics-expo-58-philipspavilion-le-corbusier-and-iannis-xenakis/image-35 Fig 9 http://robohub.org/wp-content/uploads/2016/11/mesh-mould-5.jpg Fig 10 http://robohub.org/wp-content/uploads/2016/11/mesh-mould-3.jpg Fig 11 http://robohub.org/wp-content/uploads/2016/11/mesh-mould-4.jpg Fig 12 http://icd.uni-stuttgart.de/?p=16220 Fig 13 http://icd.uni-stuttgart.de/?p=16220 Fig 14 Image Source: http://icd.uni-stuttgart.de/?p=16220 Fig 15 https://www.archdaily.com/11957/esker-house-plasmastudio/500f12d128ba0d0cc700196d-esker-house-plasma-studio-image Fig 16 https://www.archdaily.com/11957/esker-house-plasmastudio/500f12a528ba0d0cc7001963-esker-house-plasma-studio-image Fig 17 http://matsysdesign.com/wp-content/uploads/2013/09/IMG_8866_clean_1200-620x413.jpg Fig 18 http://matsysdesign.com/wp-content/uploads/2013/09/IMG_9176_clean_1200-620x930.jpg
29
CRITERIA DESIGN
29
30
CRITERIA DESIGN
30
Table of Contents
31
B.1 RESEARCH FIELD
32-35
B.2 CASE STUDY 1.0
36-43
B.3 CASE STUDY 2.0
44-51
B.4 TECHNIQUE DEVELOPMENT
52-57
B.5 TECHNIQUE PROTOTYPE
58-63
B.6 TECHNIQUE PROPOSAL
64-71
B.7 LEARNING OBJECTIVES/ OUTCOME
72-73
B.8 APPENDIX
74-75
CRITERIA DESIGN
31
B.1 RESEARCH FIELD MATERIAL PERFORMANCE Previously I mentioned a need to be considerate of material usage as we need to be careful of how we make the most out of those resources instead of just simply squandering it. Thus it a key theme for this module to analyse material performance of all the resources we utilise. However, material performance goes beyond merely understanding the behaviour of available resources, it’s about exploiting such relationships to achieve more than just one simple task. This considerably increases the usage of the material. Typically in the past, one material was used for one purpose one such as utilising bricks for load bearing walls, then utilising another material as a veneer. Not only is it an in efficient use of materials, but it further demonstrates a clear separation between architectural expression and construction, a goal in which parametric design aims to address.
The ICD 2010 research pavilion is an perfect precedent in which constraints dictated the design to optimise both materials and construction in order to achieve its architectural expression. The biggest constraint lied within the ultimate aim of the architectural expression, to fabricate a self standing structure utilising principles of equilibrium, internal stresses and bending moments(“ICD/ITKE Research Pavilion 2010 | Institute for Computational Design and Construction” 2010). The end result is a pavilion which utilises the elasticity afforded by 6.5mm thin develop-able plywood strips, fixed in a manner where each connection allows two strips of plywood so mutually maintain its elastically bend shape through mutual yet alternating points of constriction. Ultimately this precedent demonstrates that even a single material when designed and modelled correctly can achieve both a self standing structure whilst successfully have its own unique architectural expression.
Therefore the key question to address as of now include ways in which a single material can express structural performance, intelligent construction processes as well as an architectural expression while using the least amount of materials.
FIG 19:: PARAMETRIC ANALYSIS OF INTERNAL STRESSES OF EACH STRIP 32
CRITERIA DESIGN
FIG 20: EXTRAPOLATING DATA ON KEY CONNECTION POINTS AND THEIR HEIGHT 32
FIG 21: PAVILION INTERIOR DEMONSTRATING THE ALTERNATING ORIENTATION OF EACH STRIP
33
CRITERIA DESIGN
33
CASE STUDY: P WALL (2013)
When considering the types of fabrication processes available, it become easy to distinguish which methods are wasteful. Whilst the 2010 ICD research pavilion demonstrated that a single material is capable of achieving more than one task, it was fabricated using subtractive fabrication processes which generated waste through carving out excess material out of each panel of plywood. Thus it should be necessary to explore other fabrication processes and to test out its material performance. One possible fabrication process which can ideally save on materials is the additive fabrication process, which is capable of making self standing structures whilst using the exactly amount of resources necessary. Furthermore manipulating the mould in which material is cast into can also achieve architectural expression without compromising too much of its structural capacity. Concrete is the typical form of additive construction technique used in todayâ&#x20AC;&#x2122;s architecture, however despite using the exact amount of materials necessary to achieve its form, there is still significant wastage of timber/steel found in the form-work or its â&#x20AC;&#x153;mouldâ&#x20AC;?.
34
CRITERIA DESIGN
This precedent mentioned earlier demonstrates an attempt at minimising wastage in the mould by discarding traditional form-work and substituting fabric as its mould it an effort to reduce wastage. The key advantage of fabric is in its flexible tensile quality. This flexibility grants potential in exploring various architectural expressions. Furthermore this tensile quality can be further explored as a form finding technique like with cantenary curves which are typically modelled in the past in a tensile manner through reverse hanging. Therefore there is potential for fabric to achieve both structural and expressive qualities, particularly during fabrication. In the case of the precedent, parametric design is primarily responsible for modelling and randomising the location of key points as anchors or as point loads as well as the extent of which the fabric will stretch and deform and in which direction(s). further exploration should be considered in fabric shape and how to arrange multiple panels
34
Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth
FARSHID MOUSSAVI AND MICHAEL KUBO
35
CRITERIA DESIGN
35
B.2 CASE STUDY 1.0 PANELLING
Firstly, it is important to understand that the chosen case study is fundamentally a panelled wall facade. Whilst the fabric is mostly responsible for the aesthetic appearance and quality of the of the panel; However, it is still important to remember to maintain a panel shape as the panel shape is key to maintaining the modularity of the panels for easy setup of the facade as well as the maintaining its modularity which is critical to its theme. The panel shape utilised is mostly squares with some rectilinear shapes which are double in scale in one dimension. This simple set of rules allows for connections between panels to remain simple in nature as connections would mostly rely on connecting surfaces to have the same length and could easily be connected by notches across the length of the panel edge.
The panel geometry also dictates the arrangement of a group of panels. The mostly rectilinear shaped geometry of the panels would logically be panelled in a 2d planar field like a flat wall. Parameters to explore: . Panel Shape . Number of anchor points . Depth of extrusions . Panel Patterning In addition to exploring these parameters, we will cross reference with the criteria below to isolate the panels with the most potential.
SELECTION CRITERIA SCALE
POTENTIAL TO BE SCALED UP AS A SINGULAR PIECE OF GEOMETRY
VARIABILITY
THE ABILITY TO MANIPULATE THE PATTERNS OF THE PANEL TO ACHIEVE SOME SORT OF VARIABILITY ACROSS MULTIPLE PANELS
WEIGHT
CONSIDERATION TO WHETHER OR NOT THE INDIVIDUAL PANEL IS CAPABLE OF STANDING UP
WORKABILITY
CONSIDERATION TO WHETHER OR NOT IT IS POSSIBLE TO EASILY TO FABRICATE THE PANEL
36
CRITERIA DESIGN
36
FIG 22: A KEY THEME OF THE P WALL PROJECT IS MODULARITY , THE 2009 VARIATION UTILISED HEXAGON MODULES(P WALL 2009)
37
CRITERIA DESIGN
37
ITERATIONS SPECIES
PANEL SHAPE
NUMBER OF ANCHOR POIN
ITERATIONS
Changing base panel shape
Adding more anchor poin
N=1
Triangle
N=2
N=3 Parallelogram
N=4
Square
N=5
38
CRITERIA DESIGN
38
NTS
nts
39
DEPTH OF EXTRUSION
PANEL PATTERNING
Changing fabric elasticity
Imprinting different patterns
N=1
Star
N=2
Random points
N=3
Ellipse
N=4
Line Space
N=5
Cross
CRITERIA DESIGN
39
CROSS SPECIES MATRICES
DEPTH OF EXTRUSION (Ascending)
40
CRITERIA DESIGN
40
NUMBER OF ANCHOR POINTS (Ascending)
There are a few details in which to be careful of: Firstly is that the more anchors or points of restriction, the less overall deformation of the fabric and careful consideration has to placed into how much deformation is desired. This fact also impact the consideration of other parameters such as line thickness. This parameter when compounding with number of anchor point will result in quickly diminishing returns.
41
CRITERIA DESIGN
41
SUCCESSFUL ITERATIONS
SCALE
SCALE
VARIABILITY
VARIABILITY
WEIGHT
WEIGHT
WORKABILITY
WORKABILITY
The strength of this panel lies within its potential for some variable patterning. The singular anchor points with some wrinkles linked to the four corners can accommodate some potentially simple yet interesting randomised patterns like in the case study; Party due the manner in which the anchor point has some flexibility to be placed within the boundaries of the panel dimensions. Furthermore, if it is possible to achieve the wrinkles automatically without the need of extra props, its workability could increase dramatically ass less effort would be needed, but will require some further testing to demonstrate whether such a pattern is capable of mass production.
42
CRITERIA DESIGN
This panel in contrast is fixed in its anchor point location. The effect its achieves is a consistency in the deformation of the fabric as well as the distribution of the casting materials. The result however is that the panel is easily mass producible as the props required to imprint the pattern is consistent and therefore standardised. Whilst this may be a potential dream for fabrication and is thus workable, however there is an issue of being able to generate interesting yet variable patterns as the module itself is consistent. Yet despite this drawback, there may be potential in scale this module up to be a singular pavilion.
42
SCALE
SCALE
VARIABILITY
VARIABILITY
WEIGHT
WEIGHT
WORKABILITY
WORKABILITY
This panel has some potential expression with exploring some interesting patterns by taking advantage of varying the ellipses generated in the centre in both its location and relative scale to the panel size. Yet despite its inherent advantage in variability, there are mostly drawbacks during the fabrication process. This would mostly be attributed to the as of this stage unknown behaviour of how casting materials behave when poured and how it may impact a thing anchor point made potentially out of string or thin wires. Fabricating curved props whilst being able to control thickness will be difficult without utilising digital fabrication methods.
43
This panel was chosen mostly for its variable potential. There are plenty of further variables which can be changed such as the spacing between the lines, line thickness and potentially the angle. These factors can also contribute to the relatively high workability factor as the props can be set up relatively easy thanks to the use of straight props with the exception of changing the angle which would require further planning. However it is also hard to determine the overall weight of the module as it could potential be both light and heavy depending on the number of props utilised.
CRITERIA DESIGN
43
B.3 CASE STUDY 2.0 STRUCTURE
Whilst the case study is mainly focused on facade aesthetics, structure is an inherent problem to the ability to not only hold the panels but to ensure the stability of the facade itself. Without some sort of consideration for the structure, it would be difficult for such a facade made up of multiple elements to remain self standing has movement is common between the connecting edges of many of the pieces.
Therefore a composite panel and structure system can be broken down into two key elements; The structure serves as the overall composition of the design and panels serving as the subdivided element of the composition where the patterning can be applied onto the surface. Parameters to explore: . Structure shape
Whist a structural system must be added for the panelling of the facade system, its is still a manipulatable system which can be exploited to enhance the aesthetic quality of the overall design. Due to the necessary requirements for the panels to be placed on the structure to compensate for the lack of structure, the structure itself would logically dictate the overall composition and arrangement of the panels.
. Grid-shell fabrication type . Other structural Systems
SELECTION CRITERIA GRADIENT
VARIATION OF CURVATURE OF THE STRUCTURE TO PROVIDE DIFFERENTIATION OF SPACES
STRUCTURAL CAPACITY
THE CAPABILITIES OF THE STRUCTURE TO BE SELF STANDING
OPENNESS
TO ALLOW FOR ENOUGH SPACE TO ALLOW PROPER CIRCULATION OF USERS AND EQUIPMENT THROUGH THE STRUCTURE
PRACTICALITY
IS THE SPACE USABLE AND FULFILS THE AMENITIES OF A BIKE SHELTER
44
CRITERIA DESIGN
44
FIG 23: MASSERIA OSPITALE RESTAURANT CANOPY POST-FORMED TIMBER GRIDSHELL
45
CRITERIA DESIGN
45
ITERATIONS: GRID SHELL ITERATION TYPE
RANDOMISED COLUMNS
RANDOMISED COLUMNS
DESCRIPTION
Randomising column locations (preformed grid-shell)
Hexagonal Gridshell wi triangulated subdivisio
46
CRITERIA DESIGN
46
ith ons
47
OPEN DOME
CLOSED DOME
Post-formed Grid-shell with large openings
Hemispherical Preformed gridshell
CRITERIA DESIGN
47
ITERATION PROCESS
PANEL GEOMETRY EXTRAPOLATING MESH POINTS
CULLING NON-ANCHOR PO
Acquiring all mesh point both naked and clothed
Extrapolating data to apply a load to all non anchor points
ANCHOR POINT PARAMETER Randomising anchor points to control extrusions
SHELL GEOMETRY PARAMETER
Setting up Initial boundary curves
48
CRITERIA DESIGN
LOF
FORM FINDING
Manipulating initial curve positioning
Surfacing the
48
OINTS
APPLYING LOAD TO MESH
Transforms the mesh to generate the extrusions
FTING
SUBDIVISION AND OFFSETTING
e new Brep
Forming Gridshell lines
49
PANELLING SHELL
Panelling grid-shell with the panels
CRITERIA DESIGN
49
FINAL OUTCOME
50
CRITERIA DESIGN
50
GRADIENT STRUCTURAL CAPACITY OPENNESS PRACTICALITY The design process to generate this outcome was difficult and slow around the end. To panel the developable curved surface required a lot of patience for grasshopper to process the result. We ideally attempted to box morph the panels onto the surface profile of the shell. Whilst the gridshell was simple to generate and subdivide, the complexity in the data mainly stemmed from the panel due to its more complex doubly curved profile. Furthermore it was difficult for the panelling to work as the panels were outputted as meshes and needed a readjustment into NURBS surfaces to properly panel.
51
CRITERIA DESIGN
51
B.4 TECHNIQUE: DEVELOPMENT
The original case study had demonstrated many of the capabilities and constraints of the entire system. The original system demonstrated the capacity to easily generate and fabricate doubly curved geometry and re-adapting it to a panel cladding system. This system allowed for such geometry to be generated with minimal moulding material given the qualities of concrete as a heavy material requiring a significant amount of form-work and labour. The result being a facade with broke away from the typical 2d plane and having it extend into three dimensions.
52
CRITERIA DESIGN
However, the lack of any real structure not only informed us of the need for a composite system, furthermore it had restricted the capability to compose the modules in general. Without any structure, the panels were strictly forced into a 2D plane and could at best form a wall. Having a structure of some sort can extend beyond a mere 2D place into a 3d space. Therefore by having an addition structural system, there is greater potential architecturally for the case study to have an architectural expression beyond mere staying as a cladding facade.
52
There are also fabrication elements which need to be resolved in order to ensure the success of the new system. The case study is a further development of an older project in which the panels were solid casts and thus expended considerable more materials and would weigh significantly more. The case study had addressed this problem by changing the mould system. This was achieved by adding a rubber mould to sandwich the concrete between the fabric and the rubber mould during the casing and curing stage. This process ensures that not only does less material get expended to achieve the same task, it further improves the handling of the panels at it comes easier to handle due to the reduced weight.
53
However by using a rubber mould to sandwich the concrete, more materials are expended within another facet of the system. Therefore it is also paramount to develop and means to evenly distribute concrete thinly and evenly across the entire fabric without the need for extra moulding equipment to be fabricated as well given the limited resources available. Therefore the potential of this system is to further re-adapt the 3D panelling system across and entire 3D structure and elevate its architectural expression beyond a 2D plane.
CRITERIA DESIGN
53
DEVELOPED GRIDSHELL ITERATIONS ITERATION TYPE
MODULE SHAPE
DESCRIPTION
Developed cantilevering gridshells
Hexagon
Developing from case study 2.0, adjustments have been made to the gridshell structure parametrically to generate more interesting iterations. . Non-uniform shape to vary the gradient to better define different spaces . Cantilevering structure significantly increases the openness of the structure
Square
. Spaces of modular panels have been defined to determine the spacing between modules
Triangle
54
CRITERIA DESIGN
54
55
CRITERIA DESIGN
55
INITIAL FABRICATION TECHNIQUE
Phase ONE: casting Frame Building Building a cube timber frame to hang fabric over 56
CRITERIA DESIGN
Phase TWO: Fabric Preparatio Cutting out frame pieces
Drilling holes and screws into pieces
Cutting fabric to size and fastening the fabric to the fram
56
Phase THREE: Casting
on: Cutting fabric
me
57
Fastening fabric to Frame
Mixing plaster (2:1 plaster water ratio) and pouring it over the fabric
CRITERIA DESIGN
57
B.5 TECHNIQUE: PROTOTYPING
The fabrication results between the initial and the current process remains very similar and maintains its three phase process of frame building, fabric preparation and casting. However there were problems with the initial fabrication system which need to be addressed. Firstly the choice of fabric dictates not just the capacity in which the casting material is able to cure and its texture, but also how easily it is to take out without damaging the texture created or the casting itself at any fragile points. Secondly, plaster was chosen originally for its relatively light weight and fast curing time in hopes of quickly and more easily fabricate multiple panels. However this material quality actually worked against us because it set too quickly. The time frame to pour plaster is too short and would lead to a poor quality pour susceptible to more cracks, a structurally in-cohesive casts and no guarantee of filling up all voids within. The consistency of pours has to be a liquid in order to ensure that all voids are filled.
58
CRITERIA DESIGN
Thirdly, during the pouring stage, it became even more apparent that until a system that ensures a hollow cast is in place, a solid cast is critical to ensure panels are self standing without cracking edges due the manner in which casting materials flow and pool in the mid span of the fabric. This problem reduces the strength around the edges and this lead the initial prototypes being extremely fragile. Lastly, the initial frame was relative large, capable of accommodating a forty centimetre square piece of fabric. This process however limits the rate in which we could generate different prototype iterations as well as consume a significant amount of resources in both, timber fabric and cement when it is easily susceptible to problems.
58
These problematic details resulted in all of the plaster prototypes failing to meet our expected standards. Thus it had become paramount to re-adjust our process to fabricate better models to better identify the best possible conditions.
Alterations to the process: Problem
Resolution
Fabric choice
Lycra was chosen for being the most workable, its flexibility not only has better potential in form finding, but it is also relatively clean when taking the cast out of the form-work
Plaster as a casting material Pouring cement/ concrete (2:1 cement or concrete mix/water ratio) into the fabric form-work consistently resulted in better quality casts
Pouring
As of this stage no hollow pouring technique has been developed, therefore all further casts are to be solid and fill all the way up to the top of the frame to prevent the fabrication of fragile panels
Scale of Frame
The frame has been scaled down to accommodate the fabrication of twenty centimetre squared panels for allow more iterations to be cast in one setting
59
CRITERIA DESIGN
59
NEW FABRICATION PROCESS
60
CRITERIA DESIGN
60
The focus for prototyping was to both test and experience concrete casting. The gridshell is more easily rationalised for fabrication though either the CNC miller or the laser cutter. As previously mention parametric design software has limitations and will not exactly predict the results of casting. This is an especially important phase as this particular fabrication is the least controlled digitally.
Effect not easily and accurately tested by grasshopper include wrinkles in the fabric as it deforms, pinching and horizontal flow. Only though physical test can these issue be brought to light immediately. Furthermore, there will be a need to scale up the prototyping as it is certain that at a larger scale, the materials will behave differently. Other considerations after testing include the idea of having sacrificial formwork and maybe structure as not all of the fabric is salvageable/reusable as it has deformed beyond the elastic phase similar to steel.
61
CRITERIA DESIGN
61
PROTOTYPE RESULTS
The first cast demonstrated many failures in the fabrication process. A problem which wasnâ&#x20AC;&#x2122;t significant with casting plaster was weight and therefore the fabric didnâ&#x20AC;&#x2122;t require any pre tensioning. However with a cement mix, the fabric easily deformed to the bottom and would set with a flat face. Props were also made of plywood which easily de-laminated and split at the bottom where it was nailed to the bottom plate. This alone caused tilting and even falling down under the weight of the cement. Further consideration is to change the frame, as the cement would also flow horizontally. A potential solution is to wall the sides to ensure a flat boundary.
62
CRITERIA DESIGN
This cast in stark contrast is result is contributed by the fa anchor point also contributes by the fabric deformation as m available. Furthermore this ca doubly curved finish with the imprinted on with a few mino was split into two pours of ce which cement formed the sha and concrete as the filler. The difference in colouring betwe
62
significantly lighter. This act that the elevation of the s to the volume generated more room to deform is ast had a relatively smooth fabric texture being r imperfections. The cast ement and concrete in ape of the deformed fabric ere was also a notable een the two layers.
63
This cast was poured with a purely quick setting concrete mixture. The result was a cast in which a smooth finish didnâ&#x20AC;&#x2122;t occur to due to the inclusion of aggregates. The end result was a very rough finish which wasnâ&#x20AC;&#x2122;t ideal as not only were we trying to achieve smooth doubly curved surfaces, furthermore it would impact the overall aesthetic of the design proposal looking unfinished. In addition, the thin wired used to create the ellipses pattern resulted in a cast which was difficult to remove as the concrete pour pinched the wire in with the fabric. Thus it is paramount to ensure the a minimum line thickness in the anchors to smooth the fabrication process.
CRITERIA DESIGN
63
B.6 TECHNIQUE: PROPOSAL SITE ANALYSIS SITE LOCATION: NEW STUDENT PRECINCT, THE UNIVERSITY OF MELBOURNE The new student project aims to transform the student experience on-campus by revitalising/renovating an relatively underused portion of the campus and converting it into a world class student hub. In addition to the introduction of new buildings and spaces, its location is closer to transportation routes and aims to relocate the hub away from the north of the campus to a more central location. The new program focuses on adding extra amenities which compliments the student experience such as the introduction of a new programmable outdoor space, new study areas and the addition of an arts and culture facilities.
Exploiting the ease in which construction is relatively quick and easy to setup without needing to accommodate a large amount of space. The new design proposal aims to provide the new amenities of a bike shelter which circulates parallel to the overall program but in addition doesnâ&#x20AC;&#x2122;t compromise too much of the open space critical the same circulation.
The key to this space lies within its location relative to circulation from key transport infrastructure as well as the trend of students expanding out of the traditional heart of the campus around union house and expanding both south and east. The introduction of new amenities acts as an incentive for students to conglomerate around this revitalised space. The design proposal should compliment this new modern space as well as further enhance its program. Whilst we are designing a bike shelter, it is important to for this program to work in harmony with the circulation of the space, more specifically close to Swanston street as that is where the most cyclist traffic enters from due to the presence of the bike lane. Furthermore its is important to have enough open space to allow for the circulation of both people and bicycles. Therefore both the design proposal and the site must have the open space capable of accommodating the additional program.
64
CRITERIA DESIGN
CURRENT SITE BUILDINGS
64
INITIAL PRECINCT DEVELOPMENT PLAN
65
EXCAVATION/FLATTENING PLAN
CRITERIA DESIGN
65
UPDATED PRECINCT DEVELOPMENT PLAN
66
CRITERIA DESIGN
NEW CIRCULATION
66
ALL POTENTIAL SITE LOCATIONS 67
CRITERIA DESIGN
67
PROPOSED DESIGN PLAN
ELEVATION (North)
68
CRITERIA DESIGN
68
DESIGN PROPOSAL SUMMARY: •
Cantilevering doubly curved open bicycle shelter
•
Cantilevering structure ensures optimal open space to blend with the circulation
•
Gradient vary between entry and exit
•
Larger opening indicates entry and accommodates both bicycles and individuals
•
Whereas smaller opening only accommodates individuals
•
Bike shelter is orientated parallel to new circulation
•
Modulated panels serve as both a facade and as bicycle racks
• Site location between GSA and old John Smyth building do not interfere with new programs
SECTION
69
CRITERIA DESIGN
69
70
CRITERIA DESIGN
70
71
CRITERIA DESIGN
71
B.7 LEARNING OBJECTIVES AND OUTCOMES
DIGITAL DESIGN
FABRICATION
Grasshopper has proven itself to be a very powerful tool in quickly pushing out variations of quick conceptual designs. The matrices format helps visually compare the variations to find out to what extent making changes become redundant and within what ranges does a change in a single parameter result in a significant change in design. Furthermore it has allowed me to become more insightful to where the design process can be throttled due to complex procedures such as box morphing as an alternative method to panel structures. In addition its has become beneficial to able link the different stages and components of the design to maintain a proper flow of information from modules to the structure. Whilst it has been difficult pushing lots of iterations given our skill with grasshopper at the time which has developed since.
The arbitrary values of kangaroo had compounded the problems it couldnâ&#x20AC;&#x2122;t mode/predict during the fabrication process. Fabrication in this studio is unique as in contrast to other studios, fabrication is a particularly important process to refine because of utilising materials I have never used before. Much of the equipment is partially hand made and the process refined through some trial and error in analysing the effects physics had on our casting process and material behaviour. What initially seemed like a simple fabrication process evolved into a set of more complicated stages where failure is possible in every step of the way. Whilst the process may not be digitally controlled, it never the less still important to compare the physical results with the digital to quickly isolate the differences for consideration for immediate resolution.
Yet it has also been very insightful to the current limitations of parametric modelling and correlating that data to reality. The use of plugins such as weaverbird and kangaroo whilst useful in modelling dynamic behaviour and predicting a potential result; the iterations are still at best arbitrary in its use of values and it becomes difficult to remain precise when I have already become accustomed to the precision of current laser cutting technologies. Despite the improvements in parametric design skills, ultimately however there is sill room left to improve when working with parametric design. Simplifying the process has the benefit of efficiently making the most out of designs, especially when there are components and scripts both available and capable of achieving so much within a single module.
72
CRITERIA DESIGN
72
“While the Digital Technology Group’s scripts are an important part of the design process, the building of physical models and testing of design concepts at various scales play an equally important role.” BRADY PETERS
73
CRITERIA DESIGN
73
B.8 Appendix
Panel Definition
Design proposal Definition
74
CRITERIA DESIGN
74
75
CRITERIA DESIGN
75
B.8 REFERENCES
BIBLIOGRAPHY: “ICD/ITKE Research Pavilion 2010 | Institute for Computational Design and Construction”. 2010. Icd.uni-stuttgart.de <http://icd.uni-stuttgart.de/?p=4458> [accessed 26 March 2018] Moussavi, Farshid, and Michael Kubo. 2006. The function of ornament (Barcelona: Actar), pp. 5-14 Peters, Brady. 2013 ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61
IMAGE SOURCES: Fig 19 Retrieved from http://icd.uni-stuttgart.de/?p=4458 Fig 20 Retrieved from http://icd.uni-stuttgart.de/?p=4458 Fig 21 Retrieved from http://icd.uni-stuttgart.de/?p=4458 FIG 22 Retrieved from http://matsysdesign.com/wp-content/uploads/2009/08/IMG_1734_mod_01_web.jpg FIG 23 Retrieved from https://inhabitat.com/gridshell-creates-a-parametricallydesigned-shade-structure-for-masseria-ospitale-restaurant-in-lecce-italy/
76
CRITERIA DESIGN
76
77
CRITERIA DESIGN
77
78
PROJECT PROPOSAL
78
Table of Contents
79
C.1 DESIGN CONCEPT
80-91
C.2 TECTONIC ELEMENTS AND PROTOTYPES
92-109
C.3 FINAL DETAIL MODEL
110-119
C.4 LEARNING OBJECTIVES AND OUTCOMES
120-123
PROJECT PROPOSAL
79
C.1 DESIGN CONCEPT
INTERIM FEEDBACK Feedback from the interim focused on addressing the following key issues: •
Justification of chosen site
•
The structural integrity of the chosen form
•
The connection of the panels to the structure
•
Refining the fabrication of each individual panels
• Addressing the repetition of the patterning in the panels •
Furthermore the connection between the panels and the structure has implications on not just the ease of assembly and fabrication but also the aesthetics as a simple connection could expose bolts or even the structure itself. The fabrication methods of casting each panel still needs to be further refined to reduce weight while having a sturdy edge. Not only would reducing weight reduce the materials required, but would more easily remain connected to the structure; particularly at the top where it could be prone to falling down and injuring users. Therefore it is ideal to acquire a casting procedure which generates the thinnest layer of cement as possible. A sturdy edge will also allow for a better foundation to build connections without breaking apart.
The methods to chain bicycles
Structurally, concerns were raised over the capacity to maintain the form of the bike shelter without toppling due to a lack of footings and its ability to resist bending moments and its top heaviness. Due to relegating the structural aspect to a pre-fabricated grid structure, the focus would be to alter its structural form to accommodate a better footing system or additional props to ensure the structure remains self standing.
However the biggest concern is the overall aesthetic of the bike shelter. Whilst we have achieved the modular quality in the design, the variability in the modules is lacking significantly. The panelling is achieved utilising a single base pattern and thus that module is repeated throughout the structure. Additionally, concerns are also found in the practicality of chaining bicycles as the addition of conventional bike racks lack the quality of smart design and would not integrate well with the bike shelter.
However the greatest cause of concern is the aesthetics of the design. Firstly, choosing a historical site has an impact on the overall scale of the project and finding appropriate methods to adapt the design proposal to the site as it is still quite contrasting to the point of being invasive to the site itself.
80
PROJECT PROPOSAL
80
ADDING FURTHER INTEGRATED FUNCTIONALITY TO THE BIKE SHELTER
81
PROJECT PROPOSAL
81
NEW SITE LOCATION The key defining characteristic of the original chosen site is the surrounding buildings which have a historical value and heritage to the university. Therefore it became paramount for the design to not become extremely intrusive to the site. Therefore the site constraints would direct the design to be as subtle as it can be. However, other constraints the site imposed on the design concept included the justification of it practicality as a sufficient bike shelter due to the relative lack of circulation compared to the core of the new student precinct; between The Sidney Meyer Asia Centre and The Alice Hoy Building. Furthermore, cutting back on the scale of the design also restricts the number of spots available to both park and lock the bicycles.
New Site Details: • Located between Sidney Meyer and the old John Smyth Building • Surroundings buildings are contemporary/modern • Close vicinity to Swanston Street will encounter greater numbers of cyclists • Wider walkway spaces will allow more room to develop design • Transition space between Swanston Street and the new outdoor programmable space
Lastly, the space composition made it difficult to properly adapt the building to the site. The current circulation walkways are relatively narrow compared to key parts of the precinct. Due to how the aim of the design isn’t to showcase the structure but rather the facade, additional factors had to be considered to hide additional structural elements in a site context with already limited in free space allocation. The combination of these factors made it relatively difficult to design a bike shelter which balanced all of these site and brief constraints. Thus it was ultimately decided to change location within the site to one which would be able to better showcase the potential of the design as well as provide more spaces to chain bikes to.
82
PROJECT PROPOSAL
82
NEW SITE LOCATION
83
PROJECT PROPOSAL
83
GRID STRUCTURE The original structure featured in the design proposal in reality will have extreme difficulty standing up by itself. A few options included addition additional tensile props attached to the back to compressive props on the cantilevering corners of the structure. However both solutions do not integrate well with both the lightness nor the openness of the design concept as the compressive props would restrict movement and tensile props would be extremely contradictory and conspicuous to the design. The two best methods were to excavate a hole specifically designed for a cantilevering structure to sit in or alternatively add additional footings/props and cover it within the soil. Ultimately after further testing, the method off adding extra hidden props within the soil was chosen because it is the most optimal solution for the structure to resist bending moment, can be integrated into the grid structure and wouldnâ&#x20AC;&#x2122;t require additional work to be done to the foundation. Galvanised steel was chosen as the final material for the structure to ensure that the structure will hold all panels without failure as well as easier maintenance, longer life expectancy.
GRID STRUCTURE DIAGRAM
84
PROJECT PROPOSAL
84
PANEL TO STRUCTURE JUNCTION Keeping in line with the design concept being seamless in that the facade is expressed whilst the structure is hidden, there is a need for the junction between the panels and the structure to be as seamless as possible. The most ideal solution its to have the back face of the panel to connect to the front face of the structure itself as this method ensure that the structure will always be covered by the panels regardless at the front. However the junction between two panels shouldnâ&#x20AC;&#x2122;t overlap and under-lap each other as well. By fixing all three elements together with a single bolt, the bolt will be exposed and therefore add points of discontinuity to the seamless facade. The final solution adopted was a male/female dowel connection points. The dowels can accommodate easy installation of the panels onto the structure as well as guaranteeing its concealment behind the panel. Additionally, additional adhesive chemicals can be added to ensure a stiff connections where the dowels are.
TYPICAL PANEL TO STRUCTURE DIAGRAM
85
PROJECT PROPOSAL
85
PATTERNING Instead of applying a different pattern on every single panel, a different strategy in achieving variability will be utilised to a achieve a greater degree of variability. The strategy adopted will instead generate a overall pattern across the entire composition of panels. Key advantages of utilising an overall pattern strategy instead of an individually generated pattern strategy is a greater degree of control of the flow of the pattern from one panel to another. An overall pattern across multiple panels can assure that as the pattern ends on one panel, it ontinuity will be preserved from the same point on the next panel. Within this pattern is the potential of further development in the functionality of the panel itself or giving certain segments of the pattern an aesthetic purpose.
LEGEND:
Further degrees of variability can be achieved by altering the materiality of different panels. One such alternative chosen is plastic which is capable of replicating the form achieved by fabric form-work but in addition, can play around with different levels of transparency. With such a variety of panels available ranging from transparent to opaque to ones with a pattern and without, variability can be achieved on a more compositional manner rather than on an individual basis. This variability can be further developed to achieve a level of gradual change within the panel composition.
86
PROJECT PROPOSAL
86
TRANSPARENT PLASTIC PANEL
TRANSLUCENT PLASTIC PANEL
BIKE RACK PANEL
WHITE CEMENT PANEL
ANCHORING PATTERN
87
PANEL ARRANGEMENT AND ITS RELATIONSHIP TO THE PATTERN
PROJECT PROPOSAL
87
FINAL DESIGN CONCEPT: LIGHT TUNNEL Aim: To design a bike shelter in which promotes student cyclist life within the university without interfering with new student precinct program Design Details: • 328 panels with 450mm x 450mm dimensions and of varying characteristics • Panels gradually transition from opaque white cement panels to translucent and lastly to transparent vertically. • Converging pattern on the panels indicating both the direction of the exit after parking the bicycle and the location of the bike rack panels • 18m long 2.5m high doubly curved open bike shelter • 16 allocated bicycle parking spots arranged in compliance to the City of Melbourne design standards. Indicated by specially designed steel edged bike rack panels on the third row • 16 locker spaces to store helmets indicated by translucent panels located within the fourth and fifth rows
88
PROJECT PROPOSAL
88
NEW DESIGN CONCEPT
89
PROJECT PROPOSAL
89
INITIAL CURVES STARTING POINT END POINTS
ITERATING FIRST GENERATION
ITERATING SUCCEEDING GENERATION
STARTING VECTOR
ITERATE NUMEROUS GENERATIONS
UNITISE VECTOR
ISOLATE BRANCH
ORIENTATE LINES
ORIENTATE LINES
CONNECT POINTS
STARTING VECTOR UNITISE VECTOR DRAW THRESHOLD LINE
INITIAL VECTORS
BIKE RACK LOCATIONS
PANELLING
STRUCTURE FORM BASE ARC MOVE ARC LOFT ARC
SERIES RANDOMISE
90
PROJECT PROPOSAL
90
PATTERNING
MERGING CURVES INTERSECT CURVE/CURVE DRAW CURVE JOIN CURVES
PROJECT CURVE ONTO SURFACE
ADAPTING CURVE TO STRUCTURE
MESH CLOSEST POINT ANCHOR MESH POINTS
FORCE PARAMETERS FINAL SOLUTION
PANELLING AND MESHING
MERGE DATA
SUBDIVIDE INTO QUADS
MESH ELASTICITY
MESH QUADS
ANCHOR NAKED EDGES
REDUCE MESH
SOLVE MESH GROUP AND BAKE
ANCHOR PARAMETERS ACQUIRE MESH NORMAL
LIST ITEM CULL PATTERN
CHANGE VECTOR AMPLITUDE APPLY FORCE TO MESH
ISOLATING PANELS 91
PROJECT PROPOSAL
91
C.2 TECTONIC ELEMENTS + PROTOTYPES
PANEL FABRICATION REFINEMENT The key focus on refining the fabrication process is to achieve the following: • Casting a membrane of cement to be thin and even • Integrate a sturdy edge to accommodate a male/female dowel connection to the structure
Chosen Core Construction Elements: •
Cement Panel Module
•
Plastic Panel Module
•
Junction Between Structure and Panel Module
• Both developing and standardising a similar technique for fabricating plastic panels • Testing junctions between the structure and panels It is critical that all of these elements are resolved because the resolution of all of these elements determines the feasibility of the entire project. Due to the modular nature of both the grid structure as well as the panels, resolving the tectonics within one module will translate efficiently across the entire design as much of the fabrication process is standardised, requiring little alterations to panel shape
92
PROJECT PROPOSAL
92
PLASTIC PANEL
93
WHITE CEMENT PANEL
PROJECT PROPOSAL
93
OVERALL ASSEM
PRE-FORMED GRID STRUCTURE
PLASTIC PANELS AND LOCKERS
CEMENT PANELS
BIKE RACK PANELS
OVERALL ASSEMBLY DIAGRAM
94
PROJECT PROPOSAL
94
MBLY DIAGRAMS
DOWEL CONNECTIONS POINTS
PLASTIC PANEL FRAMED WITH FOUR EDGE PIECES WITH CARVED IN SLOTS
CONNECT BIKE RACK THROUGH CEMENT SHEET ONTO THE STRUCTURE
BUTT HINGE JOINTS BETWEEN PANEL AND STRUCTURE
WRAP SATURATED FABRIC AROUND EDGE PIECE
LOCKER COMPARTMENT SLOTS WITHIN THE GAPS OF THE GRID STRUCTURE
BIKE RACK PANEL ASSEMBLY
95
LOCKER SPACE AND PANEL ASSEMBLY
PROJECT PROPOSAL
95
INDIVIDUAL PANEL FAB TAKE OUT PANEL AFTER CURING FOR A COUPLE OF DAYS (FOR ROWS ONE TO TREE, ADDITIONAL CONRETE FILL NEEDS TO BE POURED TO INREASE DURABILITY)
INSERT DOWEL AT SPECIFIED LOCATION AND LAY FABRIC ON TOP (SWAP DOWEL DEPENDING ON SHAPE REQUIRED)
WRAPPING FABRIC AROUND EDGE PIECE
SATURATE FABRIC IN CEMENT
TYPICAL CEMENT PANEL FABRICATION
96
PROJECT PROPOSAL
96
BRICATION DIAGRAMS
TAKE OUT PLASTIC PANEL ONCE PLASTIC HAS COOLED
INSERT DOWEL AT SPECIFIED LOCATION AND PLASTIC ON TOP
TYPICAL PLASTIC PANEL FABRICATION
97
PROJECT PROPOSAL
97
FABRICATIO
MIXING WHITE CEMENT MIXTURE
PREPARING FABRIC FOR CASTING
2:1 THIN MIXTURE OF WATER AND CEMENT
POURING A LAYER OF THIN CEMENT MIXTURE
SIFTING MORE CEMENT POWEDER TO ACCELERATE THE CEMENTâ&#x20AC;&#x2122;S SETTING PHASE
LETTING THE FABRIC SATURATE IN CEMENT FOR A MINIMUM OF HALF AND HOUR
98
PROJECT PROPOSAL
98
ON PROCESS
LAYING FABRIC AS EVENLY AS POSSIBLE A COTTON BASED FABRIC UTILISED FOR BETTER CEMENT ABSORPTION
POURING ANOTHER LAYER OF CEMENT ON TOP TO SANDWICH FABRIC FOR ACHIEVING AN EVEN CAST ON BOTH SIDES
PANEL FORMING
EXTRACTING SATURATED FABRIC FROM MIXTURE AND LAYING IT OVER THE FRAME
SETTING UP TIMBER FRAME WITH DOWEL ANCHOR POSITIONED
99
PROJECT PROPOSAL
99
LAYING THE PANEL EDGE ABOVE THE FABRIC
FOLDING THE FABRIC AROUND THE PANEL EDGE
DISASSEMBLING THE FRAME FOR EASIER EXTRACTION OF THE PANEL
NEED TO CUT THE FABRIC OFF OF THE FRAME DUE TO SOME OF THE FABRIC NOT CURING COMPLETELY AND STICKING TO THE FRAME
100
PROJECT PROPOSAL
100
NAILING THE FABRIC INTO THE FRAME EDGE FROM THE SIDE TO ENSURE FABRIC WILL CURE IN ITS CURRENT SHAPE
PANEL IS SET TO CURE FOR TWO TO THREE DAYS
EXTRACTING THE NAILS FROM THE SIDE OF THE PANEL EDGE TO ENSURE IT DOESNâ&#x20AC;&#x2122;T INTERFERE WITH THE VACUUM FORMING PROCESS
VACUUM FORMING PLASTIC PANELS
101
PLACING CEMENT PANEL IN THE VACUUM FORMING MACHINE WITH AN ADDITION TIMBER PROP TO FORM LOCKER HOLE
PROJECT PROPOSAL
101
LAYING 0.7MM SHEET OF TRANSPARENT PLASTIC IN PLACE AND HEATING IT UP TO TEMPERATURE
PUSHING PANEL FORM INTO HEATED PLASTIC AND VACUUMING THE VOID TO DEFORM THE PLASTIC TO THE SHAPE OF THE CEMENT PANEL
SLOTTING THE PLASTIC PANEL INTO THE NEW FRAME
GLUING AND TAPING EACH CORNER OF THE FRAME THEN LET THE ADHESIVE CURE FOR A WHOLE DAY
102
PROJECT PROPOSAL
102
PLASTIC FRAME FABRICATION
TRIMMING OFF 45 DEGREES OFF OF EACH EDGE OF THE PANEL FRAME
CARVING A GROVE INTO THE PLASTIC PANEL FRAME TO INSERT THE VACUUM FORMED PANEL INTO
HINGES ARE DRILLED INTO THE TOP EDGE OF PANEL AND TO THE STRUCTURE
103
FINAL PLASTIC PANEL PRODUCT
PROJECT PROPOSAL
103
FABRICATING PANEL TO STRUCTURE CONNECTION
CUTTING 40MM LONG PIECES OF 15MM DIAMETER WOODEN DOWEL
DRILLING 16MM HOLES INTO TIMBER STRUCTURE PIECE
SCREWING BOTH THE DOWELS AND THE STRUCTURAL PIECE FROM BEHIND
104
PROJECT PROPOSAL
INSERTING THE STRUCTURAL FRAME TO THE PANEL
104
PRE DRILLING HOLES THROUGH THE STRUCTURAL PIECE
INSERTING DOWELS INTO THE STRUCTURAL PIECE
FINAL CEMENT PANEL PRODUCT
105
PROJECT PROPOSAL
105
PROTOTYPE FAILU
PROBLEM: Quick setting plaster too fast to acquire right shape. In addition not as workable. Solutions: utilising cement instead for its slower set time
PROTOTYPE: PHASE ONE: PLASTER CASTING WITH NO PATTERN
PROBLEMS: solid casting adding a significant amount of weight Choice of anchoring will have different types of failures SOLUTIONS: pour cement over fabric and let it set for a bit before laying it over the frame Use of thicker dowels are ideal to prevent the panel from pinching the anchor in
PROTOTYPE PHASE THREE: CEMENT/CONCRETE CASTS WITH PATTERNS 106
PROJECT PROPOSAL
106
URES & EVOLUTION
PROBLEM: Weak/thin edge makes the connection to the structure unrealisable without significant cracking SOLUTIONS casting in an edge frame with the fabric and cement
PROTOTYPE PHASE FOUR: THIN WHITE CEMENT CAST
PROBLEM: Thick plastic making it hard to deform to required shape and in addition not vacuuming the voids within SOLUTIONS: utilising a thinner sheet of plastic in conjunction with vacuuming the voids
PROTOTYPE PHASE FOUR CONTINUED: FAILED VACUUM FORMED PANEL
107
PROJECT PROPOSAL
107
FINAL PRO
FINAL CEMENT PROTOTYPE
108
PROJECT PROPOSAL
Scale 108
OTOTYPES
e: 1:1
FINAL PLASTIC PROTOTYPE: LOCKER PANEL 109
PROJECT PROPOSAL
109
C.3 FINAL DETAIL MODELS
PLAN Scale-1:100@A4 110
PROJECT PROPOSAL
110
SECTION Scale-1:100@ A4
111
PROJECT PROPOSAL
111
TRANSPARENT PANEL
TRANSLUCENT PANELS
ELEVATION-SOUTH Scale-1:100@A4 112
PROJECT PROPOSAL
112
WHITE CEMENT PANELS
BIKE RACK PANELS
113
PROJECT PROPOSAL
113
RENDER Overall 114
PROJECT PROPOSAL
114
115
PROJECT PROPOSAL
115
116
PROJECT PROPOSAL
116
117
PROJECT PROPOSAL
117
SITE MODEL SCALE-1:100 118
PROJECT PROPOSAL
118
119
PROJECT PROPOSAL
119
C.4 LEARNING OBJECTIVES AND OUTCOME
FURTHER DESIGN DEVELOPMENT The modular design allowed for each individual panel to serve some sort of specific function whether it was aesthetic or functional. However, the level of specification meant that individually, the design wasnâ&#x20AC;&#x2122;t inherently flexible on an individual basis. In reality, nothing is truly stopping individuals from utilising the helmet lockers on the bike shelter for other means, nor stopping others from climbing onto the structure. Furthermore more could be done to address the lack of development on the rear face of the structure.
120
PROJECT PROPOSAL
Alternatives to address these design flaws include adding the addition of another elevated platform on the rear which could also hide some of the extra footings of the grid structure. This in turn adds a level of flexibility into how people interact with the shelter from a different elevation. Other methods of providing flexibility in the design is to allow for the panels to be interchangeable after the initial assembly process. This allows the design to further develop by introducing new panels or swapping out more panels to add more bike parking spots.
120
2M OFFSET FROM BUILDING
ADDITIONAL PANELS ON REAR FACE
REAR ELEVATED PLATFORM
ALTERNATIVE SECTION DIAGRAM DEMONSTRATING REAR ELEVATED PLATFORM
ALTERNATIVE PANEL DIAGRAM SHOWING PANELS WHICH CAN BE UNSCREWED FROM FRAME
121
PROJECT PROPOSAL
121
LEARNING CONCLUSIONS: DIGITAL DESIGN: In contrast to part B, we had make strides in balancing the process of simplifying both the digital design and fabrication method to achieve a more continuous work-flow within the limitations of available tools and resources. Our attempts in the end were partially successful due to the manner in which by streamlining our digital design, by default informed the need to also streamline the fabrication process. Both facets are intertwined in many ways, most notable in the way in which the iterations generated can inform the best direction in both the fabrication and back to the digital. Ironically, one of the best ways to simplify the final model was to develop the grasshopper definition to be more complex. By developing the definition to be diverse in its components yet streamlined, this characteristic would also be reflected in the final model. Through constantly re-iterating the definition to fit even the specified form, it had helped further developed and diversify my repertoire in finding solutions algorithmically rather than through conventional yet tedious means. Further exploration into Karamba to test structural capabilities should be conducted in the near future to ensure the testing of self standing structures Initially I sought out to find a process which made the most out of a single material, optimising its use to potentially be both its own structure and its own aesthetic expression. Yet in the end, it had become apparent that even when utilising digital modelling, there was difficulty in achieving such synthesis between both the digital and the physical as every material at any scale will always have material qualities which act against and in favour of the design. This became apparent in the scale of the final model in which to fabricate the overall model at such a small scale would be extremely difficult with fabric form-work, directing us to explore other forms of digital fabrication such as the 3D powder printer which could guarantee the level of detail required. Therefore a compromise was inevitable and tectonic solutions had to be make the most out of all the favourable material qualities of each material.
122
PROJECT PROPOSAL
FABRICATION: Despite the importance of fabrication as a means of interrogating the practicality of replicating digital from air to the physical, it was apparent that replicating such a theme of fabric form-work would be difficult. The work flow in particular relied so much on trial and error analysis than originally predicted because digital modelling lack the means to exactly predict the outcome as both material characteristics and its relation to fabrication are hard to predict as much of the modelling on kangaroo focuses on the shape achieve rather than how it tansition into that shape with casting materials. particularly in addition to adding a new material to the tectonics which would rely on fabric form-work itself. Yet despite the lack of continuous work-flow in this regard between the digital panel to the physical prototyping, the digital models still played a key roll in understanding parameters in which to made the best use out of both materials and the patterning. Uderstanding which parameters would become redundant or resulted in diminishing returns was particularly important. Therefore in a way, computational design in some ways can help predict general outcomes in which directed the design to follow directions which would produce the more optimal and efficient outcomes FINAL DESIGN: Despite the few flaws in the design in relation to how one would interact with the design as both a bike shelter and as a sort of art sculpture; I felt that the majority of the issues we had encountered in part B have largely been resolved successfully thanks to our efforts in streamlining the design to the stage it concluded at. This streamlining wouldnâ&#x20AC;&#x2122;t have been possible without frequently interrogating and justifying elements of the design in relation to both the brief specifications and the site characteristics. Yet despite the many advantages of parametric design has and the many possibilities and potential it has in the sphere of architecture, there is still a distinct separation between material performance and digital modelling.
122
123
PROJECT PROPOSAL
123