Chun Tung (Thomas) Tse 743366 final journal

STUDIO AIR CHUN TUNG (THOMAS) TSE 743366 2017, SEMESTER 1 TUTOR: FINNIAN WARNOCK

TABLE OF CONTENTS

Part A: CONCEPTUALISING

A1

DESIGN FUTURING

06

A2

DESIGN COMPUTATION

10

A3

COMPOSITION GENERATION

14

A4 CONCLUSION

18

A5

LEARNING OUTCOME

19

A6

APPENDIX + ALGORITHMATIC SKETCHES

20

Part B: CRITERIA DESIGN

2

B1

RESEARCH FIELD

26

B2

CASE STUDY 1.0

28

B3

CASE STUDY 2.0

34

B4

TECHNIQUE: DEVELOPMENT

40

B5

TECHNIQUE: PROTOTYPES

46

B6

TECHNIQUE: PROPOSAL

48

B7

LEARNING OBJECTIVES AND OUTCOMES

56

B8

APPENDIX: ALGORITHMIC SKETCHES

58

Part C: DETAILED DESIGN

C1

DESIGN CONCEPT

60

C2

TECHTONIC ELEMENTS & PROTOTYPES

72

C3

FINAL DETAIL MODEL

76

FURTHER DEVELOPMENT & LEARNING OBJECTIVES AND OUTCOMES

104

C4

3

INTRODUCTION

I am Thomas, currently a third year architecture student in University of Melbourne. I was born in Hong Kong and came to Melbourne in 2014 studying in Trinity College before entering university.

I never thought of doing architecture as I came from a science background. Realising a science major would not fit me after I completed my high school, I started to think about what my real interest is. My interest in architecture started when my dad showed me the work of one of his client, who was an architect coincidentally. I was fascinated by his work and thought it would be satisfying that your work will actually get built, and that’s when I got more curious about what architecture means to me. For me architecture create a physical form of what I want to express the experience of space.

And this spatial experience affects how people react to the space and circulate through out the place. Through architecture, I am hoping to generate more possibilities of making it more livable.

In Studio Air, I am looking forward to what I can explore with the computating skills which can open more possibilities apart from conventional skills into my design onwards.

4

Second Skin design for Degital Design and Fabrication/ Boathouse design for Studio Water

5

A1 DESIGN FUTURING NEW YORK HORIZON YITAN SUN, JIANSHI WU UNBUILT, 2016

The New York Horizon represents a new concept of natural spaces and architecture. The project is an unbuilt project which focused on skyscraper that challenged the norm that skyscraper has to be high-rised in Manhattan. Instead of extruding up, The New York Horizon tried to act differently by taking a reverse approach of digging into Manhattan’s Central Park to create a completely different sense of how a skyscrapper would be like1.

It suggested the idea that skyscraper isn’t better when you can build it higher and more fancy but a strong sense of the core idea that you’re proposing. In this case, the New York Horizon creates a link between architecture and environment landscape by taking nature as the main focus.

The design took reference to the history of the parkland of an artificial land and aim to resculpture it and reconstruct the idea of a better reimagined park. Which the old one has lost the original intention as skyscrapers are surrounding the park which blocked the view and access2.

Fry suggested that design is powerful to allow people to rethink and probably to be able to redirect them to options of a better, more sustainable future3. Instead creating a huge amount of

waste by digging the soil, it will be used to create landscapes such as hills and mountains for public to use as outdoor activities. That it doesn’t just create a great view, it creates an interesting space where the public can use which is quite lacking in Manhattan, a developed urban area4. With the reflective facade suggesting the people are within a natural area but not Manhattan city itself. This shows the way of rethinking what is waste and is it not usable.

And this is done by inverting the subconscious mind.

Although the design itself is unbuilt but it tries to present a new concept of natural spaces and architecture. Unlike most of the building nowadays which consider architecture as primary and natural landscape as secondary such as outdoor natural spaces on certain level, it reversed the approach by putting the landscape in the central area. The project might seems unlikely to happens but it certainly brings a question to people about the future relationships between human and nature, urban and rural. As Dunne and Raby suggested, design define a more preferable future by creating discussion, free imagination

from all sort of possible outcome but not sticking with the current focus5. In which I think the project shows a good example.

eVolo, ‘New York Horizon‘, eVolo (revised March 2016) <http://www.evolo.us/competition/new-york-horizon/> [6 March 2017] .

2 eVolo.

3 Tony Fry, ‘Design Futuring Sustainability, Ethics and New Practice’(Oxford: Berg, 2006), pp. 1-16.

4 eVolo.

5 Anthony Dunne and Fiona Raby, ‘Speculative Everything’ (USA: MIT Press, 2013), p. 4-6.

1

6

Figure 1. “New York Horizon“ Figure 2. “New York Horizon view from parkland”

7

A1 DESIGN FUTURING Hy-Fi David Benjamin, The Living The Museum of Modern Art and MoMAPS1, 2014

This project aims to create a temporary summer pavilion “to be planted, grow and die6” which nearly zero waste, energy and carbon emissions are produced. That is a new concept of linkage between object and environment in a cycle. Which showed that the David Benjamin is aware of the defuturing from unsustainable use of resources as Fry has suggested and is trying to propose a new way of designing7.

The tower is made of 2 types of bricks: organic bricks (made of “biodegradable compostable modules formed from farm waste, mushroom roots and corn stalk grown in steel brick moulds8”) in general structure and reflective bricks for light reflecting into the interior on top section. Stack effect is introduced for cool air to flow from bottom while hot air will be pushed away through the top. Gaps between bricks will help air ventilation.

Apart from the performance, materiality is being considered, that the Benjamin aims not only how to generate a desirable performance, but how to use sustainable materials to achieve that.

As Fry has identified, people should change their way of thinking because we are currently using the planet’s finite resources, that the idea of creation and destruction is critical in order to find a balance in between9. And I think this project is seeing the design in a similar way which Fry introduced. That the designer is trying to create his design as a cycle: create something from earth and in the end return to earth. Which is a recyclable and compostable design as after the tower is deconstructed the soil will be sent to Build It Green for further usage.

The design idea is really about design futuring, as before he builds, he already think of deconstructing the tower after a certain amount of time. I find this project to be very fascinating as someone can really push sustainable design to nearly zero waste. And it really shows how materiality can impact architecture as well as linkage to local material and agriculture. As Dunne and Raby have identified, “Dreams are Powerful. They are repositories of our desire.”. And I thinks this has certainly affected and driven this design to this far.

Amy Frearson ‘Organic tower grown from agricultural waste wins MoMA PS1 Young Architects Program 2014’, Dezeen (revised 6 Feburary 2014) <https://www.dezeen. com/2014/02/06/hy-fi-by-the-living-at-moma-ps1/> [6 March 2017] 7 Tony Fry, ‘Design Futuring Sustainability, Ethics and New Practice’(Oxford: Berg, 2006), pp. 1-2.

8 Frearson ‘Organic tower grown’ 9 Tony Fry, ‘Design Futuring Sustainability, Ethics and New Practice’(Oxford: Berg, 2006), p. 2.

10 Anthony Dunne and Fiona Raby, ‘Speculative Everything’ (USA: MIT Press, 2013), p.1.

6

8

Figure 3. “Hy-Fi” Figure 4. “Hy-Fi Top View”/ Figure 5. “Hy-Fi interior”

9

A2 DESIGN COMPUTATION Digitized Stone ZA architects UNBUILT, 2015

Traditional stone masonry has been providing the ability of creating solid structure through long traditional history. What comes with the masonry work is usually the huge dark shadow to create the idea of mass.

adding a better aspect of allowing light and air flow, that it overcomes the original disadvantages.

This idea is being challenged by this project by adopting digital fabrication into the stone masonry. As Oxman has argued, parametric design focuses on relationship between a small component and whole structure11. Which in this case is the design of masonry work as it is first developed in a whole structure and slowly generating a unique small component with all the structural performances calculated in the program.

The model has a very complex geometries which is created from the parametric form finding model, calculation of structure load can be hard and time consuming without simulation software.

Through parametric programs, model and prototype can be generated digitally for experimentation quickly13. Robotic construction method is also used to build them precisely and efficiently. These methods have now developed as a new demand for practices as new solution of design. Which Oxman has argued, created a connection between conceptualising, designing and finally fabricating14.

Smart masonry, named from the design, has the same structural function, lighter, allows air and natural light to go through12. This is a significant design computation to keep its original properties while

Therefore this project has shown how computation can generate a more complex and unexpected results, performance simulation as well as constructing it using robotic skills.

Rivka Oxman and Robert Oxman, ‘Theories of the digital in architecture’ (London; New York: Routledge, 2015), p.3.

12 Materialist, ‘Technology Digitized Stone: ZA architects Develop Smart Masonry’ <https://www.materialist.com/ digitized-stone-zaarchitects-develop-smart-masonry/> [[9 March 2017] 13 Oxman and Oxman, ‘Theories of the digital in architecture’, pp. 4-5.

14 Oxman and Oxman, ‘Theories of the digital in architecture’, p. 10.

11

Figure7. “Smart Masonry Robotic Construction” /

10

Figure6. “Smart Masonry” Figure8. “Smart Masonry Form Finding”

11

A2 DESIGN COMPUTATION Ninety Nine Failures Pavillion The University of Tokyo Digital Fabrication Lab TOKYO, JAPAN, 2013

The project has named Ninety Nine Failures because of the experimental approach of defining a structure by tensegrity. The process is said to have no failure but unexpected outcome, which aims to According to Kalay, designers undergo problem solving through solutions generating and testing them against the goal15. In this project, around 50 different geometries were being tested which are developable, This imply the ability that computation can generate far more complex geometry in large quantity within a short time. To work to the ideal result, a repeat process of digital generation in Grasshopper and Kangaroo; physical model testing helped to identify performance and potential problems of the design. And that’s why computers are great analytical engines which saves time and rarely make mistakes16; but firstly you must understand how to instruct the computer to computate what you want, which is difficult. And that’s

why we are learning this subject to try to make the program operation same as our design ideas.

The result components were inflated to produce the preferred effect, which is made of 3 metal sheet layers combined with edges sealed17. To make sure the design will work for the final product, a 1:3 model was built to study the tension change, which digital program allow this process quickly with its scaling. A digital simulation test was programmed and stimulated which is another advantage of using computation method18. If correctly programmed, the design will be more possible to work without having problem such as structural failure after it is built, which saves time and cost to remake. Spacing between components allow light to go through as well as minimizing the wind load impact of the structure.

To speed up the process, coherent data will be generated together and cut and weld by robotic arm.

Which can assist construction and avoid human error.

Yehudo E. Kalay, ‘Architecture’s New Media: Principles, Theories, and methods of Computer-aided Design’ (Canbridge: MIT Press, 2004), p.13.

16 Kalay, ‘Architecture’s New Media’, p.2.

17 Lucy Wang, ‘Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows’ (revised Jan 2014) <http:// inhabitat.com/ninety-nine-failures-pavilion-is-built-fromninja-star-shaped-steel-pillows/> [9 March 2017] 18 Oxman and Oxman, ‘Theories of the digital in architecture’, pp. 4.

15

Figure9. “digital model”

12

Figure10. “actualised pavilion” Figure11. “model generation and simulation” / Figure 12. “joint details”

13

A3 COMPOSITION/GENERATION VAULTED WILLOW MARC FORNES + THEVERYMANY Borden Park, Edmonton, Canada, 2014

This project aims to explore play and curiosity through self-supported lightweight structure.

The structure is digitally generated by assembling overlapped shingles as whole structure19.

Its form finding started with a 2D catenary curves.

With the input of various parameters into algorithms and then undergoes tessellation and finally inflation20. A series of performance simulations were analyzed digitally such as deflections and stress ratio. These simulations will analysis the actual performance of design when physically constructed. Which this is something that becomes more effective and accurate with computation tools through modelling as suggested by Peter21.

will be done in order to make it works, so it is always good to consider the actual performance during your whole process of design generation.

From this project, I think it is critical to test your material based on the whole design. As suggested, the shingles are overlapped to generate a stronger physical structural performance. Similarly, a ceiling installation may also faces situation of materials as an outcome affecting each other and the original materiality will be changed, such as stiffness.

Therefore, do not limit yourself to certain materials because their physical performance can be overcome by combining with another/same material.

One problem that has been realised in the project is that the structure coating doesn’t fit the local extreme temperature in long term. And changes is applied by using another option within budget. I think that the use of materials and environment factor should have been considered earlier. Otherwise you may suffer problems such as it is not performing as you planned and turns out you run out of time. As lots of changes

Figure14. “fabrication layout” / Figure 15. “Top view” Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-edmonton/> [14 March 2017] 20 Wilson, Robert A. and Frank C. Keil, ‘Definition of ‘Algorithm’ in Wilson’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT press, 1999), pp. 11-12.

21 Brady Peters, ‘Computation Works: The Building of Algorithic Thought’, Architectural Design, 83, 2 (2013), p.13 22 CodaWorx, ‘Vaulted Willow’, CodaWorx <https://www. codaworx.com/project/vaulted-willow-edmonton-publicart> [14 March 2017] 19

Figure13. “deflection simulation”

14

Figure16. “Constructed pavilion” Figure17. “Prototype” / Figure18.

“Details”

15

A3 COMPOSITION/GENERATION ZA11 PAVILION Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Cluj, Romania, 2011

This project acts as a strong medium to attract people to the event that it is holding. Materials, tools and budget are limited such that designers need to work out their design from this restricted environment. Therefore, the design exploration needs to be constrained as well to meet the given resources such as materials and scale to be fabricated23.

Rather than computerization, this project is evident of using computation design which is more superior as suggested by Peter24.

Curved surface, is generated with a hexigonal grid inside. The grid is then extruded inwards to form the overall shape and is modified.

straint. However, when come to actual work, there is always a limit. How thick is the material, is it creating enough stiffness or is it flexible?

What are the environmental factors that can affect the design, wind load? Can it resist rain?

This is very possible to happen in my Studio Air project. So consider real-life factors before the design is actualised to save time modifying or realising that it won’t work. Within these constraints, how to maximize the potential of my design is what I hope can be achieved.

Parametric design for exact geometry generation, labeling before fabricated by CNC milling and finally combined with assembly logic which formed the final piece. The outcome of project is a free-form ring consists of 746 different pieces which can be subdivided into hexagon shapes. This allows both sheltering and its unusual form attracts people25.

The shortcoming of this approach can be limiting the potential of design because of the conFigure19. “Form finding method”

Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http:// www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescupatrick-bedarf-bogdan-hambasan> [14 March 2017] 24 Brady Peters, ‘Computation Works: The Building of Algorithic Thought’, Architectural Design, 83, 2 (2013), p.10 25 Jett, ‘ZA11 Pavilion’ 23

Figure18. “Grasshopper script”

16

Figure 20. “ZA11 Pavilion built” Figure 21. “Detailed joint method”/Figure 22.

“Pavilion close up”

17

A4 CONCLUSION

Part A explores designerâ&#x20AC;&#x2122;s task to generate design that can speculate possible future which create discussion and free imagination, possibly redirecting a more preferable future. Through this the conventional view towards what ceiling design can be broken and generate possibilities of interesting outcome. Computation design has become more common and adaptive in designing, transcend conventional practices by generating design through conceptual, digital complex form finding and fabrication as a whole.

Consider my design approach, materiality will be considered heavily along with parametric tools to support form generation as these would be what a ceiling design would critically considered. The material analysis will also support parametric design as material performance will be used as parameters input for final form output or else design might not work as expected physically. Client perspective will also need to considered. Based on different requirement from client, the design will be generated differently. In order to generate unexpected results, student will required to work individually and at last work as a team to create their final product. During the process, prototypes will be created to ensure the final outcome will be transformed precisely from digital to physical without unspotted error in parametric tools.

18

A5 LEARNING OUTCOMES

Throughout the 3 weeks case studies and readings, I’ve learnt that designer doesn’t always give solution, sometimes it’s more important to create something that bring discussion for possibilities.

Then I’ve started exploring some parts of the parametric modelling, with the program I am able to generate a far more complex form efficiently.

That it is another way to explore design possibility. However, it doesn’t reject conventional ways of designing because computation is just following the algorithms that you put in, it doesn’t design anything itself. Therefore, rather than replacement, it is important to understand both practices.

And these knowledge can be applied on my 2nd skin design of my Digital Design and Fabrication course. I wasn’t able to use grasshopper for spike patterning despite of the tutor’s recommendation because I wasn’t even good in rhino. With the skills and knowledge that I understand so far, we can set parameters to limit the model’s generation with the knowledge of different materials that we tried.

That instead of doing experiments on both rhino model and physically, and rebuild some of the parts again and again, changes can be applied easily without the lost of information in grasshopper as well as baking different prototype. As a result, same model can be created and modified with grasshopper, saving a lot of time and resources for testing. Regarding the spike pattern of my design, a lot of time is spent on creating the overall shape of the model as from rhino you need to create the panels one by one as each of them are different. However, grasshopper can let me create a geometry and then using affline transformation, to create different sizing with the help of domain range and shuffle command.

A more interesting shape can be generated and again, less time consuming.

19

A6 ALGORITHMIC SKETCHES

2 ATTRACTOR POINTS, SWAP DOMAIN RANGE

1 ATTRACTOR POINT/ SET DOMAIN AREA

20

3 ATTRACTOR POINTS/ EXTRUDED GRID

ATTRACTOR CURVE

BOX MORPH

SPHERE/ ARC/ PIPE

SPHERE/ LINE/ PIPE

IMAGE SAMPLER/ SPHERE

IMAGE SAMPLER/ EXTRUSION

21

REFERENCE 1. Anthony Dunne and Fiona Raby, ‘Speculative Everything’ (USA: MIT Press, 2013), p.

2. Amy Frearson ‘Organic tower grown from agricultural waste wins MoMA PS1 Young Architects Program 2014’, Dezeen (revised 6 Feburary 2014) <https://www.dezeen.com/2014/02/06/hy-fi-by-the-living-at-moma-ps1/> [6 March 2017] 3. Brady Peters, ‘Computation Works: The Building of Algorithic Thought’, Architectural Design, 83, 2 (2013), p.10 4. CodaWorx, ‘Vaulted Willow’, CodaWorx <https://www.codaworx.com/project/vaulted-willow-edmonton-public-art> [14 March 2017] 5. eVolo, ‘New York Horizon‘, eVolo (revised March 2016) <http://www.evolo.us/competition/new-york-horizon/> [6 March 2017] 6. Lucy Wang, ‘Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows’, Inhabitat (revised Jan 2014) <http://inhabitat.com/ninety-nine-failures-pavilion-is-built-from-ninja-star-shaped-steel-pillows/> [9 March 2017] 7. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-edmonton/> [14 March 2017] 8. Materialist, ‘Technology Digitized Stone: ZA architects Develop Smart Masonry’, Materialist <https://www.materialist.com/digitizedstone-zaarchitects-develop-smart-masonry/> [9 March 2017] 9. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan> [14 March 2017] 10. Rivka Oxman and Robert Oxman, ‘Theories of the digital in architecture’ (London; New York: Routledge, 2015), p.

11. Tony Fry, ‘Design Futuring Sustainability, Ethics and New Practice’(Oxford: Berg, 2006) 12. Wilson, Robert A. and Frank C. Keil, ‘Definition of ‘Algorithm’ in Wilson’, The MIT Encyclopedia of the Cognitive Sciences (London: MIT press, 1999), p.

13. Yehudo E. Kalay, ‘Architecture’s New Media: Principles, Theories, and methods of Computer-aided Design’ (Canbridge: MIT Press, 2004), p.

22

IMAGE REFERENCE Figure 1. eVolo, ‘New York Horizon‘, eVolo (revised March 2016) <http://www.evolo.us/competition/new-york-hori zon/> [6 March 2017] Figure 2. eVolo, ‘New York Horizon‘, eVolo (revised March 2016) <http://www.evolo.us/competition/new-york-hori zon/> [6 March 2017] Figure 3. Amy Frearson, ‘Organic tower grown from agricultural waste wins MoMA PS1 Young Architects Program

2014’, Dezeen (revised 6 Feburary 2014) <https://www.dezeen.com/2014/02/06/hy-fi-by-the-living-at-moma- ps1/> [6 March 2017] Figure 4. Amy Frearson, ‘Organic tower grown from agricultural waste wins MoMA PS1 Young Architects Program

2014’, Dezeen (revised 6 Feburary 2014) <https://www.dezeen.com/2014/02/06/hy-fi-by-the-living-at-moma- ps1/> [6 March 2017] Figure 5. Amy Frearson, ‘Organic tower grown from agricultural waste wins MoMA PS1 Young Architects Program

2014’, Dezeen (revised 6 Feburary 2014) <https://www.dezeen.com/2014/02/06/hy-fi-by-the-living-at-moma- ps1/> [6 March 2017] Figure6. ZA architects, ‘Smart masonry’, ZA architects < http://www.zaarchitects.com/en/public/125-smart-masonry. html> [9 March 2017] Figure7. ZA architects, ‘Smart masonry’, ZA architects < http://www.zaarchitects.com/en/public/125-smart-masonry. html> [9 March 2017] Figure8. ZA architects, ‘Smart masonry’, ZA architects < http://www.zaarchitects.com/en/public/125-smart-masonry. html> [9 March 2017] Figure 9. Archdaily, ‘Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab’, Archdaily (revised January 2014) <http://www.archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab> [9 March 2017] Figure 10. Archdaily, ‘Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab’, Archdaily (revised January 2014) <http://www.archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab> [9 March 2017] Figure 11. Archdaily, ‘Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab’, Archdaily (revised January 2014) <http://www.archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab> [9 March 2017] Figure 12. Archdaily, ‘Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab’, Archdaily (revised January 2014) <http://www.archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab> [9 March 2017] Figure 13. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017] Figure 14. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017] Figure 15. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017]

23

Figure 16. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017] Figure 17. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017] Figure 18. Marc Fornes & TheVeryMany, ‘11 Edmonton’, TheVeryMany <https://theverymany.com/public-art/11-ed monton/> [14 March 2017] Figure 19. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan- hambasan> [14 March 2017] Figure 20. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan- hambasan> [14 March 2017] Figure 21. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan- hambasan> [14 March 2017] Figure 22. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan- hambasan> [14 March 2017] Figure 23. Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, Archdaily (revised July 2011) <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan- hambasan> [14 March 2017]

24

25

B1. RESEARCH FIELD - TESSELATION VOUSSOIR CLOUD IwamotoScott SCIArc Gallery, Los Angeles, 2008

Fig. 1 Design form finding sequences

Tessellation divides a surface into repeating element. It gives the element a more complex shapes. Different from patterning, tessellation can create structural support which as a result gives a design both structural strength and aesthetic looking from the interesting geometry that it creates.

An example of tessellation project is the Voussoir Cloud, focusing on exploration of pure compression form within the lightweight material system.

The structure areated a vault system and rely dependently on each other for loading.

Fig.2 Elements variation

Fig. 3 Fabrication sequences

26

The design took reference from a vault and then operate Delaunay tessellation, it is constructed as mesh and then deconstructed into thin wood laminated panels with 4 cell types: composed of 0,1,2 and 3 curved edges. This different edges pattern create void patterns which allow lights to penetrate through interestingly.

CONCEPTUAL DESIGN IMPLICATION As a result, an implication of this design is the relation of the structure with light. Void, or the transparency of the thin material.

Itâ&#x20AC;&#x2122;s important to notice how use of material will change the lighting effect. Therefore, the physical attributes of the material should be studied in depth such as the material thickness, bending ability, stiffness.

Aesthetically, the use of material generates a natu-

Fig. 4 Voussoir Cloud project

ral filter of lights with the position of void generating an interesting light peneration into the interior.

OPPORTUNITIES The brief is to create an ceiling installation for ball room, the Voussoir Cloud creates an interesting thought about how a ceiling design can be installed with the element being both decorative and structurally self supported itself FABRICATION CONCERN Considering the project, to keep both the attribute of light penetration from thin material and physical ability for structural, the component needs to be folded on its edges such that it creates a connection between each other, which needs to be carefully workout as the panel itself is the only structural support, and failure of certain panels can cause complete structural failure.

Fig. 5 Voussoir Cloud element detail

27

B2. CASE STUDY 1.0 VOUSSOIR CLOUD - ITERATIONS IwamotoScott UFORCE

uforce z=1

VORONOI SCALE

uforce z = 1 stiffness = 1

scale = 0.4

scale = 0.75

move = -15 z stiffness = 6

move = 5 z = 0.4

MOVE

POINTS

28

u force = -1z

scale = 2

circle

circle

29

PATTERN ATTRACTOR PTS

WEAVER BIRD DIAMOND 2 ATTRACTOR POINT

WEAVER BIRD WINDO 2 ATTRACTOR POINT

GEOMETRY

stiffness = 50 2X2 UV

stiffness = 10 2X2 UV Y- FORCE = 1

HEXAGON CULL PATTERN ON LOFT SURFACE

stiffness = 10

REST LENGTH ANCHOR POINTS

ATTRACTION POINT REST LENGTH = 0.5

REST LENGTH = 0.5 FORCE = -3Z

CULL/ MOVE ANCHOR POINTS

30

CULL ANCHOR POINT

MOVE ANCHOR POINT REST LENGTH = Z1.5

OW

T

WEAVER BIRD FRAME 2 ATTRACTOR POINT

HEXAGON 4X4 SMOOTH WEAVER BIRD

STIFFNESS = 65 NORMAL REST LENGTH

ATTRACTOR POINT REST LENGTH 0.8 Z =-2, WB FRAME

DIAMOND = 6 SMOOTH WEAVER BIRD

ATTRACTOR POINT REST LENGTH 0.8 Z =-2, WB WINDOW

31

Selection criteria: Lighting effect

Since the brief is about having a ceiling installation in a ballroom, the lighting effect is then especially important as it can directly impact the atmosphere of the space

Aesthetic

A ballroom should be giving a sense of attractiveness and pleasant feeling to visitors as it is a gathering place

Constructability

No matter how good looking a design is, if it cannot be fabricated then it wonâ&#x20AC;&#x2122;t be considered. In addition, efficiency of the construction will also make a difference to a design.

Acoustic effect

Ballroom will takes a large area, large amount of people. Therefore, it is always important to take care of the acoustic effect or it can be potentially noisy.

the design is aesthetically simple and clean. In terms of lighting condition it might not be very interesting as there are just 3 openings for lights to penetrate through.

However, interms of constructability it can be quite interesting as a tensile material will probably needed in this model.

32

The design can good in acoustic performance as this form itself has a lot perforations and different faces for sound to dissolve. Lighting effect can be interesting as well because of the perforations. However, constructability can be harder to archieve due to the amount of faces. The overall shape might be unpleasing aesthetically but can also attract concern.

The exploration of Voussoir Cloud is certainly interesting but is restricted by Kangaroo due to itâ&#x20AC;&#x2122;s requirement of having a mesh input and output. This makes the design harder to change as in this case most of the changes will be done before it is formed as mesh and input into Kangaroo, which is more editable.

This model is quite fragmented but also look aesthetically interesting. lighting effect can look good with the framing pattern on each individual component. In terms of constructibility, this form maybe hard to build but if consider this as a panel element, it might create some interesting lighting effect or connections as a small element.

This model can be constructed by fabricating panels together. Nonetheless, the gap between panels can create an interesting light effect with the void circle as a bigger void. This model looks aesthetically beautiful but in terms of acoustic effect this might not do the job due to the big openings.

33

B3. CASE STUDY 2.0 EXOtique PROJECTiONE Location: Ball State’s College of Architecture

Fig. 6 Exotique element detail

The exotique project is a “drop ceiling” design with the perforations act as both patterning and enhance lighting effect. It is being done in 5 days including design, modeling, material testing, and lastly to fabricate, assemble and install them.

The design is started with creating a surface in Rhino and the rest with Grasshopper. The surface is first being triangulated and from that they are grouped in to hexagonal shapes. Perforations patterns were then added and lastly with joinery and then unrolled to be fabricated.

With the polystyrene panels, the bending prop-

34

Fig. 7 Light and connection detail

Fig. 8 Exotique lighting effect

erties make the project able to actualise even when the geometry itself is actually non-planar.

In terms of a ceiling design, i think what it sucessfully achieved is the dynamic volumne that the design gives to the ceiling. And the perforations create a more interesting ways for lights to penetrate through panels as well as the gap between panels such that lights also go through the edges. As a ceiling design, I think it created a design with good performance and attractive.

Fig. 9 Fabricating panels

Materialwise, the design does consider budget well by intended not to use anything between connections but the given hangers, that it saves budget and at the same time workable.

Fig. 10 Exotique element detail

35

EXOtique Reverse Engineering APPROACH 1

Form curves

Loft surface

Cull away non hexagonal shape

Apply lunchbox hexagonal grid

Dead end

36

Tried to create the panel pattern that some has perforations on it and some do not. However, Dead Ends as lunch boxâ&#x20AC;&#x2122;s hexagonal grid doesnâ&#x20AC;&#x2122;t has a proper data structure that can identify the pattern. Therefore another method is done to create the preferrable result.

APPROACH 2

Planar hex grid split tree cull pattern

Project onto loft surface

centre point from surface pattern scale perforations based on hexagon frame

Project onto loft surface

surface split cull area to remove perforations scale Extrude panels

37

The final outcome of the reverse engineering as shown above. Due to the large amount of data split the surface Iâ&#x20AC;&#x2122;m only able to split part of them. In terms of similarities, I created hexagonal pa same pattern that the perforations are done. Size of them are developed with the centre bigge spread out smaller.

In terms of differences, the design doesnâ&#x20AC;&#x2122;t start with hexagon pattern but a triangulated panels.

Edges of the triangle panels are used to create the hexagon itself. Joinery between panels are m

38

a involve to anels with a est and slowly

. Instead, missing,

39

B4. TECHNIQUE DEVELOPMENT PATTERN ATTRACTOR PTS

1 AP DISTANCE = /-10

1 AP DISTANCE = /-1

1 AP DISTANCE =

CULL AREA>6500

CULL AREA>4600

CULL AREA<

DIVIDE 1, NORMAL

CULL AREA<2000, NORMAL

NORMAL, LO

ROTATE 0.005

ROTATE 0.01

ROTATE 0.5

CULL AREA

EXTRUDE NORMAL

ROTATE

LOFT SURFACE ENTRUSION

40

1 ATTRACTOR CURVE = 3POINTS DISTANCE = /-90

1 ATTRACTOR CURVE = 5 POINTS DISTANCE = /-90

<6000

CULL AREA<6000 ATTRACTOR CURVE = 8

CULL AREA>1350 ATTRACTOR CURVE = 7

OFT 3 CURVES

NORMAL, LOFT 3 CURVES CULL <1200

NORMAL, LOFT 2 CURVES CULL <1200

ROTATE 0.5 SCALE, ATTRACTOR POINT

ROTATE 0.5, TRIANGLE SCALE, ATTRACTOR POINT

/1

41

GEOMETRY PATTERN

TRIB MOVE

TRIB KANGAROO

TRIB, Rest len KANGAROO UF -10z

DIAMOND KANGAROO, REST LENGTH 1.3

DIAMOND KANGAROO, REST LENGTH 1.6

DIAMOND, K REST LENGTH

TRIB SCALE, ATTRACTOR

TRIB MOVE

DIAMOND, K CHANGE AN

QUADS, BENDING

QUADS, BENDING, 2 FOLDS

HEXAGONA

PATTERNNING WEAVER BIRD

TWISTING AND BENDING

TWISTING AND BENDING

42

RECTANGULAR GRID, ROTATE

RECTANGULAR GRID, ROTATE 60

POLAR , RO

ngth 1.6 O

TRIB 1.3 REST LENGTH KANGAROO

TRIB 3.435 REST LENGTH KANGAROO

TRIB, Rest length 2 KANGAROO, H 1.5, CHANGE ANCHOR POINTS KANGAROO UF -10z

TRIB, Rest length 4 KANGAROO UF -10z

KANGAROO, REST LENGTH 1.5, DIAMOND, KANGAROO, REST LENGTH NCHOR POINTS, WBCLARK,WBTRI 1.5, CHANGE ANCHOR POINTS, WBTRI, WB

TRIB, WB OFFSET WB THICKEN

AL, BENDING, 2 FOLDS

HEXAGONAL, BENDING, 2 FOLDS

RECTANGULAR, ROTATING

OTATE 60

RECTANGULAR GRID , ROTATE 40

RECTANGULAR GRID , CULL PATTERN ROTATE 30

43

SELECTION CRITERIA Lighting effect

Since the brief is about having a ceiling installation in a ballroom, the lighting effect is then especially important as it can directly impact the atmosphere of the space

Aesthetic

A ballroom should be giving a sense of attractiveness and pleasant feeling to visitors as it is a gathering place

Constructability

No matter how good looking a design is, if it cannot be fabricated then it wonâ&#x20AC;&#x2122;t be considered. In addition, efficiency of the construction will also make a difference to a design.

Acoustic effect

Ballroom will takes a large area, large amount of people. Therefore, it is always important to take care of the acoustic effect or it can be potentially noisy.

This model shows a dynamic lighting effect with 3 different curves loft together to create the non-uniform lighting. I think This non- uniform light is interesting as the radius of the curve will restrict the light passing through and the loft surface itself is joined in normal direction, which means the light will be leaning towards different places as the normal plane is different. This model creates good acoustic effect as well as the loft volumn will absorb the sound. Aesthetically, this design looks uncomfortable and quite hard to be constructed as well.

this model is formed from taking two opposite edges to form this bended panel with the other side void. The design itself is simple but the different shape of void and bend panel create quite a interesting light effect. Looks aesthetically interesting and can be constructed with materials that can be bended.

44

this model is generated from kangaroo stimulation of a triangulate grid. weaver bird is used to create this panel. It is dynamically pleasant and the gap can create interesting light effect to penetrate through. The panel itself is flat such that jointery or structural frame can be constructed to hold it in shape. Overall form is quite interesting as well.

The form itself looks quite messy but the small gap in between can create a visually unexpected lighting as well as sudden changes of strips coming out. Not really constructable as the form is too complicated but overall form looks interesting. Good acoustic as well because of the diffential of surfaces.

45

B5. PROTOTYPES At this stage we started to combine our design into one. Based on my design direction from tessellation, my approach will be a top-down design which an overall form will be first formed and working slowly towards the panel detailing. Sebastian’s design approach will be bottom-up, detailing every critical element of one component and then works back to the overall form. Cassandra’s prototype will be more of an exploration towards a waffle grid system.

To consider materialisation, reference is took from Vossoir Cloud of their tab connection which is produced from which folded to the side of a single element that panels can be joined with the sides. This connection is very rigid as the folded plane will completely connect the edges without leaving spaces.

Materialwise, screen board was used to test out the connection, which the 1mm thickness of the board is not really strong but enough to hold this scale of model. Since this connection is done by edging from laser cutting, the joints are folded and therefore the model will be less rigid as well because it is not a fixed joind and can moved by applying forces towards the folded connection.

Second prototype focuses on testing the result of the Exotique.

First focus would be the panel for tessellation which form the overall geometry on the loft surface. Patterning perforation is created to give a more dynamic light penetrating through the holes. The panel on the right hand side is the first test which I’ve found out that the perforations are too big especially when the ceiling is 7m high in a ballroom. The Left panel integrated with some cull pattern effect with perforation size reduced for improvement. a joint system produced to give the panel more twisting effect as one slot is curving up and the other one down.

Comparing the two prototypes, the second one will give a more adjustable angle to the panel for dynamic effect Considering design direction, tessellation will be easy to find an overall form as they normally starts with a surfaces and then break them into smaller pieces. However, I’ve faced some of the problems such as surfaces are non-planar or overall form finding are based on Kangaroo stimulation which requires Mesh as input and output that makes the design hard to work with.

Joint using Voussoir Cloud tab

Joint using Voussoir Cloud tab, behind

Testing perforation effects and joint system from reverse engineering

Exotique reverse engineering

46

Sabastian’s design approach can be seen from his reverse engineering which a single element’s detail needs to be first carefully constructed in order to generate a final form. One thing that he learned is that box morph can potentially make the design hard to build as a lot of steps are skipped and a overall form can be easily generated by it. But then you will lost some of the design information, and may make you too rely on box morph.

Kerfing as a single element.

Sebastian is inspired by the keft kerfing panel which give the strips certain pattern. From a single element, MDF is used to test the ability of bending effect when pairs.

With the cutting, the bending effect will give lighting effect between the cut space when benging.

Dragon skin pavilion reverse engineering

Kerfing on MDF and joint testing

Testing the structural restriction of paired mdf strips when twisting as the rotation will be limited at certain angle as the panels are blocked by another.

A prototype of the dragoon skin pavilion which is divided by square panels. However, Instead of using the original steam bend panels. This prototype focuses on the a paper based panels which can be bended and folded.

Taking consideration of Sebastian’s approach, we can actually combined by the fact that I start with an overall form and sebastian can work towards that form with the individual element that he’s developing.

Testing structure restruction on bamboo veener

Cassandra focuses on making a waffle system which the sectioning when connected together make them very rigid. This is more focused on structural effect, not much variable in terms of lighting effect. In terms of group combination, a structural support can be done by such a simple system to hold the load of the design.

Our original thought of material would be using timber veneer paper back as it would give us a good and natural aesthetic look with certain bending effect as well.

However, due to the brief which has a ceiling height of 7m high, this thin material would not give much dynamic impact on a design, as a result, This prototyping allow us to search for a suitable thickness and system which will lead to our design proposal.

Paper model of realife properties of Dragon skin pavilion

Waffle grid system

47

B6. DESIGN PROPOSAL SITE ANALYSIS

City road grid of surrounding Site characteristics

Contour

Section

SITE CONTENT SITE RESTRICTION site to be 30m x 16m while ceiling height to be 7m high, implying design should be more dynamic for such a high ceiling. Beams located on one side of the windows which needs to be considered when designing.

PROPOSED EFFECT Grand and formal, utilise the ceiling height to generate movement among people in the room. Places such as the stand will have low ceiling height as the design will slowing merge towards the stand and comes down a bit to attract people’s attention.

MELBOURNE CONTEXT Apply streetscape (Hoddle Grid), contour of the roads (red as high, orange, medium, yellow as low)

A ballroom’s light shouldn’t be too bright but however not too dim as well. It should gives people the sense of warmth such that they feel comfortable in such a place.

TARGET USES Contemporary functions and spefically for young generation

ACOUSTIC Ballroom is usually big and clear, therefore a good acoustic effect is critical to minimize the noise aspecially because of the huge number of people that can go in.

48

B6. DESIGN PROPOSAL prototype 1 Based on the techniques and site analysis that we’ve done, 6 curves were created based on the contour and streetscape of melbourne. This prototype act more as a physical form finding tool for our design.

This approach is been tested by using graph mapper to generate the curves and then extrude them as strips. Rotational force is then applied to give the strips more dynamic form. In prototyping, paper and perspex with slots which at this stage is just acting as a temporary component to hold the strips in place.

However, during our progress of testing we find out the strips are very messy and doesn’t fit the design brief that we’ve been proposing, which is a more formal and orderly. the strips doesn’t seem to have a set of rules moving towards and is all over the place. As a result, the lighting effect looks messy and unpleasant as well which I don’t think it is suitable for a ballroom. Void spaces are too much as well which gives no pattern.

Therefore, we are looking to step back and narrow down the brief that we discussed and try to execute the design base on certain restrain in order to set an order in prototype 2.

General view

Lower angle shot

Lighting effect

49

DESIGN FORM FINDING Realising the prototypes are too messy and didnâ&#x20AC;&#x2122;t create the preferred effect by having certain formal and order system in the design, we narrow down some of the effect we wanted to work through as follow.

proposed pattern 1

We tried to create an order of flow keeping the brief of drawing the attention to the pattern of strips flowing towards the screen.

We tried to apply field lines which the screen acts as an attractor field. The concept is that using the site boundary as field lines merging towards the attractor will gives the curve from other end less dense while the sides near the field more dense. Resulting a differential series of strips merging into one focus point . As a result, more lights can be installed in those less dense area.

Joint is also a problem as the lines merge into the attractor that the strips are too big which cause overlapping at the end.

50

Design proposal for prototyping

We tried to keep it simple in this design which 2 curves work as pair and is twisted along straight line, the result is the strips show a dynamic cross movement between pairs and flow towards the other end.

This form of order is carried on and further investigated in prototype 2. proposed pattern 2

DESIGN PROPOSAL prototype 2

prototype 2 general view

Design proposal for prototyping Section view

prototype close-up

In this design, timber veneer paper back is added into the design for material performance.

Discovery is that material is much rigid than paper. However, we recognise that the strip can be bended more along grain direction while across grain remains bendable but more rigid.

In order to create more variation to the design, attractor point is used to increase the width of the strip at certain parts. However, what happens is that it makes the strips very easy to overlap each other. Therefore we realised that rather than using attractor point to vary the width of strips to generate a more dynamic effect, changing the overall dropping of strips by gravity can be a better solution.

Decreasing the width of strips and lesser rotational force might make the design less messy and lower chance of overlapping, but this will make the strips less obvious which damage the aesthetic effect of the design especially when the ceiling is 7m high.

51

DESIGN PROPOSAL

Night render

Comparing with the earlier prototypes, the final proposal aims to keep the design idea more simple which the flow of strips will direct peopleâ&#x20AC;&#x2122;s attention to go along the flow and from the drop of the ceiling it gradually ends at the screen.

In terms of changes, the form is now more formal starting from the rectangular grid. Strips are generated through a list of curves that are not overlapping. Considering the lighting effect, more strips will be located near the edges while the centre there will be less condensed strips in order to create a stronger focus of lighting effect. Twisting is lessened compared to the prototype proposal which decrease the messiness. Widthness changes of the strips are also decreased to make overlaping less likely to happens.

Grid that curves are form

Proposed light layout

52

Proposed pattern 3

SECTION A

SECTION B Looking at the section, section A shows a smooth flow of strips along the longer side following the contour; section B shows a rough movement of how the strips are spacing between each other and show quite a different drop between each other. Which I think is what we can continue to explore in later stage about how to deal with this irregular form that is shown in section B and give the design more control, and the design looks seperated there as well.

Considering the strips detailing, connections need to be done to hold the strip from twisting back to its original state, With the strips resting flat on both ends, a slotting connection is done to hold it from bending. the horizontal string will be the tensioned string which avoid the surface to flip. The string facing z direction will hold the suspension force to deal with the structural load and gravitational force. Further experiment needs to be done as the bigger twisting force the stronger this connection needs to be which may make the connection joint bigger. Whether the size of it will impact the whole design as an aesthetic issue needs to be resolved on the next stage.

connection

exploded connection

53

Atmospheric render

Considering drawbacks, the idea of contour is not really obvious, that the consideration of contour is not really necessarily to put on ceiling especially when the strips will twist along ceiling, making the intention even more vaque. To consider such a big scale design, strips in such a big scale might not be a good idea to resolve a design as fabricability needs to be considered. As such, the strips might not be able to work as a one whole strip but divided into several panels which connectionwise it will be harder to achieve.

Section A might looks pleasing, but section B create a really rough and strange split onto the ceiling, as a result the design idea might

54

not be that suitable for a ballroom design unl the section could be resolved.

Another issue is the lighting effect of the desig That not much lighting design quality is made the twisting. Therefore, looking back to the pr algorithm development may open a differen ceiling installation and more importantly fittin

less the messy look of

gn being very weak. e from strips or perhaps recedent focuses and nt way of interpreting a the site context.

55

B7. LEARNING OBJECTIVES AND OUTCOME Objective 1 “interrogating a brief” Part B gives a chance for us to explore parametric design, however, without certain design criteria to limit the brief it is very hard to judge whether a design is successful or not. Therefore the process of interrogating will allow one to make judgement and opens up a direction to design rather than testing around different component which will take you a lot of time. Effect on brief restriction can be seen clearly from the iteration generation which we were asked to create aspect of important criteria, this narrows down the result and then from those good iterations, a same design generation can be repeated to improve and at the same time fitting the brief.

Objective 2. developing “an ability to generate a variety of design possibilities Objective 3. develop skills in various three dimensional media B2 allows me to understand the script’s workflow and explore how components can be used together to generate different design possibilities as well as limits of parameters. With the exploration of iteration and focusing on just one research field, it allows me to understand tessellation in more depth, which this knowledge helped me to achieve my reverse engineering result.

As a result, from B2 to B4 I’ve acquired a set of parameters to generate form from my research field, during exploration of inputting algorithms, I understand the importance of workflow in grasshopper because this is how computer works, step by steps. Plug-ins such as lunch box, weaver bird and kangaroo certainly extend the possibility and efficiency of scripting, however, the core concept of the logic workflow still needs to be aware of. Taking example of box morph, surely it is a quick way of exploring patterns and create dynamic object on surface, however, the idea of box morph straight away skipped through all the command and generate result might lost critical information of the whole script which will minimize the possibilities of your design.

Objective 4. developing “an understanding of relationships between architecture and air” Architecture and air share the same needs of having a critical understanding to the site and brief such that your design will fit in to the project. Without this no matter how fancy and amazing your design is you still won’t be able to impress anyone.

Objective 5. develop ability to make a case for proposals by developing critical thinking Looking back to the drawbacks that has been discussed in the final proposal, continue experiment between physical models and digital programs can make the design more workable. In

56

terms of digital program, working digitally allow a more efficient work flow and fast changes while physical model can deal with real life constraints, a continuous exploration between both can improve the design and fabricability as well.

As such, the strips might not be able to work as a one whole strip but divided into several panels which connectionwise it will be harder to achieve. Section A might looks pleasing, but section B create a really rough and strange split onto the ceiling, as a result the design idea might not be that suitable for a ballroom design. Therefore, looking back to the precedent focuses and algorithm development may open a different way of interpreting a ceiling installation and more importantly fittin the site context.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects The part from reverse engineering definitely opens a sense to analysis how these contemporary architectural projects are being done which makes you think of how people develop their project and in what ways can you learn from them and put that into your design.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming I have learnt some basic understanding of the parameters that are mentioned, however, there are still a lot of possibilities that is worthwhile for looking. Iâ&#x20AC;&#x2122;m still trying to familiarize them and I surely will try to enhance the skills as this opens me another possible way of design.

57

B8. APPENDIX - ALGORITHMIC SKETCHES

58

IMAGE REFERENCE Figure 1. IWAMOTOSCOTT, ‘Voussoir Cloud‘, IWAMOTOSCOTT <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [12 April 2017] Figure 2. IWAMOTOSCOTT, ‘Voussoir Cloud‘, IWAMOTOSCOTT <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [12 April 2017] Figure 3. IWAMOTOSCOTT, ‘Voussoir Cloud‘, IWAMOTOSCOTT <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [12 April 2017] Figure 4. IWAMOTOSCOTT, ‘Voussoir Cloud‘, IWAMOTOSCOTT <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [12 April 2017] Figure 5. IWAMOTOSCOTT, ‘Voussoir Cloud‘, IWAMOTOSCOTT <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [12 April 2017] Figure6. PROJECTiONE, ‘EXOTique’, PROJECTiONE <http://www.projectione.com/exotique/> [15 April 2017] Figure7. PROJECTiONE, ‘EXOTique’, PROJECTiONE <http://www.projectione.com/exotique/> [15 April 2017] Figure8. PROJECTiONE, ‘EXOTique’, PROJECTiONE <http://www.projectione.com/exotique/> [15 April 2017] Figure 9. PROJECTiONE, ‘EXOTique’, PROJECTiONE <http://www.projectione.com/exotique/> [15 April 2017] Figure 10. PROJECTiONE, ‘EXOTique’, PROJECTiONE <http://www.projectione.com/exotique/> [15 April 2017]

59

C1. DESIGN CONCEPT

“THE FLOW”

Our interim presentation concept originally focus on the twisting and rotational forces that can create a dynamic flow for the strips.

However, Based on the feedback from interim presentation, our design is quite hard to be perceived as a orderly strips which create a flow to direct prople’s attention towards the stage.

That the flow is quite chaotic without any direct order. Scale is reletively too big which leads to a rather scary effect which is not quite suitable for a ballroom design. Structural framing is obvious in the design which means it might overpower the effect of making a smooth flow of the design,

60

which needs to be further resolved, as well as a proper connection.

Therefore, in order to form a more desirable solution to the ceiling installation, we decided to take a step back and reconsider our design principle. We are now trying to reconsider the whole design all over again to make our design more logical. We think that the design restriction and concept is not focus enough for our interim which make our design loose in place. Manual adjustments should be in minimal for better control in computational script and development of our design.

61

INTERIM DESIGN CONCEPT

Functions

Grid of 20 lines

Manual adjustments, twisting and intersecting strips

Contour For the interim design, one of the problem is that the design involve a lot of manual control to generate strips, which therefore making the design more random and not connected. The way we adopt Melbourne contour is also lack of consideration because the form of the strips are created manually.

From that, we decided to create a new rules of creating the form of strips to make our design more parametric as well as workable.

62

PLAN VARIATIONS

Experimenting the possible lighting layout (big gaps) and the function of the site by creating points to attract or repulse the line away. The iterations is trying to keep the area around seatings and screen with most opening, becoming lesser when towards entrance or windows.

One of the criteria of selecting the one marked is because it is organised with logical reasoning that towards the screen we have 3 big openings while towards seatings there are 2 more openings.

63

RECONSIDERED DESIGN CONCEPT

SEATINGS

STANDS

Main Functions We have review the site and decide that the stand which requires most of the attention and lightings as that is the main focus on any performance. Seating will be important as well as there is where the audience will be.

64

Lighting Layout

Lighting Effect & Pattern

Based on the functions weâ&#x20AC;&#x2122;ve derived we then create pattern of lighting which more lights will be near the stage and less behind.

This therefore creates our general pattern of our design.

We kept the idea of using contour as a height reference for our design as one of the brief is to relate the design into Melbourne context.

Image mapper is introduced to create a more precise landform rather than making it manually. Grid of curves will be projected onto it, making the design more dynamic. This form of section will affect the flow of people when they get into the ballroom, places with higher floor to panel height will be more likely to be used while lower will people avoid to be there.

65

VARIATIONS Few variations were created based on the contour projection. Out of these variations, we tried to select based on: Fluidity of the design Aesthetic How well has it incorporate with the theme Does it looks aestherically pleasing of our design which is creating a flow Lighting arrangement Constructability Does it provide a suitable lighting effect as Is it too hard to be actualised a ballroom

Variation 1

Variation 2

Variation 3

Variation 4 This variation create a suitable lighting space without being too much or too little. The curves look smooth and orderly, equally separated and not too curvy.

66

Few variations were created based on the contour projection. Out of these variations, we tried to select based on: Height drop from ceiling Aesthetic Whether the drop of the design will affect Does it looks aestherically pleasing the proposed function of the ballroom Atmosphere Constructability Does it provide a suitable atmosphere for Is it too hard to be actualised what a ballroom supposed to create

Variation 1

Variation 2

Variation 3

Variation 4 This variation has a sense of flow running smoothly across the whole ceiling, with the lowest drop to be 4m low near the window pushing the audience towards the stage.

67

PATTERNING

Max 1200mm to 2400mm Considering fabricating the strips, timber veneer paperback normally comes with a maximum length of 2400mm, which will be the maximum size of one stripâ&#x20AC;&#x2122;s panel as well.

Since one panel cannot cover up the whole strip, therefore, playing with the pattern that can be create along the strips can create some interesting and dynamic flow of the design.

68

DESIGN APPROACH NEW DESIGN FORM

SECTION A

SECTION B The design approach During interim, our design focuses more of the twisting and rotation of the strips in separate pieces. However, through this approach, every strips will be independent to each other and thus making the design less fluid which is not what we want.

To improve the design, a new set of rules need to be implemented.

1. An arc is generated between curves to make the strips to be more connected and smooth as a single volume, as in the interim design section B looks too disconnected and in some way scary.

2. The new approach is more logical, creates a strips with flow following the contour of Melbourne. .

3. The bigger strips are being offseted in order to give opening for lights to shine through

69

GENERATING FORM

TECTO

Site Analysis Surrounding Context

Concepts Flow and Fluidity

Intended Functions / Users

Splitted strips u

Movement

Deconstruct b

Splitting panel Strips and Folding System (Plan Forming) Generate grid as site boundary

Extend and of panel B to cre

Redefine boundary

Form 20 curves within grid

Sect

Bend curves according to point attractor

Contour (Section Forming) Extract contour data into HUE value map

Perpendicular curve directio

Intersection be

Pattern Overlapping Intervals

Offset towards thickness

Create topography surface through Image Sampling and surface grid Curves projected on mesh surface

Project onto st Iteration forms

J

General Form

Deconstruct b

Arc Variation (Section Forming)

Divide length

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

Lightning Effects Offset selected panels

70

Form line, Divi

Points form cic

Concealment Shingles Scales

&

Deconstruct s

Divide length List points - Jo Creating L pla

Ma

Material beh nections

FABRICATION

ONICS

INSTALLATION

Panels

unrolled

brep - edges

ls into A and B

Unrolled surfaces

ffset Panel A referencing to eate overlapping

Suspended Steel Cables

tional Frames

r frame duplicated in series along on in 1600mm

etween frames and panels Indexing items

s Z direction to create

Module Assemblage offsite

Module Assemblage On site

trip to creates patterning

Joints Connections

brep - edges at 10mm

Panels

ide length at 10mm

cles

surface - edges

at 20mm oin ates

Frames

Laser Cut

aterial & Bolts Testing

haviour on selection of bolts & con-

71

C2. Tectonic Elements & Prototypes GRAIN DIRECTION How the grain direction of the timber veneer is first tested with one bending along grain direction and another one against grain direction.

Results are to be found that the one bending along grain direction is a lot looser. However, due to the fact that our design doesnâ&#x20AC;&#x2122;t require too much bending, this is giving more than enough of the bending effect and in another way doesnâ&#x20AC;&#x2122;t give stiffness of the panel at all. As from the image the overlaping area are too lost to the point that one panel is bending out and feels like it it going to crack at the joint.

We therefore tried to bend against the grain direction. This direction gives a smooth finishing curvature to the panel with little overlapping gap, which is a more preferrable solution to our design.

72

PROTOTYPE 1 TO 55 Since this prototyping is more of an overall form testing, therefore strips are kept in one piece for easier constructability. Our original intention of structural system holding the panels is using a section panel which runs from top of ceiling all the way to the position of the panel. Through the overall prototyping, we realised that that will cost a lot of material because the 4m drop of the design from ceiling at certain point and therefore it is pointless to use a solid sectional frame.

Therefore, we decide to change the design into suspended ceiling system which the framing material will be enormousely reduced. Steel cables will be made to suspend the frame to a preferred location. Through this, a more flexible lighting system can be easily installed as well. However, this actually will increase the time of fabrication and actually building it as more elements will be included. As a result, we have to choose between cost plus the amount of section panel we need or a more time consuming suspended system.

73

BOLT CONNECTIONS

1. Rivet Fast to assemble but once you bolt them the connection is permanently fixed.

2. Chicago screw We tested the connection with the 3.5mm thick chicago screw, which works fine. However since the timber veneer is only 0.06mm Having issue that Rivet bolts might thick, there will be gap in become out when bending is too tween and are movable. much.

74

3. Bolt and nut connectons Although it looks relatively unpleasant for the bolt that is coming out from behind, since we dont see the back of the design and the nut can totally secure the panels, we decided this system will be our best choice.

PANEL TO PANEL CONNECTIONS When panels are put together side by side without overlapping, double amount of bolts will be needed to hold them in shape. Due to the amount of bolts will be double in total and the fact that when the two panels bend you can actually see a tiny gap of the structural frame we did not use this connection.

We therefore decided to make it overlapping to cover possible frame can be seem when bending.

75

C3. Final Detail Model

Due to the overall ballroom site to be so big, we seperate the prototyping into 2 parts: 1. Exploring the overall form 2. Exploring the connections The OVERALL FORM is mainly used to: - Test the overall form and lighting results - Understand the frame to panel connection Detail connections: - Different bolt connections - Panel to panel connections - Panel to frame connections

76

PROTOTYPE 1 TO 55

This 1 to 55 model focuses on the final form of our design. Therefore, instead of a suspended ceiling system, the model is built upon a hollow sectional frame as a more detailed connection will be done in the 1 to 5 model.

The frame is splitted into frame A and B as between each panel connection means there will be a frame.

And this two set of frames will create pattern to the panel of their difference in positions.

77

78

79

80

81

82

83

FINAL 1 TO 1 MODEL 1. Ceiling

2. SuspendedSteel cables

3. Sectional framing

4. Strips of panels

The structure is divided into 4 parts: 1. Ceiling 2. Steel cables hanging from ceiling 3. Framing system 4. Strips of panels attached onto the frames

84

Two set of frames are created to give pattern to the overall strips panal. This is because a frame is required when it happens to be a connection between panel to panel. Creating A and B frame therefore creates a Zig-Zag pattern of the panel go flow along the strips. However, drawback of this would be a double amount of frames will be required. And therefore a more complex pattern will not be preferred as it will generate more sectional frames.

FRAME A FRAME B

85

Cost of 1 to 1 design

Elements: Timber veneer paperback, bolts, L-plates, sectional framing

86

Timber veneer: approximately 603.3m2

= $21,115 ($35/ m2) Connections: approximately $14,500 (L-plate $18 for 2.4m) Framing: approximately $20,500 ($65 for 2.4m x 1.2m panel)

FINAL 1 TO 5 MODEL

Strips in 1 to 5 scale shows the flexibility and stable connection between panels

C- shaped metal plate with 2 bolts per side to hold the 2 frames in place for actual scale model as in real life it is impossible to have a frame in one piece spanning 16m of the ceiling.

87

PANEL WITH GAPS

88

89

PANEL WITHOUT GAPS

90

91

FABRICATION SEQUENCE

1 Overlap the panel with holes being punched, slot in bolt to lock in place.

92

2. Making L-plate which 1 side will be attached to panel and the other side onto the frame.

3. Punching holes on the Lplates.

4. Put the L-plate lock them in plac and nuts.

e on panel and 5. Base on the shape of L-plate, 6. Put bolts through L-plate and 7. Secure the whole piece with ce using bolt attach onto the frame and drill frame. nuts on the other side. holes for that.

PRODUCTION OF INDIVIDUAL L-PLATE= ~15 MINS (1 MIN PER PLATE) HOLE PUNCHING (PANELS+L-PLATE)= ~10 MINS (70 HOLES - 4.3S PER HOLE) DRILLING HOLES ON FRAME= ~5 MINS PUTTING BOLTS= ~7MINS TOTAL TIME= ~37MINS

= ~2.5MINS PER WHOLE ELEMENT

93

LASER CUT FABRICATION

94

The timber veneer paperback was ordered from Ventech in the size of 2380mm x 600mm and 690 x 600mm. However, since Fablabâ&#x20AC;&#x2122;s laser cut machine is in the sizing of 900mm x 600mm, more work is required for us to cut them into the preferred size manually.

Bolting holes are not create in the laser cut to give more tolerance to the design as the panels need to overlap each other with the L-plate, therefore it is more precise if it is done during construction process.

During fabrication process, we realised that actually itâ&#x20AC;&#x2122;s more efficient to fabricate the L-plate through laser-cut or even 3d-printing as each plate is in different shape so that this can save time from customising them one by one. This has to be done especially when making the actual model as there is an enormous amount of them needed.

95

96

97

98

99

100

101

102

103

C4. Further Developments FORM ITERATIONS

After the project presentation, weâ&#x20AC;&#x2122;ve received feedback saying our design needs further amendments on: 1. The form of design is being too safe 2. Better connections as the proposed one is too shiny and overshine the panels 3. Can either distinct frame clearly or make it completely hidden 4. Colour of the design can be further improved

104

Therefore, a series of iterations were made to tackle the problem that the form of our final design is being too safe and box-like in terms of the plan view. And the selected final form shows a more dynamic and interesting flow which we decided to incorporate this form into a new design.

105

FINAL DESIGN FORM “SEASHELL”

106

107

PANEL CONNECTION 1. Colour

We tried to hidden the bolt connection through using similar colour as the panel

108

2. SLOTTING FOR PANEL TO PANEL CONNECTION

Slottings between panels can reduce the metal plate issue that has been identified in 2. These prototypes explored ways and shapes to create this connections.

With one of the slotting being shorter than the other, when they join together this can create extra patterning as well as lighting effect to be shine through the space in between.

109

3. Hidden plate connection between panels In stead of putting a L-plate behind the two panel, the plate is placed in between them such that the special designed edge will lock the top panel in place without showing the bolting connections.

Drawbacks of this connection will be a special connection needs to be designed and produced, which will be more time consuming.

Potential solution can be 3d printing such joint system as every panel has different width which needs to be customised.

110

Two types of connections are being tested out.

For the trianglar end panel, since the bolt connection of the plate is near the edge of the panel, when it is bent the rest of the panel will fold up and creates an interesting shape as spikes which can be taken as further patterning to the panels.

Rectagular panel on the right shows a cleaner cutting and finishes in the edge, similar with the normal bolt connections but hiddened.

In terms of overall effect, finishing can be too shiny and interupt the flow of the panels as a strip.

111

Further prototypes assemblage sequence

1. Slotting are being laser cut and are placed between panels

2. Matel plate are cut and fold accordingly

5. Plate and panels in placed for boltings

6. Bolt and nut connection formed to lock them in place.

112

3. Metal L-plate is then placed in between the slot

4. Holes are then punched for both paperback and metal plate

7. Holes are drilled for L-plate and framing

8. Slot in with bolt and nut connection again to hold them in place

113

FURTHER PROTOTYPE 1

We tried to implement the slotting and patterning together and this cutting creates a zig-zag patterning creating the dynamic flow and decoration between panel cuttings.

However, while we were making the model we realised that this C-cut on the panel will actually provide movement between the connection and varies a lot as it is unstable. Further prototyping needs to be done to resolve the connection problem.

114

115

FURTHER PROTOTYPE 2

Because The prototype does resolved the problem that weâ&#x20AC;&#x2122;ve faced before which is to hide the bolt connection. However, it brings out another problem to be resolved.

Since one side of the panel will only be slotted into the cut, there is no panel to plate connection to them resulting the outcome of strips to be very bulgy due to the force acting on the slotting connection and nothing is holding it towards the frame.

116

117

FURTHER PROTOTYPE 3

Because of that, we took our step back and try to sort out whatâ&#x20AC;&#x2122;s successful so far. That the slottings can hide the connections while the final prototype in C3 show a overlapping bolt connections. As a result, we decided to combine them both as a hidden joint.

However, the drawback is the extra veneer paperback material that is going to put above the original overlapping paperback. Therefore we wanted the extra covering to create some effect on our design as well.

We realised that the positioning of the slotting can varies which will make the form more interesting.

118

119

PROTOTYPE - PATTERNING/ COLOUR

Since the extra covering is purely for patterning and covering the bolts, we therefore tested out the grain direction to see what if we do the panel grain direction against the one below.

However, it didnâ&#x20AC;&#x2122;t comes out nice as the contrast is too much and doesnâ&#x20AC;&#x2122;t look that nice overall. Moreover, since bending against the grain will make the panel too floppy, the outcome doesnt look as nice as keeping the grain direction all along the strip.

120

Coppertone / Walnut rapture

Limed graphite / Castlestone

Blizzard / Verdi

Walnut rapture / Porto

Blizzard / Carron

Pewter / Malamute

Regarding the feedback of the timber veneer paperback colour to be too dark, we worked out some of the colour that are lighter and possible combination of them.

In terms of the combination, we feel like lighter colour will give a feeling of being into a larger space and fresher as well; while a dark colour will create a more formal and mysterious feeling instead.

121

122

123

124

125

126

127

128

129

C4. LEARNING OBJECTIVES AND OUTCOMES Objective 1 “interrogating a brief” From part C I’ve learnt that a good design will keep looking back at the brief and continuous changing the criteria to fit in the brief. An evidence of this can be how we change our design intention to fit the brief from part B to C, that we added new elements such as lighting which will change the outcome of the design accordingly, or maybe even in further development that we relooked into the brief again to restrict the boundary of the design to a more dynamic solution. As a result, I recignised that although a brief might not change, it is the approach towards the brief that can kept evolving.

Objective 2. developing “an ability to generate a variety of design possibilities” Grasshopper in digital design gives us a great tool to generate different iterations in a short amount of time. In part C, we start with taking the original script from interim and further develop it with scripting such as image mapper, forming arc between grid of curves or to create boundaries to further limit the overall form. Grasshopper has been giving us a very efficient way of making changes.

Objective 3. develop skills in various three dimensional media It is the fabrication process that one can realised whether the design can be actualised in real life. Taking C4. as an example, we originally thought slotting the panel on one side will solve the connection problem but didn’t realised that it actually brings another problem which is one side of the panel is connect by slotting only without any bolts attached. As a result, based on the materiality the panel will be floppy and therefore making the design ugly.

Objective 4. developing “an understanding of relationships between architecture and air” In terms of our part C design, I feel like it does improve in terms of the atmosphere that we wanted to create which is a more organised and fluid design which the flow of strips will guide towards the stage. This atmosphere changes through part C3 and C4 as well as in further development we now changes the design such that it doesn’t cover the whole ceiling anymore which I personally think is giving more control and space for breathing between the design and people. Therefore, trying to push the design further is important to create a rather unusual and interesting outcome which people would feel from your design and site.

130

Objective 5. develop ability to make a case for proposals by developing critical thinking Part C starts involving more technical issues such as how the design can be constructed in real life and things like cost and fabrication time which I find them to be an inevitable consideration for an actual project. That itâ&#x20AC;&#x2122;s not just a design form and idea needs to be good, but also whether the in real life would it be workable, how much would that cost, etc. Although our proposal might not be having a perfect solution for a real actualising project, I kept myself in mind of making sure I checking these constantly from now onwards to make my proposal more convincing.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects Since the project is based on an actual project, we managed to develop conceptual through constant sketching and scripting, and from then we tried to actualise our design in more technical field such as the size of panel, connections, and materiality. Lastly, we look back the whole design in the site and try to improve on it through further development.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming Different skill of computational methods were learnt throughout the whole semester through online tutorials, learn by doing it and technical help section. This allow us to broaden our scopes on different ways of scripting as well as more specific knowledge regarding our design from 1 to 1 technical help.

Objective 8 developing a personalised repertoire of computational techniques This personal repertoire is achieved by sketchbook models, doing iterations and constantly doing scripting in our design and trialing, learning from group members that have a different focused field, etc. These all allow me to have a broader range of understanding towards different commands and when should I use these methods.

131