PARTB.CRI TERI ADESI GN
TSZSHAN YI NG ( MI FFY) 790364 STUDI O AI R TUTOR:CHELLE( XUYOU YANG) TUTORI ALNO.4
Content Part B Critical Design B.1 Research Field
B.2 Case Study 1.0 2.1 Iteration Part 1 2.2 Iteration Part 2
B.3 Case Study 2.0
B.4 Technique: Development
B.5 Prototyping
B.6 Proposal B.7 Learning Outcome B.8 Appendix 8.1 Algorthmic Sketchbook 8.2 Reference
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b.
Critical Design
B. 1 Research Field Geometry Geometry is the fundamental science and mathematics that associated with size, shape and other relative forms and order. Architecture is the manipulation of space for people to use, while geometry in architecture can be defined as the study of the properties and relationships of magnitudes in space [1]. Therefore, the architectural space is basically based on the concept of geometric space. The relationship between geometry and architecture could be explained as: “ The first place anyone looks to find the geometry in architecture is in the shape of buildings, then perhaps the shape of the drawings of the buildings. These are the locations where geometry has been, on the whole, stolid and dormant. But geometry has been active in the space between and the space at either end.” [2] Indeed, geometry is not a new way of design. Over the past, the language of any styles in architecture is already visually described by geometry or shape.
Looking back to the history in architecture, ornamentation and the structural elements mainly possessed in simplicity of natural geometry. Ornament could be defined as the object that comes out from the material substrate, in which expresses with embedded forces through the processes of construction, assembly and growth[3]. In somehow, geometries in architecture also embedded with astronomical and religious information connecting in various cultures. For example the ornamentation on the capitals on columns and arches applied in the ancient temples was celebrated the adoration and richness of nature and technology during Gothic and Renaissance periods. Yet, the geometry always determined the building’s proportion and its appearance within facade, such as the Greek’s golden ratio applied in the façade of Parthenon and Le Corbusier’s further Modulor proportion system of architecture based on principles of golden ratio and anthropometric of human figure .[4]
Fig 1. Zaha Hadid’s CardiffBay Opera demonstrates both geometry and space
Fig 2. Application of Geometry in ancient temple (the Pantheon in Rome)
- Thus in the architectural sense, geometry indeed plays an important role to architecture and necessary to produce affects and resonance[5]. It influences the visual and structural aspects in design to architects, while accommodating certain functions and offering visual stimulation at the same time. The use of ovals and complex geometric figures used in S. Carlo alle Quattro Fontane by Borromini (Fig 3) indicated a feeling of movement in spatial composition, which showed how geometry determined Italian Baroque architecture in the 17th Century. Thankfully in the modern age, the evolution of computeraided design systems gave an introduction and contribution to a wide variety of construction operations. Parametric design is one of the systems, generating and controlling complex geometries based on a set of inter-related mathematical and geometrical parameters[6]. This offers new exploration and possibilities of modification and unimagined outcomes to architectural practitioners and designers. Also in terms of digital fabrication, aspects of geometry and such design information can be easily and efficiently informed, translated and manufactured in factories.
- Nature is one of the major sources of geometry. The relationship between nature, geometry and architecture is very important. It demonstrates the process of a simple geometric pattern within an object to very complex structural forms for plants, animals and human beings. The role of geometry governs the statics of forms and proportions regarding to simple curves, angles and patterns. [7] Geometry in contemporary architecture shapes the visual movement. Without the deployment of geometry, it is not possible to define forms and spaces through a sequence of planes. Therefore, through algorithmic modeling, Rhinos Grasshopper and Kangaroo, the exploration of minimal surface and relaxation in form can help producing complex geometry and patterns. Examples such as LAVA’s Green Void and Form Found Design’s MARS Pavilion both tries to expand new directions and possibilities within contemporary architecture context while developing the limits of using fabric formed concrete in future formworks.
Fig 3. S. Carlo alle Quattro Fontane
Fig 4. Parametric Design with use of geometry
Source from: [1] Michael Rubin, ‘Architecture and Geometry’, Structural Topology (revised in 1979) < http://www.iri.upc.edu/people/ros/StructuralTopology/ST1/st1-05-a2-ocr.pdf> [19 April 2018] [2] Robin Evans, The Projective Cast: Architecture and its Three Geometries (UK: MIT Press, 2000), p.31. [3] Farshid Moussavi, Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), p.8. [4] Loai M. Dabbour, ‘Geometric proportions: The underlying structure of design process for Islamic geometric patterns’, Frontiers of Architectural Research, 1, 4 (2012), 380-391. [5] Moussavi, Kubo, p.8-9. [6] Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2 (2013), 56-61, ( p.61). [7] Archinomy, ‘Geometry, Nature & Architecture’, Archinomy < http://www.archinomy.com/case-studies/1938/geometry-nature-architecture> [19 April 2018]
B.2 Case study 1.0 Green Void LAVA Sydney, Australia Date Completed: 2008 Green Void by LAVA was a project that fascinated me the most in terms of geometry. It integrated the traditional forms in structure with modern design innovations. Green Void is inspired by the shapes of plants and nature. [1] With the aid of digital modeling tools, a 3-Dimensional sculpture stretches freely between wall, ceiling and floor attaching by suspended steel cables and encloses inner spaces of the existing building. In this case, the lightweight material of sculpture is cut and fabricated by computer- numerical controlled machine (CNC) based on minimal surface relaxation. It is basically operated through the computers by giving control and command to cutting machines, in which produces customtailed items that are identical to the prototypes. [2] Compared to conventional machine tools, it only requires lower operation and labour cost without any material loss, and able to bent into different shapes and patterns with accurate angles.
Fig 1. Plan of Green Void
Dynamic relaxation of minimal surface is considered as a computational simulation method that creates geometries of various sizes and degrees of complexity. To achieve this, Grasshopper 3D and Kangaroo 3D are utilized as a digital form-generation mechanism in order to control the parameters for the overall height and flexibility of geometry. On the other hand, according to sustainability of the venue, LAVA explores new choice of material, which provides lightweight and fully reusable. Structurally, they used the two-way stretch fabric consists of Lycra fibers with extraordinary elasticity, in which affects the shape of design. The concept of design follows the natural force of gravity, contours and surface tension. By achieving optimal manufacturing efficiency relating to construction weight, fabrication and installation time and materials, the solid thus appears naturally soft and flexible. [3] The overall design of architectural sculpture demonstrates the technique of creating more with less and creates a unique visual experience for the visitors.
Fig 2. Section of Green Void
Fig 3. Fabrication of Green Void
Source from: [1] Rose Etherington, ‘ Green Void by LAVA’, dezeen (revised December 2008) < https://www.dezeen.com/2008/12/16/green-void-by-lava/> [19 April 2018] [2] Ethel Baraona Pohl, ‘Green Void/ LAVA’, ArchDaily (revised December 2008) < https://www.archdaily.com/10233/green-void-lava> [19 April 2018] [3] Arch2O.com, ‘The Green Void LAVA’, Arch2O.com < https://www.arch2o.com/the-green-void-lava/> [19 April 2018] Figures from: https://www.l-a-v-a.net/projects/green-void/
Fig 4. LAVA’s Green Void
iteration & Grasshopper Definition
Species 1 & 2: value of V direction in UV Mesh (Numerical and Radical) Specie 3: value of U direction in UV Mesh Specie 4: Second item (i.e. B) of multiplication in Length of Line Specie 5: Number of sides of polygon
iterations
iterations
Four successful outcomes Since our assigned groupwork is to build a Y-shape structural element, I am aiming to explore a Y-shaped component with three end points, including two on top and one in bottom. Several branches extrude and spread out from the centre. This shows the continuity of overall form and circulation flow.
This one is interesting as more end points are added to the original shape. This forms an organic form with different geometries, demonstrating limitness of parametric design. By adjusting the position of end points, it looks like connection nodes and coral under the sea.
It is created by changing the value of V direction in UV Mesh surface. The iteraction can be divided the surface UV domain in order to equal the spans of parameters, it helps connecting into a grid. Variation of materials can be used in this iteration, including flexible fabric and plaster. But it may require extra clamps to help supporting and holding the branches in place.
The polygons of different branches are transformed from circles to 6-sided polygon, also known as hexagon. The generation of shapes or sides of polygon are quite limited. A sequence from 3-sided (i.e.triangle) to sides approximates a circle.
B.3 Case study 2.0 MARS PAvilion Form Found Design Palm Springs, USA Date Completed: 2017 The project has employed the use of industrial robots in working with concrete and fabric together to build and generate impossible complex geometries. Compared to other conventional formwork, this has pushed the boundaries and provided new explorations in their design and fabrication process. By integrating with industrial robots, fabric formed concrete offers significant advantages for designers, architects and engineers, including reductions in the usage of materials and labour costs, ease of construction and aesthetic appeal. The design of MARS Pavilion mainly focuses on the Y-shaped “wishbone” geometry as its starting component. It is composed of around 70 unique concrete wishbones that build the catenary structure.The Grasshopper 3D plugin is used to communicate and connect to two industrial robotic arms. They are manipulated to send coordinates to position two ends of Lycra fabric sleeves, in which concrete is poured into it. The Rhino Viewport allows maximum degree of freedom of movement in casting.
Fig 1. Assembly diagram of connection of each wishbones
Each flexible fabric sleeve is uniquely sewn to the required widths and sizes. The fabric is securely fastened to stretch to an optimal position based on the geometry of the wishbone. This tensile action of fabric hereby reduces the risk of sagging while concrete is being poured. Digital design methods aid the entire construction method from digital fabrication to digital construction. Not only tools for simulation or modelling, they also act as a form-generation mechanism. To form a hexagonal grid, the set of perimeters are “anchored” in place to avoid displacement. Upward-acting uniform force acts as springs is used in Grasshopper3D and Kangaroo3D to lift structure upward. Factors of parameters for height and flexibility of cables may affect the whole result. The geometry is baked in the Rhinos viewport after parametrizing the compressive structure. Hence, this project inspires me on how robotic fabric formwork can be carried out while further development of both system and materials can be explored and adopted to various building applications, for example facades, furniture and other structural elements [1].
Fig 2. Robotic fabric formwork
Source from: [1] Joseph Sarafian, Ronald Culver, Trevor S. Lewis, Robotic Formwork in the MARS Pavilion Towards The Creation Of Programmable Matter, (Online: USA, 2017), pp. 522-533, https:// www.formfounddesign.com/palm-springs-pavilion, [accessed 19 April 2018] Figures from: https://www.formfounddesign.com/palm-springs-pavilion http://www.architectmagazine.com/project-gallery/mars-pavilion
Fig 3. MARS Pavilion
Reverse engineering
The main focus of this part is to recreate the same geometry of the original precedent project, MARS Pavilion. MARS Pavilion is used as reference precedent for us to work on. It aims to generate the form of Y shape with various sizes, directions and distribution. This is a challenge for me to create a grid array of Y shape pattern by using the panelling tools in Rhinos 3D. Firstly, a dome shape pavilion is created. Secondly, various sizes and thickness of Y-shapes were reliant on the input geometry.
iterations of Y shape
Specie 1: Node size and radius (thickness) of tubes
Node size: 15 Radius: 5
Node size: 18 Radius: 7
Node size: 29 Radius: 11
Node size: 39 Radius: 19
Specie 2: Node size, radius of tubes(thickness) and goal length of line
Node size: 16 Radius: 5 Goal Length: 2.119
Node size: 42 Radius: 8 Goal Length: -1.561
Node size: 28 Radius: 9 Goal Length: 1.892
Node size: 29 Radius: 17 Goal Length: 6.215
iterations of Y shape Specie 3: Different geometry
Node size: 11 Radius: 7 Knuckle: 17 Goal Length: 2.919
Node size: 13 Radius: 12 Knuckle: 37 Goal Length: 6.669
Number of sides: 4 Node size: 3 Radius: 7 Knuckle: 57 Goal Length: 6.336
Number of sides: 4 Node size: 6 Radius: 3 Knuckle: 57 Goal Length: -3.223
Grasshopper definition: Line
Curve
Explode
Remove Duplicate Lines
Thickness Node Size Knuckle Spacing Open
Basic geometry
Weaverbirdâ&#x20AC;&#x2122;s Mesh Edge
Sides Exoskeleton
Naked Vertices
Length (Line) Length Strength
Merge Bouncy Solver
Points Strength
Toggle (Reset)G
eometry
Anchor Points Show
Factor
Unit Z vector
Move
Mesh relaxation of Y shape
This is the mesh relaxation of a Y-shaped component, demonstrating on how base shape could be transformed and manipulated to produce new forms by using parameters of Grasshopper3D and Kangaroo3D. Further detailed of design guidance and function of this type of remarkable structure might need to provide for the future architectural components, such as building facades. With parametric and algorithmic design methods and the trend of robotic fabrication, this might provide new abilities for architects to investigate in the future techniques.
B.4 Technique: development Capabilities and Constraints: With evolving complex geometry in computational design and digital fabrication methods, a number of mould designs have been performed by using flexible textile formwork. Fabric formwork can be considered as the latest building technology that involves the application of structural membranes as the main facing material for concrete moulds. However, the materials used in fabric formwork must be highly flexible in order to deflect under the pressure of concrete. Also, it is largely dependent on the natural gravitational force and elasticity of fabric. On the other words, if the material of fabric is fully elastic, it will then give way to the concrete, which wonâ&#x20AC;&#x2122;t create shapes with a rigid mould. Digital tools such as Grasshopper and Kangaroo can be used to shape the desired elements and to make precise calculations on both stresses, load and force distribution in fabric and minimum pretensioning of formwork. The pretensioning action makes a reduction of deformation when casting concrete. The ways of cutting fabric patterns (i.e. by cutting or welding) are also the basis for the assembly of formwork preparation. After examining the previous case studies and precedents, MARS pavilion, this enables us to adopt and apply their design techniques and strategies into our prototypes while improving our design skills at the same time. Fabric formwork can create new possibilties for creating a variety of shapes (ie. Y shape) and structural elements, such as columns and beams as well as architecture in the future.
B.6 technique: prototypes
What is robotic Fabric Formwork? In the past century, casting with concrete is one of the methods that widely used in construction of architecture. The traditional rigid formwork has clearly revealed distinct disadvantages for casting complex forms and geometries from concrete: they are both labour and material intensive, unsustainable and inefficient for producing variable and organic geometries in building facades. [1] Today with the evolution and development of technology, parametric design is increasing the need for variation. The innovation of robotically controlled, flexible fabric formwork is introduced as a means of accurate, replicable and efficient production, which removes the limitations of conventional formwork and gradually replaces and satisfies the need for variation in realization of parametric design.
To fabricate a 3D geometrically complex concrete prototypes with remarkable variable and texture, recent design project, the Fabric Form project with its associated designers Ron Culver and Joseph Sarfian, give a new way to explore and establish an interesting concrete casting technique in Lycra fabric sleeves stretched by pair of six-axis robotic arms. [2] By involving robots, plywood and other material framework are no longer needed to hold the mould in place, destroyed and removed as waste after the concrete has cured. Also, it allows for organic variation of geometries, texture and natural unpredictability.
Fig 1 and 2. Fabric-cast concrete method with industrial robots Source from: [1] Joseph Sarafian, Ronald Culver, â&#x20AC;&#x2DC;Fabric-formed Robotic Facades: The robotic positioning of fabric formworkâ&#x20AC;&#x2122;, 2016 World Congress (Revised 2016) < http://www-bcf.usc.edu/~dnoble/2.pdf> [19 April 2018] [2] Dagmar Reinhardt, Rob Saunders, Jane Burry, Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016), p.114-120. Figures from: https://static.wixstatic.com/media/dda0f4_c75384fae68242eba76699315eee7d35.jpg/v1/fill/w_1178,h_762,al_c,q_90,usm_0.66_1.00_0.01/dda0f4_c75384fae68242eba76699315eee7d35.jpg http://www.architectmagazine.com/project-gallery/mars-pavilion
Fig 3. Finished prototypes of Y-shaped components
Preliminary sketches
Preliminary sketches are drawn for creating our robotic fabric formwork, Top diagram indicates how cement will be poured and filled into the Y shaped fabric sleeves. The load path is drawn by demonstrating there is additional gravitational force and pressure applied to the fabric formwork during casting. Top and bottom connections are mainly composed of: PVC pipe and hose clamps to affix robotic arms and top of the grid system.
Fig. from Yu Chia Lim
Slump test (Concrete vs cement)
Two sets of formwork with different materials, one with concrete and the other with cement, are applied to determine the workability and consistency of these materials in both slump and performance test experiments. They are made of four pieces of 30mm thick timber, which screwed tightly in order to hold concrete into shape. The base plate should be clean and smooth. To produce a high quality of concrete and cement mix, the amount of cement/concrete and proportion of mixing water should be precisely calculated. The strength and durability of concrete or cement is determined by the amount of water. Generally, using less water generates higher quality mix due to hydration. If too much water, the mix will not be cohesive, which may lead to material separation. Therefore for each mix design, the result of slump value obtained from slump test is recorded for further investigation and improvement. After curing for one day, the right one in lighter colour was cement finish. It possesses more advantages over concrete finish (left). Firstly, it enables rapid hardening, only mere one to two days to dry and complete during the curing process. Thus, it gains strength and durability faster than concrete finish, quick installations can be obtained. Concrete finish is prone to drying shrinkage cracking because it requires curing at least three to seven days to increase its strength, which we do not have enough time. Secondly, cement is easier to mix and blend than concrete. Since concrete is a mixture of paste, aggregates, such as sand and gravel stones and other ingredients, when particles bind together, the concrete mix becomes stiffer and harder to manipulate. In other words, the thicker the mixture is, the stronger the concrete. Lastly, cement provides a smoother, cleaner and tidier surface finish than concrete, which is ideal for us. Therefore, we decided to choose cement as our material for prototypes. Sample 1: Concrete (Left)
Sample 2: Cement (Right)
fabric selection ** Scale 1 (Least) to 5 (Most)
Four different materials of fabric samples are used to test different possibilities. The materials include one-way, two-way and four way stretch fabric, which are mainly comprised of nylon and polyester Lycra spandex content. For the two-way stretch fabric, it could only stretch from side to side; but four-way stretch one could stretch both horizontally and vertically. A data table is created to compare all the variables of stretchability or flexibility, durability and permeability across these types of fabric on a rating scale of 1 -5 with 5 being the most. Concrete mixture is applied to all fabric molds for further investigations. 1. Stretchability: we believe the most stretchability fabric is the two-way stretch mesh Lycra, which could able to stretch freely without breaking the fibers and back to the original length. It always reverts to its original form after stretching. However due to its stretchy characteristics, it could not hold the concrete in shape during casting. Therefore, when all concrete we poured in is sink to the bottom part it turned out as a ball shape as all concrete we poured in is sink to the bottom part. However, fabric with 30% Lycra and 70% polyester is non-stretchable, which provides the best performance. It helps maintain shape and support to concrete mixture. 2. Durability: Fabric (30% Lycra and 70% polyester) is the most durable. Since Lycra indicates an exceptional elasticity, offering a stronger and durable fiber to the fabric itself. 3. Permeability: two-way stretch mesh Lycra is the most permeability. Permeability in textile is known as air, water and water vapour allow penetrating and passing through it.. Since Lycra has the highest durability, which means it is water-resistant and no water would be absorbed. Therefore, excess water from the concrete mix is bleed through the molding fabric. In opposite, fabric (30% Lycra and 70% polyester) could be considered as the impermeable material. As polyester helps preventing moisture loss from the concrete mix and protecting against moisture transmission, which benefits the whole curing process. Lycra permits moisture to draw off through its fabric while maintaining the cement. Therefore, fewer air pockets would be entrapped into the cement.
01 Prototype
Fabric Form project as our reference formwork, we built a 550mm (L) x 550mm(W) x 550mm (H) wooden frame to hold the textile mould in tension. We decided to rotate the Y-shape into inverted “Y” with three controlled end points. A grid system of 10mm spacing allows for the variation of Y-shape iterations and also gives support to the top fabric limb while the other identical ones are held by movable timber arms. Top fabric limb is served as the axial centre of cement filling point A pair of timber sliders is connected to the frame, so that it could easily move along the vertical direction, also known as Z-axis. Fastening screws are inserted so as to adjust and control the tightness of sliders. For those ‘robotic’ arms, they are two pieces of timber gripped together and fixed by screws and buts manually. Connection between arms and sliders allows the alteration of movement in X and Y- direction. Two pieces of fabric is attached and sewed together except for three end points. By affixing both arms to two Y-shaped fabric limbs, PVC opening caps and hose clamps are secured to both ends, which then stretch to the maximum position with tensile strength. Once three fabric limbs are being affixed, fresh cement is then poured from the top filling point. A force of gravity is acted to pull the cement down to both ends of the shape until the whole Y-shape element is fully filled. We understand the air bubbles would occupy almost 5-8% volume of freshly placed cement. Hence during pouring, we tried to stretch and “vibrate” it with bare hands at the same time, so as to get rid of air bubbles inside and reduce/avoid cracking. One problem we found in our first prototype during the casting process is the hardening problem. Since cement is a quick hardening agent, hardening occurs in several minutes. After pouring all the mixture into the fabric, we found that we have insufficient materials and cement inside is starting to harden. It indicates some joints are cracked due to this reason.
02 Prototype After curing for a night, the cement becomes dried and hardened. A solid cement Y shape component is then produced. Due to economic and environmental considerations, we planned to cut away the stitches and peel off the fabric only, so that we could able to reuse the fabric for creating new prototypes in the future. This is the first successful prototype we have, with a smooth and clean surface finish. The reflections make the surface become more organic.
03 Prototype
After gaining experience from the previous prototypes, our second prototype is even more successful than before. For the second prototype, the procedure is still the same. The position of top fabric limb remains changed except for changing a different direction and position of the timber arms and fabric limbs. One of the limbs is lifted higher in position by a clamp-holding support. The result of second prototype is satisfied in producing two end points of Y facing inwards.
Limitation and improvement Limitation: - Since our component is a fixed Y shape with three separate branches, concrete could only be poured in inverted due to location of grid and arms under the gravitational force. - To consider the strength and workability of concrete as proposed material, it might not be workable enough to flow smoothly by filling up the fabric as there is not enough pressure to stretch to its limits. Normally, vacuum pumps are aided to push down concrete with adequate pressure. But we could only pour concrete into fabric manually. Some air bubbles may exist and present. Manual vibration is the only method we could use to get rid of air bubbles. - To consider the limitation of materiality in fabric: since different flexibilities of fabric produce different results. With a stretchier fabric,the risk of sagging increases; with a stiffer fabric, it could hold its shape but with less flexibility in terms of shape adjustment. Improvement: - Try to expand the design possibilities by developing more variations of the branches (more than four) instead of fixing Y shape - More organic curves can be casted into the Y -shaped component in order to negate the application of connection joint, which might weaken the structure itself. - The design incorporates with more lightweight additive materials.such as a mix of styrofoam balls as aggregate instead of the normal gravel stones that is used in regular concrete. EPScrete (Expanded Polystyrene Concrete), also known as lightweight concrete, could be experimented and applied in our further casting method.
B.6 Design Proposal
Under the comphrensive process of investigation and analysis of climate (sunlight, wind path), vegetations as well as vehicle and pedestrian circulations within the site context, i.e. New Student Precinct at Melbourne University, we take into consideration of our proposed site. We decided to choose a site where near to Sydney Myer Asia Centre and Frank Tate building.
Scale 1: 200 @A3
Aim of design proposal: Our aim is to improve studentsâ&#x20AC;&#x2122; experience and interactions through natural, cultural and social engagement. In addition, trees can be found on the existing site. Since our Y-shaped components express like the branches of nearby trees, it could be a new approach for us to study the angles of tree branches in order to create more iteractions of the Y- shape form. For natural engagement, our site will be integrated into the existing environment by adding fast-growing natural green vine to the walls and roof, to provide shading and privacy space to visitors and students. Also for social engagement, the bike shelter can potentially become a meeting point at university. The Y shape branches could expand out as seating areas and bag hooks for students to chill and relax after class. Free phone charging and drinking water fountains can also be provided.
Rendered by Daniel Hy
B.7 Learning outcome and objectives Throughout the learning process of Part B, I seek out new knowledge and begin to develop new skills in exploring computational techniques and algorithmic thinking. To further generate design ideas and concepts, this helps me to enlarge my way of thinking and understanding the role and function of geometry applied in both ancient temples and parametric design modelling. The case studies offer me a new good start in working with different parameters and components, so as to produce new results and iteractions. Yet, this is a new attempt for me to have better ability in form finding by using Grasshopper 3D and Kangaroo 3D. Through research in our chosen precedent, MARS Pavilion, I have perceived the intention of robotic fabric formwork,in which the latest concrete casting technique not only provides significant benefits in material use and visual asethetics for building facades, but also offers great opportunities for architects to shift towards a more sustainable construction. Under investigation in the iterations of case study, I started to control and manipulate different commands to achieve the successful outcomes. Moreover in the fabrication of our three prototypes, this allows me to gain experience not only designing in computational methods, but also working in physical reality environment together as a whole. All involving tests of materials i.e. cement and fabrics and the related experiments have highlighted how these could affect the overall performance and results of formwork. This has stimulated my own thinking method and pushed the boundaries of what is possbile in the design proposal. Furthermore approaching to the end of Part B, we as a group of four have to start thinking the connection joints of Y shape components and continue working on the next stage Part C.
Reference list Etherington, Rose, ‘ Green Void by LAVA’, dezeen (revised December 2008) < https://www.dezeen.com/2008/12/16/green-void-by-lava/> [19 April 2018] Baraona Pohl, Ethel, ‘Green Void/ LAVA’, ArchDaily (revised December 2008) < https://www.archdaily.com/10233/green-void-lava> [19 April 2018] Figures from https://www.l-a-v-a.net/projects/green-void/ Arch2O.com, ‘The Green Void LAVA’, Arch2O.com < https://www. arch2o.com/the-green-void-lava/> [19 April 2018] Sarafian, Joseph, Culver, Ronald, Lewis, Trevor S., Robotic Formwork in the MARS Pavilion Towards The Creation Of Programmable Matter, (Online: USA, 2017) <https://www.formfounddesign. com/palm-springs-pavilion> [accessed 19 April 2018] Sarafian, Joseph, Culver, Ronald, ‘Fabric-formed Robotic Facades: The robotic positioning of fabric formwork’, 2016 World Congress (Revised 2016) < http://www-bcf.usc.edu/~dnoble/2.pdf> [19 April 2018] Reinhardt, Dagmar, Saunders, Rob, Burry, Jane, Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016). Rubin, Michael, ‘Architecture and Geometry’, Structural Topology (revised in 1979) < http://www.iri.upc.edu/people/ros/StructuralTopology/ST1/st1-05-a2Evans, Robin, The Projective Cast: Architecture and its Three Geometries (UK: MIT Press, 2000). Moussavi, Farshid, Kubo, Michael, The Function of Ornament (Barcelona: Actar, 2006).
Dabbour, Loai M., ‘Geometric proportions: The underlying structure of design process for Islamic geometric patterns’, Frontiers of Architectural Research, 1, 4 (2012), 380-391. Peters, Brady, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2 (2013), 56-61. Archinomy, ‘Geometry, Nature & Architecture’, Archinomy < http:// www.archinomy.com/case-studies/1938/geometry-nature-architecture> [19 April 2018]