Wang zhuyun 755396 final journal - air studio by Wang Zhuyun

AIR 1

APBL30048 ARCHITECTURE DESIGN STUDIO AIR 2017 - STUDIO 10 Manuel Muehlbauer ZHUYUN WANG 755396 FIG.01

PART. C

Detailed Design

C.1. Design Concept

C.2. Tectonic Elements & Prototypes C.3. Final Detail Model

C.4. Learning Objects and Outcomes

Design Concept

There are several feedbacks given by the tutor and client based on Part B design. The first aspect is about site condition. As the slope is too deep and the soil condition is not too strong. The assembly of materials and construction process need careful consideration. Also, due to the design brief is a pavilion stage for one-night use, less impact on the soil, one the ground is more desirable. Therefore, it would be better to generate a light-weigh pavilion that is easy to assemble on the site and probably to have less contact areas with the ground.

Another aspect is that the complexity of the pavilion should be reduced. At the Part B, the function of the pavilion is considered to be multiple. However, to focus on one design brief and make a deeper analysis is great desirable. As the purpose of the pavilion is one-night stage for performance/ celebration. The form and geometry of the pavilion should address the performance in a greater way. To the more specific, what could be the inspiration of the form of the pavilion, that is related to both performance issue and biomimic strategy. Nevertheless, there are some aspects derive from Part B design that will be useful for the Part C design.

The first is the fluidity of the overall form (left-top image). As the design concept is based on the idea of “Air”, one of the most important aspect of air is that it is fluid and being ever changing in terms of the form. Therefore, a fluid surface growth is a response to the idea of “Air”. The second aspect I will take it further is the sun and shadow. As it can be seen from the left-bottom image, the shadow will change during the daytime as a response to the nature, and to the surrounding environment. Also, the design of patterning could be helpful to create an interesting atmosphere for performance. The last aspect is the glow material. To apply neon lighting to the surface of the structure could represent the pavilion’s form and geometry better during the nigh time. Also, the neon lighting could be incorporate with the performance as a background setting. In conclusion, from Part B, I realize that I will improve the design in terms of light-weight pavilion that suitable for the vulnerable site condition as well as the underlying reasoning for the form design. In addition, I should explore these concepts: fluid growth of the surface and form, shadow as well as neon lighting.

C. 1

General Concept Idea

The light-weight pavilion project is under the course of Studio Air, which expects us to explore the concept of air by using light-weight Furthermore, the pavilion will connect to the performance, and the art closely. We will explore how the concept of performance inspire our design. For the concept of air, we consider as the nature/natural element should have organic form and airflow itself should be fluid. In order to address the idea of light-weight structure, we consider to have the structure having as less contact with the ground as possible. The reason is also because that the pavilion is only for one-light performance, client would like to have as little impact on the local environment as possible. Then, sun and shadow should be a part of the important aspect we will explore. Also, the performance could be during the night, we need to consider the lighting performance as part of the design. Therefore, there are three general design concept that we all agree with. Firstly, organic form of the pavilion. The organic shape of the pavilion should somehow be influenced by a idea from biomimicry area, which will be discussed further. In addition, the organic form reflect the fluid form of air. Secondly, portable structure. On the one hand, it responds to the light-weight structure purpose. On the other hand, it meets the requirement proposed by the client: having little impact on the local environment and can be transport into and out of the site easily Lastly, glow materials would be used to offer lively light effect, and could part of the performance.

FIG.03

FIG.02

Site Analysis The site is located at 1/177 beavers road northcote, which is the BigBang Studio. The site for pavilion is pointed out by the ellipse, at the outside area of the studio, with a 45-degree slope. The pavilion is surrounded by jungles, and the location for the pavilion is flat and safe to build comparing to other locations. Also, we choose this location as the site is because people can stand on the outdoor deck area to watch the pavilion and performance taking place in the pavilion.

FIG.05

Art / Performance / Growth After bringing everyone’s individual design idea into Team No, we come up with the same design inspiration: the Growth. This idea is derived from the purpose of the pavilion. As it is a stage for performance, such as instrumental performance or dancing, we aim to address the internal feature of art. We see art as a form of growth. The beauty of art is its progress and evolution. Art is not about repetition nor duplication, rather it is about creation and finding balance through growth. A performance should have a basic starting point, and through the beginning, it starts to grow, to develop and to advance. Therefore, as to respond to the growth property of the art and performance, we would like to interpret the concept of “Growth” within the pavilion design. Also, my focus on the section of biomimicry, and in this journal, I will mainly study how biomimicry inspire the pavilion design. C. 2

C. 2

GROWTH IN BIOMIMICRY “Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies” 1. The aim is to create products, processes and rules - a brand new method of living - that are adapted to life on the planet over billions of years. As the nature is the best engineers, designers can make best use of it to solve many problems that has already solved by the nature.

To continue the exploration concept of “Growth” from area of art to the area of real world expression, we have looked at how “Growth” is expressed in the nature. Differential growth is main natural characteristics we specialise as the inspiration for the design.

Differential growth in plants is a phenomenon that occurs at all levels of organization. It is a feature of cells, the rule that organs construct themselves in a logical and efficient way. “Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours”. 2 Even more complex organic structures are grew from the basic principle of differential growth happening with subtle variations, creating forms of strong similarities of plants, corals, internal organs and micro-organisms. There are several underlying principles which affect differential growth: fall off; bend strength; anisotropy; direction; growth zones and scale.

C. 2

FACTORS OF DIFFERENTIAL GROWTH - FALL OFF The speed at which the growth signal dissipates from the growing zone C. 2

FACTORS OF DIFFERENTIAL GROWTH - BEND STRENGTH The surfaceâ&#x20AC;&#x2122;s resistance to bending, the less resistance, the greater growth intensity C. 2 FIG.07

Perpendicular to the edge

Isotropic

Parallel to the edge

FACTORS OF DIFFERENTIAL GROWTH - ANISOTROPY

FACTORS OF DIFFERENTIAL GROWTH - DIRECTION

The direction of growth

A directional force

C. 2

C. 2 FIG.08

FACTORS OF DIFFERENTIAL GROWTH - GROWTH ZONES

FACTORS OF DIFFERENTIAL GROWTH - SCALE

The spatial distribution of growth signal

Decreasing scale through the time

C. 2

C. 2 FIG.09

Walnuts

FIG.10

Celosta Cristata

FIG.11

Lettuce sea slug

FIG.12

Differential growth Plate-like coral

The various expression of differential growth could be seen in the nature in a great number of plants. For example, walnuts, celosta cristata, lettuce sea slug, and platelike coral. These plants are used as precedents for our pavilion design, as their surface growth is rational and efficient in terms of structural capacity and materials required.

FIG.13

B. C. 5 32

- Precedents

B. 32 C.

Computational Models There are 24 iterations (3 groups) that simulate the progress of differential growths. Each of them has different parameters and generates various outcomes.

B. 3

Prototype - type one

Prototype - type two

Prototype - type three 3D Printing Prototypes Three digital models are selected from digital models and amended for 3D printing to test the physical performance and the overall form. B. 3

From Biomimicry to Geometry After the exploration of the concept of â&#x20AC;&#x153;Growthâ&#x20AC;? in terms of biomimic differential growth, we start to proposal basic form of geometry. It is clear that how the principle of differential growth has inspired the geometry of the pavilion. From the digital geometry model, it can be seen its organic shape, and its differential surface growth (which the growth of surface is not identical but every side of the surface is differentiated)

C. 2

Exploration of Geometry A series of digital models of geometry is created, and we choose the most successful one. The reason is that it is realistic to construct and the most balanced in terms of the form. Also, the form is great in terms of function. It looks like a pavilion growing from the very central point and expand outward, which is a metaphor of stage as the centre of the space. Therefore, the most successful model is chosen to be further explored.

B. C. 42

B. 42 C.

Digital prototype for Geometry B. 4

Physical prototype for Geometry B. 4

Physical prototype for Geometry B. 5

Geometry Refinement From the organic-shape pavilion, we start to refine the form. There are two reasons to optimise and simplify the form. One the one hand, we would like to control the cost within the budget, On the other hand, we would like to refine it into the form that is possible to construct in reality. The outcome is a frame which outlines the overall form. Based on the frame structure, we need to consider how to actually build it. The most important element for this structure is the joint. Therefore, we developed a range of joints to test their performances.

Joint for the structure One of the most important element for this pavilion is the joint, the joint between each tubes. To make the structure physically constructable and stabilized, we have made a range of prototypes for the joint and manage to find the optimal solution.

Joint prototype #1 B. 5

Joint prototype #2 B. 5

FIG.16

Joint prototype #3 B. 6

Other joint prototype trials

Criteria for the joint - Joint prototype #3 After both digital and physical assessment of a range of joint prototypes, we decide to use this type of joint. The main reason to choose this joint is that as there are some articulation need to join up to six tubes together, All other prototypes fail because they do not have enough space to incorporate all six end of tubes together. However, this type of prototype is generated by calculating all aspects such as the length of tubes, composition of tubes, the number of tubes, to generate most efficient and structural efficient joint individually for each connection point. Therefore, it is the optimal solution we generate for the joint and it will facilitate our further development and construction.

B. 6

Final Detail Model At this section, I will document all detail aspects of the pavilion, including its patterning choices, joint detail, neon lighting, material choices, light and shadow effects. B. 6

FIG.17

FIG.14

FIG.18

FIG.15

FIG.16

Precedents for patterning On the left page, it is the SOFTlabâ&#x20AC;&#x2122;s colourful sculpture It shows how patterns are formed by each repeated element and are connected by membrane. It can be used as the reference to our frame structure as it is efficient and economical to apply fabric as the surface for a frame structure. C. 3

FIG.19

C. 3

The selected pattern

Patterning choice A range of patterns are generated to decide which pattern will best suit the structure (left side of the page). These patterns are various in terms of dense or loose patterns, straight or curve forms. Finally we decide to further develop the pattern at the right hand side, because is has the ease of construction and works with the frame structure quite well.

B. C. 63

C. 3

Trapezoid panel

Triangular panel

Optimisation of patterning From the pattern of trapezoid panel, we improve it into the triangular panel because the trapezoid panel is difficult to fabricate as it is hard to use trapezoid panel to cover the tube with appropriate angels. Therefore, to optimise it into triangular panel would be a solution for real construction.

Unrolled panel C. 3

C. 3

Materials choice

Acrylic fabric

FIG.20

Aluminium pipe

3D printing joint B. 6

Neon lighting

1:10 Prototype

B. 6

1:10 Prototype

Light and Shadow effects There could be two types of lighting effects. The first one is the neon lighting, which could be bonded into the surface of tubes and makes the whole structure glowing during the night. Another type of lighting could be spotlight illuminating to the structure. There is possibility to incorporate lighting effects with the performance itself. For example, the light could change corresponding to the rhythm of the performance, controlled by remote control device or automatically changed.

B. 6

Pavilion & Performance

The purpose of the pavilion is as the stage for a one-light performance. From the growth of art emotionally, we provide the growth of organisms as a corresponding concept physically. Also, in terms of the form of the pavilion, the pavilion looks like a coral plate or flower petal, growing from the centre to outward. The performance will be held at the centre of the pavilion, which is a metaphor of the “performance at centre of the world” or “performance from the origin”. From the central point, everything is growing, changing and evolving, the performance is changing every second while the form of the pavilion is differentially growing. On the other hand, audiences can watch the performance from four sides of the pavilion while actors and actresses are playing at the centre of the pavilion. In addition, as the pattern of the pavilion is partially void, thus audiences could also watch downward for performance at the outdoor deck area.

C. 3

Further considerations There are some issues relating to transportation of materials and construction. For example, the transport and assembly of the materials. The aluminium tubes and 3D-printing objects are purchased and prepared to be sent to the site. Then, according to the position of each element, we will install the whole structure together. Then, the fabric patterns could be applied to the surface. One of the advantages of the design is that the pavilion could be uninstalled totally and be transported to other places.

B. 6

In addition, the temporary pavilion could be transformed into a permanent structure by reinforcing the notes that are connecting to the ground.

Learning Objects and Outcomes

Through the study of part C, I have learned some important outcomes. Firstly, I have developed an ability to generate a variety of design possibilities for a given situation. In this case, our group has used tools of visual programming, algorithmic design and parametric modelling to generate a series of prototypes in the areas of boimimic prototypes, patterning, geometry and joint prototypes. By using this method, we have more capacity to select the most successful prototype out of all a range of prototypes.

Also, we have improved our threedimensional media, the rhino and grasshopper software. Especially for the joint of the structure, we extract existing definitions and apply them into our framing structure. During this process, we have learned how to combine different definitions together by understanding the underlying property of each component.

Also, one of the most important things we have learned is how to work with other group members. Each of us has different role in the project, and we do have sufficient and efficient communication that we can work on the same project at the same time. The crucial thing is that we have the same general design idea and we promise to work toward the same idea. In terms of criticism, I would say if would be better if we have a broader knowledge on the available materials. As the more knowledge we know about the materials, the greater possibility of prototypes we could generate and test their capacities.

In addition, by exploring the relationship between â&#x20AC;&#x153;architecture and airâ&#x20AC;?, we managed to derive inspiration from the concept of air and incorporate within the design proposal. For example, we explore the character of organic shape and managed to generate the organic shape of the pavilion.

B. 7

C. 3

References

Biomimicry Institute, ‘What is biomimicry’, Biomimicry Institute (revised 2017) <https://biomimicry.org/what-is-biomimicry/> [4 June 2017] 1

Andy Lomas, ‘Cellular Forms’, Andy Lomas <http://www. andylomas.com/cellularFormImages.html> [4 June 2017] 2

Images Figure 1 Ann Sunwoo, ed., ‘parametric shadow and light pattern’, Pinterest <https:// au.pinterest.com/pin/365495325980053398/> [4 June 2017]

Figure 12 Stan Bysshe’s, ‘Coral reafs’, Pinterest <https://au.pinterest. com/pin/144467100520927971/> [4 June 2017]

Figure 2 Moksha, ‘About Bigbang Studio’, Bigbang <http://bigbangstudio.com.au/about//> [4 June 2017]

Figure 13 Marine Shipment, ‘Open Brain Coral’, Dorrypets <http://www.dorrypets. co.za/index.php/2014-02-27-18-54-21/newsandupdates/10-marine/marineshipments/102-usashipment18sep2014-4> [4 June 2017]

Figure 3 Moksha Figure 4 Monica Malaski, ‘Dancing’, Pinterest <hhttps://au.pinterest. com/pin/507992032938756267/> [4 June 2017] Figure 5 Dreamstime. ‘Musical stave’, Dreamstime <https://www.dreamstime. com/stock-photos-musical-stave-image12561183> [4 June 2017]

Figure 6 Korali. ‘Calypso diving club’, Calypso <http://www.calypso.rs/korali> [4 June 2017] Figure 7 Floraform, ‘Designing with simulations’, Floraform <http://n-e-r-v-o-u-s.com/projects/ albums/floraform-videos/content/floraform-designing-with-simulations/> [4 June 2017] Figure 8 Floraform Figure 9 Floraform Figure 10 Herbasource, ‘ Gallery’, Herbasource <http://herbasource-bg.com/gallery/> [4 June 2017] Figure 11 Herbasource, ‘ Gallery’, Herbasource <http://herbasource-bg.com/gallery/> [4 June 2017] Figure 11 FrancisLM, ‘Amaranthaceae - Celosia Cristata’, Pinterest <https:// au.pinterest.com/pin/258323728595985691/> [4 June 2017]

Figure 14 Soft Lab, ‘San gennaro north gate’, Soft Lab <http://softlabnyc. com/portfolio/san-genarro-north-gate/> [4 June 2017] Figure 15 Soft Lab Figure 16 Soft Lab Figure 17 Kim Broadhead, ‘Oceans Plants’, Haiku Deck <https://www.haikudeck.com/ oceans-plants-uncategorized-presentation-iJAMROqn7X> [4 June 2017] Figure 18 Wikipedia, ‘Clavularia’, Wikipedia <https://de.wikipedia.org/wiki/Clavularia> [4 June 2017] Figure 19 Wendy Smith, ‘Colorful Sea Plants’, Pinterest <https://au.pinterest. com/pin/171347960799840676/> [4 June 2017] Figure 20 Jenking Hu, ‘Cool White Flexible LED Neon Rope Light’, hkenrich.en.made-inchina <http://hkenrich.en.made-in-china.com/product/VvKmWfMoAlck/ChinaCool-White-Flexible-LED-Neon-Rope-Light-80LEDs-M.html> [4 June 2017] Figure 21 Euna Kho, ed., ‘parametric design’, Pinterest <https://au.pinterest. com/pin/309341068140613573/> [4 June 2017]