Studio Air Part C Detail Design by Georgia Huang

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STUDIO AIR 2017, SEMESTER 1 Georgia (Xiaojin) Huang 834485 This is the first printable page in your book and will print on the right side. Tutor: Finnian Warnock

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TABLE OF CONTENTS PART A. CONCEPTUALISATION

PART B. CRITICAL DESIGN

PART C. DETAIL DESIGN

4 Introduction

54 B.1 research Field

8 Past Project

56 B.2 Case Study 1.0

12 A.1 Design Futuring

62 B.3 Case Study 2.0

98 C.2 Form Finding

64 B.4 Technique Development

114 C.3 Connection

78 B.5 Technique Prototype

127 C.4 Fabrication & Model

20 A.2 Design Computation 30 A.3 Composition/ Generation 38 A.4 Conclusion 40 A.5 Learning Outcomes 42 A.6 AppendixAlgorithmic sketches

84 B.6 Technique: Proposal 88 B.7 Learning Objectives and Outcome 89 B.8 AppendixAlgotithmic sketches

48 Referencing 90 Referencing

94 C.1 Site Analysis / Biomimicry

140 C.5 Possible Improvement

WELCOME

My name is Georgia; Iâ&#x20AC;&#x2122;m currently a second-year architecture student studying Bachelor of Design at the University of Melbourne.

I was born in a small city in China called Shantou. But I spend most of my life time in the city of Melbourne, which is something that I am quite grateful of. In my childhood, I wanted to become various kind of people, but as I become more aware of who I was, I chose architecture as a path that I would like to pursue. Initially, I acknowledged architecture as a form of art and a process in which that was very similar to building a lego house, however, I was wrong.

After a year of studying architecture, I realised I had a better understanding of the various forms of environment that surrounded me; I became curious to the stories behind the spaces and buildings I saw. Moreover, I became more appreciative of what I understood.

I also came to realise problems and issues that we human have concerns about is what catalyses the thought of change, hence, the commencement of design. As I become more confident in defining the architecture, I see it as a link between the past and the future and a field that will initiate better solution and create a better tomorrow.

CONCEPTUALISATION

FIG.1: DIGITAL DESIGN AND FABRICATION OF “THE WOVEN SKIN” XIAOJIN HUANG, THE WOVEN SKIN, 2017.

CONCEPTUALISATION

THE WOVEN SKIN PROJECT By Lester Wong, Thai Bui, Georgia (Xiaojin) Huang

The project focuses on the idea of creating a boundary around the body part that is most likely contacted by others. These areas consist of the shoulders and the back area of the body. A simple gesture of patting on the shoulder or back may seem rather friendly. However, not all individuals will feel comfortable about such contact. Hence with the help of the digital programming of Rhinosous, a disturbing looking surface is created. The surface is to be performed as the second skin that provides a feeling of comfort when others approach.

The material used for the project consists of black and white Optix cards and black cabling ties. The white accompanied by the black and the curvilinear surfaces created formed a dynamic effect. When an individual approach from the front, less of the structure is revealed and less of the white component; which was more visible, is hidden.

Before these materials were selected, numerous experiments were done to find the material that can be sturdy and flexible at the same time, and that could work with openings created between the optix cards.

CONCEPTUALISATION

FIGURE 2: BACK VIEWS OF “THE WOVEN SKIN” XIAOJIN HUANG, THE WOVEN SKIN, 2017.

CONCEPTUALISATION

A CONCEPTUALISATION

A.1 12

CONCEPTUALISATION

DESIGN FUTURING

CONCEPTUALISATION

FIGURE 3: PORTRAIT OF ANTINO GAUDI Antino Gaudi, 2017 <http://2.bp.blogspot. com/-SLOemnAhJx4/VNj-FrhQywI/ AAAAAAAAAeA/yeXiGKU1t0I/s1600/AntonioGaudi_JULUIS.jpg> [accessed 11 August 2017].

agrada Familia

Antino Gaudi The creations in architecture are never fixed and the definition of architecture refines itself as events proceed in history and as time passes.

models. He can develop parametric variations which assisted in defining the spatial qualities of the church. Gaudi’s technique in design allowed him to develop abstract forms which gave the new period a new possibility in defining structures. His physical models, and the parametric design process developed in 3D computing, are analogous [2].

Antino Gaudi is a Spanish architect, who is a practitioner for Catalan Modernism [1] . In most of his work, an individual style can be recognised. He can discover new techniques for treatment of materials as well as incorporate diverse design components from another field of design. He analysed aspects of nature and applied it to his practice. Manipulating the structure of a typical Roman Catholic Church with geometries that initiated from his plaster model.

He could remove himself from the typical Renaissance Basilica style of architecture and study the oriental art derived from other countries. The Oriental Art movement most strongly influenced his studies of oriental art. The most remarkable system Gaudi utilised was a system of angled hyperboloidal vaults and columns; this was used to remove the need for flying buttresses, rather than depending on the exterior elements for structural support, horizontal load that initially carried by the buttresses are transferred through the columns embedded in the interior.

Creations are an asset of the future if it shapes how people think and direct them to what is possible and useful. Gaudi was a parametric thinker although technology was not as advanced when he designed the church he able to express his parametric thinking through his

Gaudi was a major influence of many contemporary architects. Friedensreich Hundertwasser’s Plecnik features an organic form which incorporated the essence of trees and plants and series of organic lines which “avoided vertical lines and right angles [3].”

[1] “Antoni Gaudí - Sagrada Família”, Sagrada Família, 2017 <http://www.sagradafamilia.org/en/antoni-gaudi/> [accessed 10 August 2017]. [2] Rafael Gomez-Moriana, “Gaudí’S Hanging Chain Models: Parametric Design Avant La Lettre?”, Criticalista, 2017 <https://criticalista.com/2012/08/16/gaudishanging-chain-models-parametric-design-avant-la-lettre/> [accessed 10 August 2017]. [3] “Antoni Gaudí, Source Of Inspiration For The New Generations Of Architects | Casa Batlló”, Casa Batlló, 2017 <https://www.casabatllo.es/en/news/antonigaudi-inspiration-new-generations-architects/> [accessed 10 August 2017].

CONCEPTUALISATION

FIGURE 4: SAGRADA FAMILIA IN CONTRUCTION SAGRADA FAMILIA, 2017 <HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/ORIGINALS/E5/D8/ CD/E5D8CD67A82D8448EE3EBEAF92D48B4E.JPG> [ACCESSED 11 AUGUST 2017]. CONCEPTUALISATION

FIGURE 5: INTERNAL STRUCTURE OF THE SAGRDA FAMILIA A SYSTEM OF ANGLED HYPERBOLOIDAL VAULTS AND COLUMNS SAGRADA FAMILIA, 2017 <HTTPS://WWW.BUSINESSINSIDER.COM.AU/THE-SAGRADAFAMILIA-IS-ALMOST-DONE-2015-11?R=US&IR=T> [ACCESSED 11 AUGUST 2017]. 16

CONCEPTUALISATION

obius Project

Exploration Design in the current period revolves around resolving issues and creating new possibilities of healing the deteriorating world. Therefore, architecture as a form of design not only triggers the need of human inquiries but should also trigger issues of the globe. The Mobius project by Explorations portrays an idea where a cycle system takes place. A cycle process is often used to connect the start process and the end process and transform the outcome to be a new form of energy that can be re-utilised again.

“Relation between creation and destruction is not a problem when a resource is renewable, but a disaster when it’s not [4].” Tony Fry

To assist in a recycling process often large scale “mono-functional operations [5]” are built to perform such task. The project, however, seeks to design a form that assists in three primary cycles; food production, energy generation and water treatment. The innovative component of the Mobius Project is that it integrates and co-locates the three processes in the synergistic cycle [6] . Thus, this project developed existing ideas of the present into one form. The system is not yet built. However, it displays the type of architectural design thinking that is encouraged in the new century. As the meaning of architecture evolves, appearance and style are no longer prioritised first. “Increasing trivialised and reduce to appearance and style [7] ” is of most vital importance to present.

[4] Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp.1-22. [5] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63. [6] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63. [7] Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp.1-22.

CONCEPTUALISATION

FIGURE 6 : DIGITAL MODEL OF THE MOBIUS Exploration, Mobius, 2017 <http://www.exploration-architecture.com/

FIGURE 7 : DIGITAL RENDERING OF THE MOBIUS Exploration, Mobius, 2017 <http://www.exploration-architecture.com/

CONCEPTUALISATION

A.2 20

CONCEPTUALISATION

DESIGN COMPUTATION

CONCEPTUALISATION

and the relationships they interrelate more highly achievable.

The Guggenheim

Museum in Bilbao by Frank Gehry

Classic geometry found in the past was limited to the form they could create, for they were based on ideal numbers and proportion series that were discrete and could only be divided by using fractions [8] . Greg Lynn believed that using computation more calculations can be made, and more design approach can be taken. Computing in various fields can also be shared, as it is the new vocabulary that is prevailing in almost all design fields [9] . The Guggenheim Museum in Bilbao by Frank Gehry was created through a computational focused process, it was the first architecture that adopted the typological way of the design process. Gehry used a series of curvilinear surfaces to create an abstract and distinct form. Computing made this curvilinear form easily calculatable, which may involve decimal units that cannot be calculated through the use of fractions. The use of computation assisted in the form finding of the structure and made the geometries

Gehry stated that he uses computation for precision, constructability, for saving money and for making designs that seem radical and “usable in the current recession climate of the global economy [10]” Typological Architects cared for digital programs that are capable of deforming surfaces. They required software that can assist in their calculation. As curves are commonly defined through the use of calculus, Architecture is recasting itself and becoming a component of the experimental, investigational typological forms, partially a “generative, Kinematic sculpting of space [11] .” Through Gehry’s typological approach, he showcased a new technique that can be adopted by other designers and he reflected the concept that the use of digital architecture can formulate an interesting outcome and potentially generate more answers to problems. Digital architecture emerged from the digital solutions that were given possible in the digital age, designers and architects have discovered their expression of curvilinear forms that in many years time may enter the mainstream of architectural designs. The multiplicity of design approaches is a “non-monolithic movement” which exist

[8] TED Talk, Organic Algorithms In Architecture, 2017 <https://www.ted.com/talks/ greg_lynn_on_organic_design> [accessed 10 August 2017]. [9] TED Talk, Organic Algorithms In Architecture, 2017 <https://www.ted.com/talks/ greg_lynn_on_organic_design> [accessed 10 August 2017]. [10] Greg Lynn, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011). [11] Branko Kolarevic, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3. [12] Branko Kolarevic, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3.

CONCEPTUALISATION

FIGURE 8 : FRANK GEHRY’S INITIAL SKETCH OF THE GUGGNHEIM MUSEUM FRANK GEHRY’S SKETCHES, 2017 <HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/600X315/AA/A0/45/ AAA0452753CA5DD5741FC16A935AF8E6.JPG> [ACCESSED 11 AUGUST 2017].

FIGURE 9: DIGITAL MODEL OF THE MUSEUM Digital Computation, 2017 <http://www. hevelius.it/webzine/moduli/filemanager/file/903.jpg> [accessed 11 August 2017].

CONCEPTUALISATION

FIGURE 10: The Guggenheim Museum In Bilbao, 2017 <http://www. spiritualpilgrim.net/11_Western-Art/28_Modern-Architecture/Gehry_GuggenheimMuseum_Bilbao-1997_PLZ-185.jpg> [accessed 11 August 2017]. 24

CONCEPTUALISATION

Blobwall by Greg Lynn When Skidmore, Owings & Merrill and firms that first began using computer slowly realised that computer had changed the way they designed. The computer was not only drafting tool, but it has become a design medium. Although computers are no genesis in the medium of design, it has slowly transformed how materials can behave, thus, “creating a new language and form [13]. ” Computation is architecture, enables designers to generate abstract structures and assist in engineers how the structure may be built, or how it may perform. In the design of Greg Lynn’s Blobwall, a redefined brick structure was created. The

most basic material and building unit in architecture are bricks, it is structurally performed through stacking each unit on top of the other. Greg Lynn with the latest CNC technology customised the concept of a typical brick into a light weight, colourful, plastic, modular element, where modular elements of each individual unit are manipulated through this latest technology. The wall built by these modular component uses polymer, that is low in density, recyclable and impact resistant. The blob units are robotically cut to provide precision in the junction at which the units interlock. The units are a “tri-lobed hollow shape that is mass-produced through rotational moulding [14] .” It can create variously shaped walls as well as dome structures that form a curved surface. The CNC technology developed allowed Lynn to create a new building unit that can be accurately assembled, change how

[13] Greg Lynn, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011). [14] Blobwall-Greg Lynn Form (Greg Lynn, 2009) <http://onlinelibrary.wiley.com.ezp. lib.unimelb.edu.au/doi/10.1002/ad.861/full> [accessed 10 August 2017].

CONCEPTUALISATION

FIGURE 11 : PLAN AND ELEVATION DRAWING OF THE BLOBWALL Greg Lynn, Blobwall, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-image-09.jpg> [accessed 11 August 2017].

FIGURE 12: DIGITAL MODEL OF THE BLOB WALL Greg Lynn, Digital Model, 2017 <http://www.zigersnead.com/blog/wp-content/uploads/2008/09/ blobwall-page-09-image-0001.jpg> [accessed 11 August 2017]. CONCEPTUALISATION

FIGURE 13 : CLOSE UP OF THE BLOBWALL Greg Lynn, Blob Wall, 2017 <https://iaac.net/wp-content/uploads/2015/09/ gregLynn_blobwall_01.jpg> [accessed 11 August 2017].

CONCEPTUALISATION

A.3 30

CONCEPTUALISATION

COMPOSITION G ENERATION CONCEPTUALISATION

The Eden Project Nicholas Grimshaw Commonly computing in architecture is understood as the building of a form through technology. In many scenarios, computing has been a useful tool in helping to calculate the potential needs and potential disregard of a structure. It allows designers to see various possibilities structurally. As computing is introduced different options could be tested and further developed, one of the aspects is biomimicry. Biomimicry is applying the adaptations in natural organisms and merge them with human technology [15] .

CONCEPTUALISATION

The Eden Project was given a range of criteria, and this is due to the location of the site. The structure is to have no internal supporting structure, it is to be designed with an empty interior, and it needs to be light as possible and be able to accommodate the plant species within the structure. The structure is built of large planes of hexagonal glass, Nicholas Grimshaw derived natural geometry from looking at honey combs of bees and even the multifaceted eyes of a fly [16] . These natural components studied created a light weight, but also a durable form that could potentially span vast distances.

While composition focuses on the shapes and forms, its methods may seem radical, but it does not focus on heavy construction and the method of construction, which will catalyse the speed of the defuturing. With the use of hybrid material such as EFTE cushion, large spans can be created with stability and structural integrity and give a lighter structure that can secure the soil existing on the

[17] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63. [18] Grimshaw Architects, “The Eden Project: The Biomes – Projects – Grimshaw Architects”, Grimshaw. Global, 2017 <https://grimshaw.global/projects/theeden-project-the-biomes/> [accessed 10 August 2017].

FIGURE 14: Section Of The Eden Project, 2017 <https://grimshaw.global/ projects/the-eden-project-the-biomes/> [accessed 11 August 2017].

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture

[19] Xavier De Kestelier and Brady Peters, Computation Works (Hoboken, N.J: Wiley, 2013), pp. 9-17. CONCEPTUALISATION

FIGURE 15 : INSIDE THE BIOMES, 2017 <https://grimshaw.global/ projects/the-eden-project-the-biomes/> [accessed 11 August 2017].

CONCEPTUALISATION

FIGURE 16 : EFTE MATERIAL, 2017 <https://grimshaw.global/projects/the-eden-project-the-biomes/> [accessed 11 August 2017].

FIGURE 17 : Project Geodesic Domes, 2017 <https://upload.wikimedia.org/wikipedia/commons/f/ f2/Eden_Project_geodesic_domes_panorama.jpg> [accessed 11 August 2017].

CONCEPTUALISATION

Mineral

Accretion

Scaffold by Toby Burgees Commonly computing in architecture is understood as the building of a form through technology. In many scenarios, computing has been a useful tool in helping to calculate the potential needs and potential disregard of a structure. It allows the designer to see various possibilities structurally. As computing is introduced different options could be tested and further developed, one of the aspects is biomimicry. Biomimicry is applying the adaptations in natural organisms and merge them with human technology. In the Mineral Accretion Scaffold by Toby Burgees a growing structure was designed, it proposes to use the evaporation of seawater to build calcium carbonate around a bamboo framing structure [18] . Computing made the correlation of biology and technology possible; it enabled us to measure and predict the amount of calcium carbonate that can be evaporated from the seawater. Hence, making is visually possible to see the project in a few years time. Through such technological estimation of the picture of the structure and the behaviour of the structure can also be visualised.

The calcium carbonate is a hybrid system in which the material can be rehabilitated once it is broken or damaged. Through Burgee’s design, a chemical reaction that initiated in nature has been re-introduced in a hybrid system, where the “hybrid material” or “smart material [9] ” is used to produce a new and workable structure that may be considered for future needs. Burgees design also redefined that architecture is also a material practice and that the information extracted from nature can allow us to perceive how the physical landscape wants to function. Computing in architecture made it possible for people to use parametric and interrelate it with other aspects of design, thus providing more solution and possibilities for the future.

“The digital in Architecture has begun to enable a set of symbiotic relationships between the formulations of design processes and developing technologies. To accommodate these developments, a new and comprehensive domain of architectural theories is beginning to emerge in the intersection between science, technology, design and architectural culture [19]. “ --Rivka Oxman and Robert Oxman.

[18] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63 [19] Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-8.

CONCEPTUALISATION

FIGURE 18 : EVAPORATION OF SEAWATER BUILDING OF CALCIUM CARBONATE Toby Burgees, Mineral Accretion Scaffold, 2017 <http://Biomimicry in Architecture Micheal Pawlyn> [accessed 11 August 2017].

CONCEPTUALISATION

A.4 38

CONCEPTUALISATION

CONCLUSION Architectural design is to satisfy the actions and provide a spatial experience that allows individuals to perform as they desire. As our generation falls into the crises caused by our previous actions, more consideration should be focused on the ameliorating the environmental status. On an architectural perspective, the design should form a harmonious relationship with the natural landscape, putting sustainable solutions and development into place. This can commence through looking at the materiality of structures, providing new formulae that can reduce destructive environmental impact. Such action can be assisted using computation and analysing adaptation of nature. Adapting to nature can be comprehended as adapting to how the world prefers for us to live.

CONCEPTUALISATION

A.5 40

CONCEPTUALISATION

LEARNING OUTCOME At the very beginning of the course, I understood that technology in design as a form of designing tool rather than a design medium. I recognised that computing in design was to merely to assist in form finding and a tool that can catalyse the design building process. Through reading numerous texts, I understood that computation can help in measuring possibilities and that it can be acknowledged as a design medium and new language of my generation.

CONCEPTUALISATION

A.6 42

CONCEPTUALISATION

APPENDIX ALGORITHMIC SKETCHES

CONCEPTUALISATION

Week eek 1

CONCEPTUALISATION

Week eek 2

CONCEPTUALISATION

Week eek 3

CONCEPTUALISATION

External xternal

CONCEPTUALISATION

Rreadings eferences Ali, A, and C. A Brebbia, Digital Architecture And Construction (Southampton: WIT, 2006) “Antoni Gaudí - Sagrada Família”, Sagrada Família, 2017 <http://www. sagradafamilia.org/en/antoni-gaudi/> [accessed 10 August 2017] “Antoni Gaudí, Source Of Inspiration For The New Generations Of Architects | Casa Batlló”, Casa Batlló, 2017 <https://www.casabatllo.es/en/news/antonigaudi-inspiration-new-generations-architects/> [accessed 10 August 2017] Architects, Grimshaw, “The Eden Project: The Biomes – Projects – Grimshaw Architects”, Grimshaw.Global, 2017 <https://grimshaw.global/ projects/the-eden-project-the-biomes/> [accessed 10 August 2017] Blobwall-Greg Lynn Form (Greg Lynn, 2009) <http://onlinelibrary.wiley.com. ezp.lib.unimelb.edu.au/doi/10.1002/ad.861/full> [accessed 10 August 2017] De Kestelier, Xavier, and Brady Peters, Computation Works (Hoboken, N.J: Wiley, 2013), pp. 9-17 Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) Gomez-Moriana, Rafael, “Gaudí’S Hanging Chain Models: Parametric Design Avant La Lettre?”, Criticalista, 2017 <https://criticalista.com/2012/08/16/gaudis-hangingchain-models-parametric-design-avant-la-lettre/> [accessed 10 August 2017] Kolarevic, Branko, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3 Lynn, Greg, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-8

CONCEPTUALISATION

Images Antino Gaudi, 2017 <http://2.bp.blogspot.com/-SLOemnAhJx4/ VNj-FrhQywI/AAAAAAAAAeA/yeXiGKU1t0I/s1600/AntonioGaudi_JULUIS.jpg> [accessed 11 August 2017] Burgees, Toby, Mineral Accretion Scaffold, 2017 <http://Biomimicry in Architecture Micheal Pawlyn> [accessed 11 August 2017] Digital Computation, 2017 <http://www.hevelius.it/webzine/moduli/ filemanager/file/903.jpg> [accessed 11 August 2017] Exploration, Mobius, 2017 <http://www.exploration-architecture. com/projects/the-mobius-project> [accessed 11 August 2017] Frank Gehryâ&#x20AC;&#x2122;s Sketches, 2017 <https://s-media-cache-ak0.pinimg.com/600x315/ aa/a0/45/aaa0452753ca5dd5741fc16a935af8e6.jpg> [accessed 11 August 2017] Huang, Xiaojin, The Woven Skin, 2017 Lynn, Greg, Blob Wall, 2017 <https://iaac.net/wp-content/uploads/2015/09/ gregLynn_blobwall_01.jpg> [accessed 11 August 2017] Lynn, Greg, Blobwall, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-image-09.jpg> [accessed 11 August 2017] Lynn, Greg, Digital Model, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-page-09-image-0001.jpg> [accessed 11 August 2017] Project Geodesic Domes, 2017 <https://upload.wikimedia. org/wikipedia/commons/f/f2/Eden_Project_geodesic_ domes_panorama.jpg> [accessed 11 August 2017] Sagrada Familia, 2017 <https://s-media-cache-ak0.pinimg.com/originals/e5/d8/ cd/e5d8cd67a82d8448ee3ebeaf92d48b4e.jpg> [accessed 11 August 2017] Sagrada Familia, 2017 <https://www.businessinsider.com.au/the-sagradafamilia-is-almost-done-2015-11?r=US&IR=T> [accessed 11 August 2017] Section Of The Eden Project, 2017 <https://grimshaw.global/projects/ the-eden-project-the-biomes/> [accessed 11 August 2017] The Guggenheim Museum In Bilbao, 2017 <http://www.spiritualpilgrim. net/11_Western-Art/28_Modern-Architecture/Gehry_GuggenheimMuseum_Bilbao-1997_PLZ-185.jpg> [accessed 11 August 2017]

CONCEPTUALISATION

CRITERIA DESIGN

BA CRITICAL DESIGN

CRITERIA DESIGN

B.1

RESEARCH FIELD

CASE STUDY 1.0

B.2

CRITERIA DESIGN

FIGURE 19 : THE MORNING LINE DIGITAL RENDER, https://c1.staticflickr.com/4/3441/3183000696_0a0a33d8bc_b.jpg 54

CRITERIA DESIGN

BIOMIMCRY THE MORNING LINE ARANDA / LASCH ARCHITECTS Sevilla, Spain, London, UK 2006-2008

A public structure in the form of art, the morning line by architects Benjamin Aranda and Chris Lasch as well Mattew Richie, took the approach of crystallography and patterns that are fractal and discovered in nature, to create a complex parametric form.

The structure is made to be proactive, where it is 8 metres in height. The methodology of the design was attended to “frustrate [people’s] perception” inserting the idea of “what a thing should be like.”

With the assistance of computation, the team was capable of transferring an individual tetrahedron into various kinds of truncations and alteration.

The Morning line project exemplifies a design approach where the system overrides the final form and principles.

FIGURE 20 : THE MORNING LINE DIGITAL LINE DRAWING, https://assets.paddle8.com/998/654/38195/38195-1410215008-_NEW7778.jpg CRITERIA DESIGN

B.2 ITERATIONS

WbFrame + Wb Thicken Distances: 1

Distances: 0.5

WbFrame + Wb Thicken + wbsierpinkski

Distances: 0.4

Level : 1

WbStellate + wbSplitPolygons

Polygon Segment : 3

Polygon Segment : 4

Distances: 0.4

Distances: 1

Level : 1

WbFrame + Wb Thicken + wbsierpinkski

WbFrame + Wb Thicken

WbFrame + Wb Thicken + wbsierpinkski

Cluster: 0.4

Cluster: 0.5

Polygon Segment : 5

Distances: 0.4

Level : 1

CRITERIA DESIGN

WbFra

WbSte

ame + Wb Thicken

WbFrame + Wb Thicken

Distances: 0.3

WbFrame + Wb Thicken

Distances: 0.2

Distances: 0.1 1.4

WbFrame + Wb Thicken + wbsierpinkski

Distances: 0.4

Level : 1

Frame + Wb Thicken + wbsierpinkski

2.3

ellate + wbSplitPolygons

olygon Segment : 5 Distances: 1 Level : 1

WbStellate + wbSplitPolygons

Polygon Segment : 5

Polygon Segment : 4

Distances: 2

Distances: 4

Level : 0.1

Level : 0.2

3.3

WbFrame + Wb Thicken + wbsierpinkski Cluster: 0.6

Polygon Segment : 5 Distances: 0.4 Level : 1

WbFrame + Wb Thicken + wbsierpinkski

WbFrame + Wb Thicken + wbsierpinkski Cluster: 0.7

Cluster: 0.9

Polygon Segment : 5

Distances: 0.4

Level : 1

Level : 1 4.4 CRITERIA DESIGN

B.2 ITERATIONS S

ELECTION

1.4 The first selected iterations is an example of how edges can be thicked to create the geometry. The thickness of these are not of one size but varies depending on how the initial geometry was defined.

2.3 This iteration can be considered as a developed version of 1.4. It is mainly formed by small triangular panels that have been added to the edge thickness of geometry. It gives an effect of a diamond that is reflecting off a light beam. It was interesting to see the capability of connecting small and varied sized triangles to form one geometry.

CRITERIA DESIGN

3.3 Deriving from a hexagon, this iteration is offering additional edges and corners which makes it hard to determine the initial shape of the object before transformation. Compared with the previous iteration it has more surface area, and the corners and edges are not always connected which makes it more organic and less artificial.

4.4

In this iteration, the initial five-sided geometry is hidden by the pattern that has been applied. The form generated has less defined edges when compared to 3.3. Hence, the shape looks more crafted than organic.

CRITERIA DESIGN

B.3

CASE STUDY 2.0

REVERSE ENGINEERING

B.4

CRITERIA DESIGN

FIGURE 21 : LIN PAVILION, 62

http://thesuperslice.com/wp-content/uploads/2011/08/tvm_f-lauginie_024_s.jpg CRITERIA DESIGN

LIN PAVILION Lin Pavilion prototype by Marc Fornes (The Very Many) The perforated aluminium prototype resembles giant pieces of white coral. This prototype was generated using forms of tubes and doughnut shapes; it used a total of 26 components. The structure stands four meters high and can be taken apart and relocated and assembled in different locations.

The structure was generated through the use of computation. It comprises “lattice domes and bulging plaster-filled lycra with stitched patterns [21] .” The prototype reflects a series of architectural experiments, through computational protocols, where parameters are targeted at finding the form which uses a surface relaxation (Mesh relaxation).

The pavilion was aimed to challenge the issue of morphology, as the formalisation of “tri-partite relational model [22]” can not be made and can not be described through nurb surfaces. To resolve such issue the use of split and recombination of the morphological model is introduced. An example of this would be how 2 becomes 1.

The pavilion is unique as it has a different approach to morphology, and with different properties presented it resulted in need of different kinds of agent behaviours, which generates the form of the structure, hence, creating

FIGURE 22 : LIN PAVILION, http://www.archdaily.com/152723/nonlinlinpavilion-marc-fornes/0001if-2

the radically diverse looking morphologies.

[21] Amy Frearson, “Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many”, Dezeen, 2017 <https://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornesthe-very-many/> [accessed 13 September 2017]. [22] Amy Frearson, “Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many”, Dezeen, 2017 <https://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornesthe-very-many/> [accessed 13 September 2017].

CRITERIA DESIGN

B4. REVERSE ENGINEERING

STEP 1 : Box Mesh

STEP 2 : Weld Box Meshed together

STEP 3 : Mesh Relaxation (using Kangaroo plug-in)

STEP 5 : Applying Pattern

STEP 4 : Moving Edge points

CRITERIA DESIGN

1. PATTERN

2. FO

CRITERIA DESIGN

PATTERN DEVELOPING

wbSplitQuads Level: 3 wbBevelVertices Distance: 36

wbSpierpinkski Level: 1

wbSplitQuads Level: 1 wbBevelVertices Distance: 36

wbSpierpinkski Level: 3

wbSplitQ

wbBevelVert

wbsplit w

wbSplitPolygon Level: 2 wbwindow: 40

CRITERIA DESIGN

wbSplitPolygon Level: 2 wbwindow: 60

wbsplitPo

wbwi

Quads Level: 2

tices Distance: 36

tPolygon Level : 1 bwindow: 5

olygon Level : 2

indow: 80

wbSplitQuads Level: 2

wbSplitQuads Level: 3

wbBevelVertices Distance: 24

wbsplitPolygon Level : 2

wbsplitPolygon Level : 2 wbwindow: 20

wbwindow: 5

wbsplitPolygon Level : 2

wbsplitPolygon Level : 1

wbwindow: 100

UTILISING WEAVER BIRD COMPONENTS TO TRANSFORM MESH RELAXED FORM It was interesting to see the number of patterns that can be generated by using these few components. When selecting the desired iterations, the dynamic of the form was considered. The idea of growth and continuity of the structure was searched, for the idea of mimicking life and biology within the structure was explored when Marc Fornes looked at the forms and patterns of corals. CRITERIA DESIGN

wbsplitPolygon Level : 10 wbFrame Distance: 100

wbsplitPolygon Level : 10 wbFrame Distance: 10

wbsplitPolygon Level : 10

wbFrame Distance: 80

wbFrame Distance: 100

wbsp

wbsplit

wbFra

wbThic

Mesh > DeMesh > Points > Prox

Prox Group=0 MinRadius= 1 MaxRadius=6

Prox Group=2 MinRadius= 3 MaxRadius=6

CRITERIA DESIGN

Mes

Prox Grou

plitPolygon Level : 10

bFrame Distance: 20

Polygon Level : 10

wbsplitPolygon Level : 10

wbFrame Distance: 40

wbFrame Distance: 55

wbsplitPolygon Level : 10

ame Distance: 15

wbFrame Distance: 25

cken Distance: 0.1

wbThicken Distance: 0.1

wbThicken Distance: 0.5

sh > DeMesh > Points > Prox

up=3 MinRadius= 4 MaxRadius=6

Mesh > DeMesh > Points > Prox

Prox Group=5 MinRadius= 3 MaxRadius=6

Prox Group=6 MinRadius= 1 MaxRadius=6

UTILISING WEAVER BIRD COMPONENTS TO TRANSFORM MESH RELAXED FORM Apart from the use of weaverbird components. Components that assists in transforming mesh surfaces into points is also utilised, this is done so that lines can be connected using points. The concept of discontinuity was explored as it provided the opposite idea of growth and still resembles life through its articulation of decay.

CRITERIA DESIGN

Mesh > DeMesh > Points > Prox

Mesh > Pmesh

Prox Group=10 MinRadius= 0 MaxRadius=8

Radius= 0.1

Mesh > wbStellate>wbSierpinski Distance = 1.0 Level = 3

Intial form Using square related anchor points

Using circle related anchor points Changing points in one location to circles instead of squares

BEGINING OF FORM FINDING

Mesh > wbStellate>wbSierpinski Distance = 0.1 Level = 3

CRITERIA DESIGN

Mesh > Pmesh Radius= 0.2

Mesh > wbStellate>wbSierpinski Distance = 0.2

CRITERIA CR CRIT CRI C RIT RIT I ERI ERRII DESIGN ER ERIA DES D ESSIIGN GN G N

7711

FORM DEVELOPING NORTH

TOP NORTH

TOP WEST

WEST

TOP SOUTH

EAST

SOUTH

EAST

WEST

NORTH

SOUTH POINT ORIENTED INITIAL FORM AFTER MESH RELAXATION

DISCONNECT POINTS THAT WERE CONNECTED TO ANCHOR POINTS

CRITERIA DESIGN

East Point U=5 V=5 W=5

POINT ORIENTED East Point U=5 V=5 W=5 POINT ORIENTED East Point U=5 V=5 W=5 POINT ORIENTED

North Point U=5 V=5 W=5

East Point U=5 V=5 W=5

West Point U=-5 V=-5 W=-5

North Point U=5 V=5 W=5

South Point U=-5 V=-5 W=-5

North Point U=5 V=5 W=5 West Point U=-5 V=-5 W=-5 South Point U=-5 V=-5 W=-5 Top North Point U=5 V=5 W=5 Top West Point U=-5 V=-5 W=-5 Top South Point U=-5 V=-5 W=-5

DISCONNECTING COMPONETS TO GENERATE NEW FORMS As anchor points disconnect from the initial points provided to the kangaroo component spring, a new form can be identified. After the process of orientating points of different direction, these points were then disconnected from the spring component, resulting in a form that is more organic and robust compare with the initial relaxed mesh.

CRITERIA DESIGN

POINT ORIENTED East Point U=9 V=8 W=8 North Point U=10 V=8 W=1 West Point U=-10 V=10 W=10 South Point U=-7 V=-10 W=10 Top North Point U=10 V=4 W=10 Top West Point U=0 V=10 W=10 Top South Point U=6 V=-10 W=9

DISCONNECT POINTS THAT WERE CONNECTED TO ANCHOR POINTS

DISCONNECTING COMPONETS TO GENERATE NEW FORMS The selected form is generated through all the form explorations that have been discovered in this exercise. In this transformation, taking a step back by disconnecting the points component with the spring, a new species can be identified.

POINT DETACHED FROM ANCHOR POINT

CRITERIA DESIGN

SELECTED PATTERN APPLIED ON DEVELOPED FORM.

Mesh > DeMesh > Points > Prox

Group: 6

Group: 9

Group: 20

Min radius: 1

Max Radius : 6

Max Radius : 10

wbSplitPolygons : 1

wbSplitPolygons : 0

wbWindow: 70

wbWindow: 92

wbWindow: 100

wbSplitQuads Level: 3

wbSplitQuads Level: 1

wbBevelVertices Distance: 24

wbBevelVertices Distance: 20

wbSplitQuads Level: 1 wbBevelVertices Distance: 10

APPLYING SELECTED PATTERN ON NEW FORM The different effects generated by the selected patterns were applied on the developed form. The purpose of this was to determine if the same effect can be achieved through a new form and whether the change of form can influence the outcome of the different patterns. CRITERIA DESIGN

CRITERIA DESIGN

B.5

TECHNIQUE PROTOTYPE

TECHNIQUE PROPOSAL

B.6

CRITERIA DESIGN

B.5 TECHNIQUE PROTOTYPE

PROTOTYPE 1 : BIOMIMCRY In the prototype, it was clear that the two systems can be easily distinguished. The group considered this as a downside of the design, as the systems do not function as a whole but rather obtaining their original definition. The team wishes to identify a method that will allow the two systems to operate together. FIGURE 23 : PROTOTYPE 1 VORONOI PATTERNED FACADE 78

CRITERIA DESIGN

A simple 2D pattern was created using grasshopper Voronoi. The group attempted to create various patterns and forms of this 2D Voronoi. The change was only visible on a flat surface which brings the design quite simply. The decision of applying the 2D Voronoi structure on its own, limited possibilities of combining the sectioning profile with the biomimicry component. Exploring different forms within one system was important. However, as the task required the group to connect two systems, in the future explorations, the group should focus on different methods and strategies to explore the various possibilities.

BIOMIMCRY EXPLORATION ON PROTOTYPE

Inspired by leaf veins and by the precedent Airspace Tokyo. Various versions of the 2D Voronoi pattern was created through using various components that assisted with meshes. The main components used to generate the different iterations were provided by the Weaverbird plug-in. Most of these components were explored before this task, therefore, applied in the making of this prototype.

In previous sections of this journal, the use of mesh relaxation was explored. As mesh relaxation was focused quite prominently, the technique was not applied in this prototype making stage. It would be interesting for the group to explore the correlation between the two systems further and also look at what has been explored in the learning process to test out the many possible solutions.

CRITERIA DESIGN

PROTOTYPE 1 : SECTIONING The sectioning side of the prototype was inspired by a glen with a flowing river. The glen was taken for inspiration as the group attempt to generate an organic form.

FIGURE 24 : PROTOTYPE 1 VORONOI PATTERNED FACADE

CRITERIA DESIGN

SECTIONING PROFILE ON PROTOTYPE

ITERATION 1

ITERATION 2

Different sectioning profiles were created in both horizontal and vertical direction. In this process, the brep that was defined at the beginning of the process is crucial as it will determine the overall form specified by the sectioning cuts. Initially, the idea of an interlocking brep was explored by the other group member. Once again, the ideas explored in the personal learning tasks was not addressed in this prototype making stage. Instead, the sectioning profile included in this prototype is just applied across a 2D surface. The idea of an interlocking brep can be considered and explored with the biomimicry explorations found in Part B. ITERATION 3

CRITERIA DESIGN

FIGURE 25 : PROTOTYPE 2 SECTIONING VORONOIS

CRITERIA DESIGN

3 SIDED SECTION PEICE

4 SIDED SECTION PEICE

5 SIDED SECTION PEICE

FIGURE 26 : PROTOTYPE 2 SECTIONING PIECES

In the second prototype, 3 section pieces were selected from a 2D Voronoi surface and were later laser cut and assembled. This prototype was a good exercise to explore the forms that can be achieved using these section pieces. It was interesting to see how the different systems performed when assembling the same pieces. Initially, the group considered this design as an approach to combine the two systems. However, the team was unable to digitally produce the form that was generated by the 3 section pieces. Hence, the digital process of utilising grasshopper was disregarded.

Future improvements may involve how the system can be generated using grasshopper, and how it aims to respond to the brief. Considerations for an acoustic pod may require numerous types of material testing and how an acoustic barrier can be integrated into the structure. Overall, the prototypes developed will require a better understanding of both the systems, and it is also crucial to develop a solution to target the given brief, which was to create an acoustic pod for office use. In future developments, the group will also need to consider the user and the environment that the acoustic pod will be located in.

CRITERIA DESIGN

B.5 TECHNIQUE PROPOSAL

As stated by the brief an acoustic pod placed in the setting of an office is required. The group design proposal will focus on the functionality of the form within the space, the flexibility of the form (how the form can be adapted to different circumstances) and simplicity in the process of the construction. The function of the acoustic pod is defined as a comfortable space that allows users to be surrounded by an acoustic boundary that provides a minimal distraction period when required. The material selection is crucial when sound absorption is considered within the space. To achieve effects of minimal sound, material selection of soft timber and insulating foam will be considered, unless a new type of material is found. The user of the acoustic pod should be able to adjust the pod to their desired use. The design approach for this could be a dynamic system that adapts to the requirement of the different types of situations in the office. The idea of a multi-functional space, where space can be open when required and closed when privacy is needed. The team will need to discover a way to allow this flexibility to occur while incorporating the two systems of sectioning and biomimicry. The acoustic pod should be fairly easy to assemble, it should provide convenience when users are installing it in the office, and it should be safe when it is installed as well, this means that occupants of the space can easily assemble it without the need of a professional. Another component that is also of vital importance is the aesthetic of the acoustic pod. The exterior and interior of the space should be inviting and pleasing to the eye to attract workers in the office to utilise it.

CRITERIA DESIGN

B.7

LEARINIG OUTCOME

APPENDIX ALGORITHMIC SKETCH

B.8

CRITERIA DESIGN

B.7 LEARNING OUTCOME

During the first learning objective, the use of digital computation (grasshopper) was still a challenge. In B1 and B2 I learnt how it was possible to use various components to generate a pattern on geometry. Later this knowledge was carried into B4 where the process of reverse engineering was required. In B4 I was capable of identifying the different properties that were associated with the Non-Lin/ Lin Pavilion, I categorised them in two separate parts. One was the pattern that was applied on the surface, and the other was the coral formation of the structure. Utilising the knowledge that I collected in B2, I was capable of generating numerous patterns on a relaxed mesh surface. As I was searching for a pattern that could visually reflect the idea of growth and decay, it became a challenge to create patterns that obtained these properties. I was also curious to the possibilities of developing the form of the structure, so utilising â&#x20AC;&#x153;point orientedâ&#x20AC;? component in grasshopper I was able to manipulate the positioning of these points to control and change the structure of my relaxed mesh surface. In the process of prototype making, my partner and I had our sytem that we were responsible for. The decisions and considerations made during the prototype making stages will need to thoroughly discussed in the future to build a stronger project that meets the requirements of the brief. A number of algorithmic sketches were also developed at the same time with the learning outcomes, this was done to measure the possibilities of certain components within grasshopper. The precedence such as Airspace Tokyo and Spanish Pavilion was also taken into consideration when developing a few sketches.

CRITERIA DESIGN

B.8 APPENDIX - ALGORITHMIC SKETCH

SOUTH AUSTRALIAN HEALTH AND RESEARCH INSTITUTE

FACADE OF AIRSPACE TOKYO

GRASSHOPPER TREE

VORONOI ON CURVED SURFACE

THE MORNING LINE : ADDING GEOMETRIES TOGETHER

CRITERIA DESIGN

Reading Frearson, Amy, “Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many”, Dezeen, 2017 <https://www. dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 13 September 2017]

Images The Morning Line Digital Rendered, 2017 <https://c1.staticflickr. com/4/3441/3183000696_0a0a33d8bc_b.jpg> [accessed 16 September 2017] Drawing Of The Morning Line, 2017 <https://assets.paddle8.com/998/654/38195/381951410215008-_NEW7778.jpg> [accessed 16 September 2017] Fornes, Marc, Lin Pavilion Assembly Drawing, 2017 <http://www.archdaily.com/152723/ nonlinlin-pavilion-marc-fornes/0001if-2> [accessed 5 September 2017] archidaily, Non-Lin Lin Pavilion, 2017 <http://www.archdaily.com/152723/nonlinlinpavilion-marc-fornes/0001if-2> [accessed 15 September 2017] Fornes, MArc, Lin Pavilion, 2017 <http://thesuperslice.com/wp-content/ uploads/2011/08/tvm_f-lauginie_024_s.jpg> [accessed 14 September 2017]

CRITERIA DESIGN

CONCEPTUALISATION

C.1

SITE ANALYSIS BIOMIMICRY

CONCEPTUALISATION 93

PROJECT PROPOSAL

FLOOR PLAN

SECTION A

SITE The area that is provided is located in an office space. Its purpose is of providing a working area for employees within the office. The available space for the placement of the acoustic pod is shown (TOP). As highlighted in yellow the space available is of a L shape. The targeted space will influence the process of developing the form. The possible routes of the circulation is presented, to show what the existing pattern within the office.

PROJECT PROPOSAL

RELATING TO BIOMICRY Is a species of Lizard that can only be found in Northern Australia and Southern New Guinea. It is the only member of the genus Chlamydosaurus. The most distinctive feature of the lizard is the large ruff of skin which is usually lied folded back against its head and neck. It opens up when the lizard is frightened, as it attempts to produce what we call a startling deimatic display. The structure of the project itself is not aimed to startle anyone, but instead it is used to indicate when the space is occupied. When the space is not in use it is to be folded and pressed and fixed to the wall, just like how the frilled lizard uses its skin, the skin is only stretched and expanded when it is need to.

PROJECT PROPOSAL

C.2

PROJECT PROPOSAL

FINDIN FORM

NG STRUCTURE M

PROJECT PROPOSAL

FORM DEFINING

INITIAL FORM

CHANGE ON INITIAL FORM USING KANGAROO Y : 0.4

CHANGE OF P

DOES NOT CHAN

Z : 1.0 U : 3.0

CHANGE OF VARIABLE Z TO 0.1 (FROM 3)

CHANGE OF VARIABLE Z TO 0.5 (FROM 1)

CHANGE OF VARIABL

CHANGE OF VARIABLE Z TO 3.5 (FROM 3)

CHANGE OF VARIABLE

FORM SLOWLY DISAPPEARS WHEN U VALUE IS CHANGED TO 2. HENCE U VALUE ABOVE 3 SHOULD BE MAINTAINED

100

PROJECT PROPOSAL

PRESSURE

NGE THE FORM

LE Z TO 1.5 (FROM 3)

E Z TO 4.5 (FROM 3)

CHANGE OF VARIABLE Y TO 0.6 (FROM 0.4)

CHANGE OF VARIABLE Y TO 0.8 (FROM 0.4)

CHANGE OF VARIABLE Z TO 2.0 (FROM 3)

CHANGE OF VARIABLE Z TO 3.0 (FROM 3)

CHANGE OF VARIABLE Z TO 7 (FROM 3)

Selected, as bumps generated were evenly distributed with small amount of spacing in between them to further emphasize on its round form.

CHANGE OF VARIABLE Z TO 10 (FROM 3)

PROJECT PROPOSAL

101

M R OF L A I T I N I N O E G N A H C OOR AGN A K GNI SU 6.0 : Y 5. 0 : Z 0.7 : U

U : 7.0 Z : 0.5 Y : 0.6 CHANGE ON INITIAL FORM USING KANGAROO 102

PROJECT PROPOSAL

CHANGE ON INITIAL FORM USING KANGAROO Y : 0.6 Z : 0.5 U : 7.0

U : 7.0 Z : 0.5 Y : 0.6 USING KANGAROO CHANGE ON INITIAL FORM

E H T N I G N I R U OT N O C N O I T CE R I D L A C I T R E V

E H T N I G N I R U OT N O C NOITCERID L ATNOZIROH

CONTOURING IN THE VERTICAL DIRECTION

CONTOURING IN THE HORIZONTAL DIRECTION

PROJECT PROPOSAL

103

FORM DEFINING

104

PROJECT PROPOSAL

105

FORM DEFINING

106

KEY MANIPULATION ELEMENT: RADIA MEATBALL AT 9 DIFFERENT POINTS:

0: 101 1: 110 2: 119 3: 100 4: 93 5: 85 6: 135 7: 99

0:104 1: 126 2: 96 3: 143 4: 139 5: 85 6: 139 7: 77 8:77

0: 133 1: 161 2: 128 3: 164 4: 162 5: 85 6: 161 7: 77 8: 85

0: 157 1:160 2: 98 3: 172 4: 89 5: 84 6: 178 &: 152 8: 143

PROJECT PROPOSAL

AN OF THE

0: 104 1: 141 2: 123 3: 131 4: 132 5: 107 6: 139 7: 86 8: 99

0: 127 1: 164 2: 111 3: 158 4: 129 5: 124 6: 179 7: 167 8: 164

PROJECT PROPOSAL

107

FORM DEFINING

108

PROJECT PROPOSAL

AREA AVAILABLE

REVERSE ENGINEERING PROCESS

FOMR FINDING CONSIDERATIONS

FABRICATION METHOD

The form defining process involved using mesh boxes to mesh relax. The group found this method difficult to combine the sectioning and dynamic aspect of the acoustic pod. The group resolved this my investigating a few other methods that also relaxes the mesh but utilises other components in grasshopper. The limitation of mesh box relaxation involves defining a space using the boxes, as the mesh was hard to be altered in this process two other methods were explored. 1. Utilising Mesh pressure to define the space This process still involves defining a spherical mesh found in grasshopper and transforming it using main components of “Mesh Pressure”, “Spring”, “Kangaroo Physics” and formulae that has been generated to assist in changing the form. This process is relatively similar to the initial mesh box relaxation method, the differences are mesh is enclosed and it is to be expanded (stretched) instead of being relaxed.

2. Utilising points to define the space. Using the components within the plugin of meatball, points were used to create the different spherical surfaces. The main components consist of “meatball” and “series (to add double the layer)” The meatball component acts similarly to the mesh relaxation technique as it enables the stretching and expansion of a mesh surface. Therefore, the major difference between are the points and box mesh surfaces used in each process.

PROJECT PROPOSAL

109

110

PROJECT PROPOSAL

SELECTED FORM This form was selected based on the position of the controlled points. Vertical sections were generated to allow movement in the structural form.

PROJECT PROPOSAL

111

STRUCTURAL PERFORMANCE

BEFORE 112

PROJECT PROPOSAL

AFTER PROJECT PROPOSAL

113

C.3

114

PROJECT PROPOSAL

115

FABRICATION TESTING TESTING MATERIALS FABRIC 1

STRETCHED WELL ONLY IN ONE DIRECTION

116

PROJECT PROPOSAL

TESTING MATERIALS FABRIC 2

STRETCH IN ONE DIRECTION

TESTING MATERIALS FABRIC 3

STRETCH IN BOTH DIRECTIONS

3 Forms of material was selected. The group selected Fabric 3 as it was capable of stretching in two directions, which will assist in forming a tight fit envelope for the final model.

PROJECT PROPOSAL

117

FABRICATION TESTING 2.0 mm

TESTING JOINTS ATTEMPT ONE

50 mm

4.0 mm

CAP TO SEA THE CAP

CONNECTIN PIPE

CLIP TO CONN THE SECTION PIECES

118

PROJECT PROPOSAL

AL P

NECT NAL

4.2 mm

1.1 mm

2.2 mm

2.0 mm

10 mm

6.5 mm

4.0 mm

10.10 mm

PROS AND CONS PROS 1. Allow rotation in two direction 2. The capping for the joint was a good idea but due to the weak rod used, it could not be reapplied with the piano rod. CONS 1. The rod that goes through the centre of whole joint needed to be replaced Initially the group had 3D printed the rod, however, it was too fragile as its diameter is only 2mm, which cannot withstand the tensile forces from the clip. Instead it was replaced with a piano wire which gave rigidity and flexibility. Moreover, due to its smooth surface the rotation of the clip became much smoother. 2. The clip thickness was only 1.1mm, it would have been better if the thickness was greater, to grip on to the clip 3. As one clip was only capable of holding a small portion of the sectional piece, it would have been better if more than one clip was designed for that sectional piece.

PROJECT PROPOSAL

119

FABRICATION TESTING

TESTING JOINTS ATTEMPT TWO

FOLDING IN ONE DIRECTION ONLY

The second joint designed focused on three aspects

5.00 mm

• •

Disadvantages / behaviour of the second joint • • •

120

PROJECT PROPOSAL

Finding another solution to connect the sectional pieces, because it rotational forces was prominent in the design attempt. Also thickening the joint to avoid any potential snaps may occur.

It limited the amount of fold One side could be fully folded while folding in the opposite direction was restricted due to the door hinge like design. This design lacked innovation as it is very similar to a door hinge.

50.00 mm

17.00 mm

2.20 mm

Positioned differently to allow it to be put together with other connection pieces. As no gaps and exact height was used and that 3 shells were added during the 3D printed process, the 4 pieces could not be fitted well together.

Allowing screw fixing to sectional pieces, realised too many holes were places and that the dimension of these hole where not big enough. This may be influenced by the number shells that was added during the 3D printing process.

DIAMETER HAS INCREASED TO ALLOW BETTER ROTATION OF THE JOINT TO THE ROD.

PROJECT PROPOSAL

121

122

PROJECT PROPOSAL

123

SELECTED CONNECTION CONNECTION & SELECTED & MATERIA MATERIA

CAP TO SEAL THE BOTTOM CAP TO SEAL THE BOTTOM

3.50 mm 11.50 mm

RODE IN THE CENTRE

CAP 2 TO SEAL BOTTOM

124

PROJECT PROPOSAL

25.00 mm

CLIP WITH HOLE FOR SCREW TIGHTENING

Attempts to sea ends of the rod

AL AL

This material was selected as it allowed flexibility and it was strong enough to withstand the shearing stress derived from the connecting materials. CARBON FIBRE 2.5mm

50.00 mm

al the

CLIP WITH HOLE FOR SCREW TIGHTENING

4.00 mm

10.00 mm

PROJECT PROPOSAL

125

126

PROJECT PROPOSAL

C.4

FABRICATION & MODEL

PROJECT PROPOSAL

127

128

PROJECT PROPOSAL

130 mm - 150 mm

ASSEMBLAGE DIAGRAM OF DETAILED MODEL The structure is to be divided into separate sectional pieces, which is aimed to assist in creating a fold-able structure. The detail model presents the system of x and y axis in a rotational form, and utilising two dimensional places into a double curved surface.

PROJECT PROPOSAL

129

FABRICATION PROCESS DETAIL MODEL 1:2

130

PROJECT PROPOSAL

STRUCTURAL MODEL 1:10

PROJECT PROPOSAL

131

132

PROJECT PROPOSAL

133

134

PROJECT PROPOSAL

135

136

PROJECT PROPOSAL

137

138

PROJECT PROPOSAL

139

POSSIBLE IMPROVEMENTS

One aspect of design that was not well considered was the weight in relation to the function of the design.

INITAL ST

As the dimension of the height of each sectional piece ranged from 130mm to 150mm, it would be rather heavy when users attempt to compress it. Hence, suggestion was given to reduce this height and converting to a frame that would be more preferable. As the structure is transformed the connection that is required would also be redesigned. In the last joint that was presented, the joints were not well supported, meaning that it was attempting to twist. Therefore, improvements needed to be made to further improve the design.

TRANSITIONING FRAME STRUCT

AIM TO PROVIDE STRUCTURE TO THE DESIGN IS U

140

PROJECT PROPOSAL

TRUCTURE

G INTO A TURE.

E A LIGHTER ENSURE THAT USER FRIENDLY.

PROJECT PROPOSAL

141

142

PROJECT PROPOSAL

143

144

PROJECT PROPOSAL

145