Studio Air Journal Xinyue Wu 752748 by Xinyue Wu

STUDIO AIR 2017, SEMESTER 2, Finn Xinyue Wu

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A0 INTRODUTION A1 DESIGN FUTURING CASE STUDY 1 CASE STUDY 2 A2 COMPUTATION CASE STUDY 3 CASE STUDY 4 A3 COMPOSITION AND GERATION CASE STUDY 3 CASE STUDY 4 A4 CONCLUSION A5 LEARNING OUTCOMES A6 ALGORITHMIC SKETCHES APPENDIX BIBOGRAPHY

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0 INTRODUCTION Hello I am Ann (Xinyue Wu), currently a third year architecture student in University of Melbourne, grown up in Chengdu, China. I am quite interested in design and creation and this is the reason why I decided to choose architecture.

Through three yearsâ&#x20AC;&#x2122; study, I gradually realize that architecture is multidisciplinary. There are always many unknown territories for me to exploreW a stream of new knowledge for me to learn. I learnt a little bit about parametric design through AA Visiting School Beijing and Studio Digital Design and Fabrication. I realized its complexity and its capability of achieving design possibilities. I hope I can develop my computational skill and explore more design possibilities in studio Air.

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DIGITAL DESIGN FABRICATION: 2ND SKIN

STUDIO EARTH: SECRET ON HERRING ISLAND -

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‘Remark design as a key force of redirection towards sustainability in order to move from’ sustainability development ’ to the development of sustainment’

DESIGN FUTURING Under the explosive population growth and technology development, the damage to the planet’s climate and ecosystem is increasing. design should retard the rate of defuturing and redirect us towards sustainable modes of planetary habitation. At this moment, Design, the crucial power leading the revolutions of human’s world, has to be redesigned systematically to retard the rate of defuturing and redirect us towards sustainable modes of planetary habitation. Furthermore, mentioned in ‘Speculative Everything’ there are many possibilities-socially engages design for raising awareness; satire and critique; highbrow entertainment; aesthetic explorations; speculation about possible futures; and as a catalyst for change.

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Case Study 1

.1.1 The optimization of design approach for city future can be instigated by the innovations of architecture design. Absolute Towers is a successful example which significantly helps to generate more positive possibilities for city futuring. It integrates humanized design, ecological design, and urbanization to achieve the development of sustainment. The absolute tower is located in Mississauga, Ontario, Canada, a rapidly urbanized and emerging high-density cities. In this process, hundreds of sameness boxy high rise gradually become the burden of the city. In order to sustain the sustainable development of the modernized city, architectural design practice has to be redesigned to solve the confront problems. Absolute Towers eschews the listless traditional design approach which uniformly uses vertical lines and right angles in the high rise. Absolute Towers uses the parametric design method to feature a twisting fluidity shape with smooth, unbroken balcony wrapping each floor of the building1. That each successive level the floor plate rotates in a range of degrees and provides visitors with an unlocked and fantastic view of Mississauga skyline (ArchDaily,2017). The viewing potentials are maximized inside and out to create a medium for social and ecological interaction throughout the balconies. By the way, Mississauga is infused with a new character connecting environment with human life. 1 ArchDaily ,2017 A CONCEPTUALISATION

ABSOLUTE TOWER MAD Architects /2012

â&#x20AC;&#x2DC;We hope this building can wake up Metropolitansâ&#x20AC;&#x2122; desires towards nature, such as the sun and the wind, and certainly, human bodies.â&#x20AC;&#x2122; said the designer. Instead of blindly pursuing technology development, the aim of a designer is using design as a force of redirection of the sustainable city. There are no complicated technologies behind its design approaches. It is more than a symbol of technological bravado. It is a unique character in the cityscape and bears the landmark status. I find design innovation leads mineral resource, increasing human needs and urbanization to an optimized balance. The sustainable design approach is to explore the possibilities of sustaining a sustainable model: development of urban space in harmony with nature.

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Case Study 1

.1.1

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ABSOLUTE TOWER MAD Architects /2012

A TWISTING FLUIDITY SHAPE WITH SMOOTH, UNBROKEN BALCONY WRAPPING EACH FLOOR OF THE BUILDING.

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.1.2 The sustainable design approach is more about promoting harmonious coexistence of tradition and modernization, social development and ecology. The Clover House kindergarten is a successful example which ingeniously processes a humanistic sense of space and creates a very intimate and cordial relationship with habitats. First of all, sustainable design approach should engage with the habitats. The Clover House kindergarten is located in the small town of Okazaki. One of the most important design intent is to promote the communication with the localized small village surrounded by paddy fields and mountains. Thus, the modernized architecture will stand out like a strange ‘neon sign’ here. In order in ‘dissolve’ the house into the environment, the parametric design method is used to compose an organic appearance that is full of curvatures.

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Case Study 2

CLOVER HOUSE MAD Architects /2016

On the spiritual aspect, sustainable design is achieved by involving humanistic care. The designer was commissioned to transfer the traditional timber-frame into a fully developed kindergarten. He aims to create a homely atmosphere inside the kindergarten and decides to keep the old wooden structure as the memory and the soul of the space. In order to emphasize this emotion value, the old timber frame is kept and reprocessed. Different from the traditional timber-frame structure, the wood beams are three dimensional and curved. They were laser cut at the factory1.

1 I-mad.com. (2017). MAD. [online] Available at: http://

www.i-mad.com/press/mad-transforms-two-story-homeinto-a-playful-kindergarten/

In addition, in terms of material selection, it is an innovation of maximizing the advantages of traditional materials. White and soft asphalt shingle is used to achieve the organic curvy shape of the skin. Asphalt shingle is eco-friendly and can be recycled. The material behavior also creates an innovative way of waterproofing1. As a result, the parametrically designed skin wrap up the old wooden structure in a sheath of paper-like pieces with blurry boundary. The form is innovative but suitable for the cultural and natural environment. Different from traditional house design, the kindergarten is like a magic cave for the child to encounter with it. Furthermore, although technology plays an important role in solving problems, it is not the core of sustainable design. With rapid digital technology development, there are many digital modeling tools. However, Architecture design will become impractical if we purely relied on technology development. In my opinion, the Clover House of kindergarten provides us with a design practice leading to sustainable future. It breaks the traditional ways of solving problems and provides the possibilities of sustainable development: harmonious coexistence of social development and cultural protection, modernization and natural protection.

1I-mad.com. (2017). MAD. [online] Available at: http:// www.i-mad.com/press/mad-transforms-two-story-homeinto-a-playful-kindergarten/

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Innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.

COMPUTATION Architectural design process always includes feasibility analysis, solution synthesis, evaluation, and communication. It is a process of seeking solutions that accomplish given goals following constraints. Architectural design computation is an optimized and high-efficiency design process integrated by various parametric algorithmic design, the tectonic richness of the material shifts and comprehensive design thinking. With the appearance and evolution of the digital in architecture in integration with new digital technologies, the relationship between computer and architecture is continuously expanding. Meanwhile, the symbiotic relationship is formed between the formulation of the design process and developing of technology. Thus, a considerable wealth of architectural design opportunities emerging with the development in many fields of technologies1. Innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity. 1 Oxman, Rivka & Robert Oxman, 2014, Theories of the Digital in Architecture (London; New York: Routledge).

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Case Study 3

‘BEYOUND BENDING’

.2.1

block research group (ETH Zurich)

With the emerging of algorithmic design and digital fabrication, material design and tectonic system generation in architecture are redefined. Computational design and digital fabrication can provide traditional material and tectonic system with more design opportunities. ‘Beyond bending’, designed by block research group (ETH Zurich), is a computational performative design of the material system. In this case, by using novel structure design approaches and digital fabrication method, light vault structure is constructed by heavy material without any reinforcement. The installation advocates for the logic of compression only form, not only because of their unique aesthetics but also because of their potential to reduce material waste. Although in the past decades, master builders have discovered compression only structure such as the stone cathedrals, it still has the limitation in various shapes. However, due to the development of digital design approaches the novel structure design tools extend traditional graphical methods to three dimensions allowing designers to discover a vast range of forms in compression. It shows that how we can gain the knowledge of structure in the past, and then we could generate more possibilities enhanced by the modern digital algorithms.

excess steel ha © ETH Zuric

The work comprises 399 individually stones, unreinforced and without mortar, and the vault spans 16 meters with a minimum thickness of 5 centimeters1. Therefore, it is extremely critical to calculate the balance between form and force. The design team used RhinoVault plugin to optimize the shape based on the concept of Thrust Network Analysis (TNA) (Block, 2009). Based on these concepts, new algorithms are presented to enable the interactive exploration of funicular structures2.

novel structur image © ETH

1 2

“Beyond Bending - Factsheet”, Ethz.Ch, 2017 <https://www.ethz.ch/en/news-and-events/eth“Beyond Bending - Factsheet”, Ethz.Ch, 2017 <https://www.ethz.ch/en/news-and-events/eth-

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as been eliminated, allowing more humble materials to take precedenceimage ch / iwan baan

the work comprises 399 individually cut stones, unreinforced and without mortar image ÂŠ ETH Zurich / iwan baan

ral design approaches and digital fabrication methods have been utilized H Zurich / iwan baan

the work comprises 399 individually cut stones, unreinforced and without mortar image ÂŠ ETH Zurich / iwan baan

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.2.1

Case Study 3 â&#x20AC;&#x2DC;BEYOUND BENDINGâ&#x20AC;&#x2122;

block research group (ETH Zurich)

When it comes to the material, it is obvious that the weight of each stone brick seems not light so that the approach of calculating the structure force is extremely critical in this project, especially these stone bricks are in different shapes. Therefore, by using the modern-day digital technology, the concept of Thrust Network Analysis allows them to modify the form flexible, and keep the equilibrium between form and force at the same time when they change the shape. Furthermore, I find digital design and fabrication is not that perfect. It is a practical problem to reduce the gap between each brick to make it as accurate as possible. It is impossible to finish the project totally as same as the digital model. However, as long as the whole structure has a proper force equilibrium the mistake in millimeter could not exert a negative influence on the final effect. After all, we could not avoid all mistakes in the practical fabrication.

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Form and Force Diagram

Horizontal Equlibrium

Vertical Equlibrium CONCEPTUALISATION

Case Study 4

AL BAHAR TOWER

.2.2 In the environmental constraints, innovative solutions to problems and optimized design practice are formed by the computational design process. The Al Bahar Tower is an innovative computation design of high rise which is designed to accomplish the sense of cultural ascription and solve the pressing climate problem. This extreme weather condition in Abu Dhabi is the pressing problem. The sunshine here is Intense and the temperature is steadily above 100 degrees with no rain. Working with the variability of algorithmic design and comprehensiveness of data analysis, Aedas Architects designed an environmental responsive façade. It is a programmed sun screen designed as a curtain wall. On its frame, there are many triangular patterns coated with fiberglass and programmed to open and close in response to the movement of the sun. Thus, the interior lightness is dedicated to control providing nature daylight. Furthermore, the triangular patterns take form the cultural patterns of ‘mashrabiya’ and it can reflect the sense of culture ascription.

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Aedas Architects

Different from the traditional design of curtain wall, the intense sunshine here is not all blocked by blinds. The computational design makes the façade ‘environmental responsive’ and intelligent, adjusting to the sun movement as well as the sunshine input. Actually, this idea of sunlight controlling is derived from the old technique. Using digital design method, it is optimized to respond to environment requirement and contribute to the sustainable development of this city. In addition, the computational design is a continuum design process with the cooperation of many fields. In seeking to investigate the solution to the problems, the optimal design is obtained through the integrating process emerging with digital morphogenesis, computational analysis, and algorithmic design. For instance, environmental engineers are included to simulate the sun movement and analysis the seasonable amount of sunlight exposure. Only based on enough data support, can architects design the design the environment responsive and multifunctional façade.

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â&#x20AC;&#x2DC;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.â&#x20AC;&#x2122;

COMPOSITION GENERATION With the development of digital technology, more design opportunities are created to architectural design including the process of design, construction, and fabrication. Supported by the continuum system of computation, design practice is shift from composition to generation. The process from concept generation to fabrication is optimized to be integral and continuous following the consistent algorithmic logic behind1. The algorithm makes up a finite sets of rules and can contribute lots to design. Due to the precise calculation and logic system, it has the potential to provide designers with inspiration and the optimization of concept. It even goes beyond designersâ&#x20AC;&#x2122; intelligence2. It provides analytical data to support design and generates communication and simulation for constructability and sustainability. With the development of algorithmic design, architectural design is shift to be diversified. It is not only the composition of different design aspects but also a generative process support by technologies from different fields

1Peters, Brady, 2013, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83, 8-15.

2Peters, Brady, 2013, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83, 8-15. CONCEPTUALISATION

Case Study 5

‘THE WATER CUBE’ (Beijing N

.3.1

PTW Architects, CSCEC, CCDI, and Arup/2007

The National Aquatics Centre, known as ‘The Water Cube’, is one of the most dramatic and exciting venues for the Beijing Olympics in 2008. The shape, the structure or even the material of the facade, both of them illustrate that it is extremely distinct from those buildings constructed by reinforced concrete, not only in shape but in design intent. In this case, there is no separation between design and computational technique. As we all know, the core design intent of the venue is to simulate the water cube as the façade. However, easy to think, hard to do. In the initial model, they used the Voronoi algorithm to express the façade concept and the design was approved immediately. But after a period of time, designers found it is hard to generate a proper structural model. For balancing the form and force and merging the design and the construction, the Waire-Phelan structure was used to solve the problem and to integrate the whole process. The Waire-Phelan structure is the specific combination of two kinds of cubes: 12 sided cubes and 14 sided cubes, which could be joined together closely in 3 dimensions1. Therefore, that is the essential algorithm to make the design intent alive so as to substantially evolve the efficiency of construction. 1

“Designcoding | Weaire-Phelan Structure”, Designcoding.Net, 2017 <http://www.designcoding.net/weaire-phelan-structure/>

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National Aquatics Center)

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Case Study 5

‘THE WATER CUBE’ (Beijing Nati

.3.1

PTW Architects, CSCEC, CCDI, and Arup/2007

The generation of Water Cube structure is quite simple and direct. In grasshopper, we could simulate such gen according to the Waire-Phelan structure. In the figure, it shows the basic combination of components which only ha Thus, we could set a series of parameter to control the number and the size of the combination. After that, the between the box and the polyhedron could be calculated by using the ‘intersect brep’ component. If we modify of the box in 3 dimensions, it allows us to gain various intersection situation dynamically.

The whole application in this project is definitely an excellent attempt using computation in architecture practice, p and simulation. Basing on the results of the dynamic calculation, we could easily gain numerous situations which choose the proper one for the final performance. Also, at the initial phase, it is impossible for the designer to pre shape due to the structure is so complicated. But when computation be integrated into the design process, it possibility of conception.

In short, there is no doubt that the algorithms occupy an important place in this project. Not only the algorithm co to improve the traditional construction approaches, but also to combine the whole construction process closely.

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tional Aquatics Center)

neration logic as two types. e intersection y the rotation

performance, h allow us to edict the final t evolves the

ould be used

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Case Study 6

.3.2

SITUATION ROOM in NY

Jana Winderen + MARC FORNES / THEVERYMA

Computation is redefining our design process. Algorithm and computational protocols provide more possibilities for architectural design and fabrication1. First of all, the algorithm provides designers with more capability to realize morphologies and to solve complex problems resulting from finite sets of rules, clear instructions and linear sequence. Thus, more architectural spaces and design concepts can be explored through and generated. The situation room in NY, work of MARC FORNES/THE VERYMANY is an example which involves parametric design method to generate its form. In this case, the intricate web and lightweight, ultra-thin self-supported structure2 are all generated parametrically following the rigorous logic of algorithm behind. As for the realization of the complex appearance of the internal morphology, its envelope is generated from Boolean operations merging to create the dense aggregation of the sphere based on algorithmic curvature analysis.

1 Peters, Brady, 2013, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83, 8-15. 2 MARC FORNES / THEVERYMANY. (2017). PROJECTS. [online] Available at: https://theverymany com/projects#/experience-unique-intensive-space A CONCEPTUALISATION

ANY

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Case Study 6

.3.2

SITUATION ROOM in NY

Jana Winderen + MARC FORNES / THEVERYMANY

Secondary, computation has the potential to go beyond designsâ&#x20AC;&#x2122; in tunnels made from 2000 unique part. There is no doubt that there i prototypes generated by modifying the parameter. This kind of prot

Furthermore, computation plays an important role in the creation computation helps architects simulate and model the encounter bet environmental space by using algorithm form generation together project without any restriction. Moreover, the publicâ&#x20AC;&#x2122;s activities lik experience it, to explore it, to have communication with it.

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ntelligent and inspire them. As for the ‘situation room in NY’, its complex form contains many bulbous networks of it is an operational result from an advanced algorithm. However, there should be some unexpected and meaningful totypes may inspire designers and lead them to further thinking of design.

n of meanings in architecture. With their increasing capabilities of complicated form generation and simulation, tween architecture and public. Different from traditional architecture design, ‘situation room’ generate an immersive r with an immersive sound and light. In the bulbous network of passageways, the public is free to experience the ke crawling or walking can active the installation. As a result, the public is greatly involved in ‘situation room’ to

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CONCLUSION

Influenced by the population growth and excessive utilization, there is a trend that global ecological environment is gradually shifting to defuturing. The traditional design mode cannot sustain the sustainable development and we need to make revolutionary changes. There is no doubt that eco- friendly design should be involved to improve and reshape the ecosystem. Furthermore, we also need to chase the possibilities of promoting harmonious coexistence of tradition and modernization, social development and ecology. In many sustainable design approaches, design computation is highly distinguishable, which can provide many design possibilities Computation has the potential to redefine the design practice. Though digital continuum, computation optimizes the design practice and high-efficiency involves in algorithmic design, tectonic richness of the material shifts and comprehensive design thinking. Computational design produces the innovative tectonic and material performance. Experts in different field are engaged to composite the optimization of the solutions to problems. However, for the simulation and modeling of complex form, if there is no existing computational tool can help with it, we need to promote it from form-finding. Algorithm provides us a more rational method to generate complex forms and unlocks more design possibilities. Due to the precise calculation and logic system, it can efficiently solve complex questions and has the potential to provide designers with inspiration and the optimization of concept. However, I think we need to treat algorithmic generation dialectically. If the designer cannot fully comprehend the rules and logic behind the algorithm, unsatisfactory result will be produced.

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Conceptualization provides me a general understanding of the background of revolutionary design practice such as computational design. According to readings, I gain lots of knowledge about what are the possibilities computational design can achieve. It can facilitate the design process, cooperate with many different technology fields and promote environmental responsive design using various digital tools. Besides the composition of good performance, what impressed me most is the sustainable design intents behind some parametrically designed precedents. I think the design will be unsustainable if there is no optimized and reasonable design intent to follow. As for the topic of week 3-generation, it seems to be a brand-new page for me. I used to be afraid of it because I think the algorithmic logic is too complicated to understand. However, through the researches and readings, I am getting interested in this flexible and generative design method. For the learning process of Grasshopper and Rhino. Thus, as a beginner of learning grasshopper, I am quite interested in the exploration of different form generation. However, it takes quite a long time to â&#x20AC;&#x2DC;get used to so many components. Furthermore, I need more practices of algorithmic thinking because I find it is too difficult to build my own logic to generate the ideal form in my mind.

LEARING OUTCOMES

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.6 ALGORITHMIC SKETCHES

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Curve Rotation

In this definition, two parameters are used to control the final result: the number of the circle and the rotation angle. When the rotation angle is fixed, by increasing the number of circles we could gain a series of circles whose radius are also raising at the same time.

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Curve Gradient

It is a simple definition about the gradient from hexgon to circle. The logic of such gradient is to modify a curve from straight line to curve with differnt curvature based on the distance to the influence point. If we could rebuild the line to 2 degree with 3 control points, by moving the middle control point, it is easy to convert the line to curve.

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Geometry Rotation

With a series of increasing rotation angles, we could gain this shape. But if we change the step of the arithmetic progression, the whole shape will be changed without doubt. Also it is possible to change the distanceCONCEPTUALISATION in z direction and radius of the pipe. A

Geometry Gradient

According to the distance between each square in the grid to the influencing curve, the further the distance is, the more the square extrudes. By changing the power of the influencing curve, we could see the transformation above. CONCEPTUALISATION 41

BIBLIOGRAPHY: “Beyond Bending - Factsheet”, Ethz.Ch, 2017 <https://www.ethz.ch/en/news-and-events/ethnews/media-information/background-information/eth-zurich-at-the-15th-internationalarchitecture-exhibition---l/beyond-bending.html> [accessed 10 August 2017] “Armadillo Vault At Venice Architecture Biennale 2016”, Vimeo, 2017 <https://vimeo.com/167868985> [accessed 10 August 2017] “Designcoding | Weaire-Phelan Structure”, Designcoding.Net, 2017 <http://www.designcoding.net/weaire-phelan-structure/> [accessed 10 August 2017] “Weaire–Phelan Structure”, En.Wikipedia.Org, 2017 <https://en.wikipedia.org/wiki/ Weaire%E2%80%93Phelan_structure> [accessed 10 August 2017] “Beijing National Aquatics Center”, En.Wikipedia.Org, 2017 <https://en.wikipedia.org/wiki/Beijing_National_Aquatics_Center> [accessed 10 August 2017] Fry, Tony, 2009, Design Futuring: Sustainability, Ethics and New Practice. (Oxford: Berg). Kalay, Yehuda E., 2004, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT press). Oxman, Rivka & Robert Oxman, 2014, Theories of the Digital in Architecture (London; New York: Routledge). Peters, Brady, 2013, Computation Works: the Building of Algorithmic Thought, Architectural Design, 2, 83, 8-15. Dietrich, Eric, 1999, ‘Algorithm’, in The MIT Encyclopedia of the Cognitive Science, ed. by Robert A, Wilson & Frank C. Keil (London: MIT Press), 11-12. Dunne, Anthony & Fiona Raby, 2013, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) ArchDaily. (2017). Al Bahar Towers Responsive Facade / Aedas. [online] Available at: http://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas [Accessed 11 Aug. 2017]. I-mad.com. (2017). MAD. [online] Available at: http://www.i-mad.com/press/madtransforms-two-story-home-into-a-playful-kindergarten/ [Accessed 11 Aug. 2017]. MARC FORNES / THEVERYMANY. (2017). PROJECTS. [online] Available at: https://theverymany com/projects#/experience-unique-intensive-space/ [Accessed 11 Aug. 2017]. ArchDaily. (2017). Absolute Towers / MAD Architects. [online] Available at: http://www. archdaily.com/306566/absolute-towers-mad-architects [Accessed 11 Aug. 2017]. A CONCEPTUALISATION

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C R I T I R A D E S I G N

CRITERIA DESIGN

B1 RESEARCH FIELD B2 CASE STUDY 1.O B3 REVERSE ENGINEERING CASE STUDY 2.0 B4 REVERSE ENGINEERING ITERATION B5 TECHNIQUE: PROTOTYPES B6 TECHNIQUE: PROPOSAL B6 LEARNING OUTCOMES APPENX BIBOGRAPHY

CRITERIA DESIGN

RESEARCH FIELD .1

TESSELLATION

Tessellations are formed by a surface on which repetitive patterns are formed by geometric shapes. In this way, there is no overlapping and gaps. The tessellation system has the characteristics of entirety and interlocking. There is an interaction between patterns and structure. By using the method such as folding, the patterns can be 3-dimentional. The complexity and variations of patterns can make the surface fascinating. Different from patterning used in decoration design like faรงade design, tessellation has the potential of being integrated into the structure. In part B, I want to explore how to design a systematic acoustic structure which can embody the interaction of the structure and patterns. Furthermore, I want to explore if the gradually various of patterns can response to the surrounding environment.

CRITERIA DESIGN

â&#x20AC;&#x2DC;Voussoir Cloudâ&#x20AC;&#x2122;

designed by IwamotoScott, is an invited installation in Los Angeles with the help of a group of SCIArc students. This project expresses the classical structural paradigm of pure compression using a kind of ultra-light material. Under the help of the simulation and computation, it allows us to adjust the shape to a perfect equilibrium of force. The boundary of the vault is determined by the entry soffit and the two long gallery walls. According to the work of Gaudi and Frei Otto, who concentrate on using hang chains to find effective form, they also used the same logic to refine and adjust the shape in order to make a pure compression structure come true.

Tessellation

As for each vault is comprised of a series of Delaunay tessellation that has gradient in shape and density. It is obviously that the lower tessellation is compact, which strengthen the whole structure while the upper vault shell gains porosity. Consequently, it confused the traditional concept about column and beam, which is hard to find out and define clearly where is under pressure.

Material

When it comes to the material, the threedimensional panels are formed by folding ultra-thin wood along curved seam. The curve produces an inflected form that relies on the internal surface tension of the wood. Finally, a plastic rope is used to hold its shape.

CRITERIA DESIGN

. 2 CASE STUDY 1.0 CRITERIA DESIGN

CASE STUDY 1.0 ITERATION A DEPTH

Displacement distance ( d )

.1.2

A-1

d1 =4.23 d4 = 3.01

d2 = 4.54 d5 = 3.85

d3 = 4.57

A-2 d1 = 4.23

d4 = -5.78

d2 = 4.54 d5 = 3.85

B WIDTH

Scale ( s )

B-1 d = 4.23

s = 0.296

CRITERIA DESIGN

B-2 d = 4.23

s = 0.204

d3 = 6.86

A-3

d1 = 8.30

d4 = -5.78

B-3 d = 4.23

s = 0.300

d2 = 4.54 d5 = 3.85

d3 = -5.79

A-3

d1 = 9.15

d2 = 6.24

d4 = -5.78 d5 = -7.85

d3 = -5.79

B-4 d = 4.23

s = 0.459 CRITERIA DESIGN

C SKELETON

Nurbs Curve

C-1 Kangaroo optimized mesh

C-2 List item ï¼&#x161;List points on mesh edges

C-3

D FORCE DIRECTION CONTROLLING

KANGAROO

D-1

Release : points on boundary Anchor point : point on scaled and moved voronoi Force: Fz=12 Stiffness Sz=1456

CRITERIA DESIGN

B-2

Anchor point : points on boundary points on scaled and moved voronoi Force: Fz=100 Stiffness : Sz = 90

3 Nurbs Curve ( degree = 2 )

B-2 Anchor point

: points on boundary points on scaled and moved voronoi Force: Fx =48 Fy=50 Fz =372 Stiffness : Sx = 595 Sy=173 Sz =756

C-4 Nurbs Curve ( degree = 0 )

B-2

Anchor point : points on boundary points on scaled and moved voronoi Force: Fy = 12 Stiffness : Sy = 595

CRITERIA DESIGN

E TRIANGULAR TESSELATION

Triangular Evaluate curve

E-1

Kangaroo optimized shape Evaluate curve ( number slider = 0,1 ) Polyline

E-2

Evaluate curve ( number slider = 0.15 ) Boundary Surface

F-2

Random reduce ï¼&#x2C6; remove circles n =0.1 )

F COIN TESSELATION

Tanget circle

F-1

Kangaroo optimized shape Mesh tanget circle

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-3

Evaluate curve ( number slider = 0.32 )

E-4

Kangaroo optimized shape Evaluate curve ( number slider = 0,4 )

-3

Reduce number of circles according to Z unit ( n = 0.2 )

F-4

Reduce number of circles according to Z unit ( n = 0.7 )

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G SURFACE GENERATION

Loft three curves. Two of them are the edge of the mesh. And the middle curve is a line connectting with two mid points. By scaling down the middle curve and move it towards to the direction of mesh vector, we could gain a series of surface with different curvature.

G-1

G-7

Extract curves and points of the mesh

G-2 Line 1 : curve 1

Line 2 : curve 3 Line 3 : c2 (point on curve =1 ) with c4 (point on curve =0 ) move = 1 , scale = 0.7 ( scale centre : point on curve = 0.25 )

Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.6) with c4 (point on curve =0.4 ) move = 2 , scale = 0.8 ( scale centre : point on curve = 0.3) CRITERIA DESIGN

G-6

G-3 K

L L L

centre

Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.9 ) with c4 (point on cur move = 1 , scale = 0.7 ( scale centre : point on cu

Kangaroo optimized mesh

Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =1 ) with c4 (point on curve =0 ) move = 1 , scale = 0.7 ( scale : point on curve = 0.25 )

G-4

Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.7 ) with c4 (point on curve =0.3 ) move = 1 , scale = 0.7 ( scale centre : point on curve = 0.1 ) Flip curve

rve =0.1 ) urve = 0.3) CRITERIA DESIGN

H PYRAMID

Extrude according to face normal Remove some triangular surface

H-1 Extrude face boundaries

extrude point : moved area centre extrude direction : surface normals

H-2 Remove surface ( Indices = 0 , 6 )

I WB DUAL GRAPH Weavebordâ&#x20AC;&#x2122;s dual graph

I-1 WB dual graph

CRITERIA DESIGN

I-2 WB mesh window ( offset = 44 )

H-3 Remove surface ( Indices = 1 )

H-4 Remove surface ( Indices = 2 , 4 )

I-3 Move

I-4 Duplicate points

direction : mesh normal distance : 0.9 normal vector

loft

CRITERIA DESIGN

CASE STUDY 1.0 SELECTION

CRITERIA DESIGN

CASE STUDY 1.0 SELECTION 3-DIMENSIONAL PATTERNS

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

The most interesting part of this outcome is the variability of the patterns. The patterns gradually change with the curvature of structure. As for materiality, fiber cloth can be fabricated to make the patterns but many supports are required. Furthermore, the form is optimized by kangaroo and fabrication will become much more complex.

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

This kind of 3-dimentional patterns are the most developable. The open and close of the taper like patterns allows dynamic shadows to be created. The variation of the 3-dimensional can perfectly response to the ‘weaving effect’ of the curved surface. As for materiality and fabrication, there is a wide range of materials such as bamboo veneer that can be fabricated to make this pattern. By the way, it can be easily pre-fabricated. B

CRITERIA DESIGN

2-DIMENSIONAL PATTERNS

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

Although circle patterns are quite simple. The partially removed patterns can let various light go through and create rich shadows. The interactions between triangular patterns are quite interesting. It seems that the open and close of the patterns can be dynamic These 2-dimensional patterns can be easily fabricated because there is no material requirement for bending, twisting, folding and so on. Thus, a wide range of material can be fabricated into the required shape. By the way, the supporting structure can be simple and light. However, both development and aesthetics are limited.

CRITERIA DESIGN

REVERSE ENGINEERING

CASE STUDY 2.0

DIFFERENTIATED WOOD LATTIC SHELL Performative Wood Studio (A. Menges)

Wood Lattice Shell is designed by Performative Wood Studio, Harvard University Graduate School of Design. The propose of this research project is to develop the possibility of bending wood and analysis the force status in different curvature. Initially, a robotic water jet cutting technique was developed in order to reduce the risk of splitting during the subsequent bending process. Subsequently, through the related fabrication variables, each wooden elementâ&#x20AC;&#x2122;s stiffness can now be adjusted by locally reducing its structural depth. And the information during the test was encoded in the digital design software, which could change the shape according to the force status. The second propose of this project was developing a method to erecting a flat lattice without extra scaffolding. The shape of each component panel was determined by local force state. After the detailed research, we could summary lots of data in different size, thickness, and fiber orientation. Finally, a computational tool for deriving the related situation and location was developed and tested in a large scale.

CRITERIA DESIGN

REVERSE ENGINEERING surface

Quad Panel

PATTERNS

ANCURATE BOLT

BASE STRUCTURE

CRITERIA DESIGN

Area central point

Attr

ractive point

Remap

Distance

Vector 2D End point

Move Along surface normal

1/2 point on curve

Area central point

Move Along surface normal

1/2 point on curve

Move Along surface normal

Merge

Loft

Line Move Along surface normal

Extend Curve

Pipe

Vector 2 Pt Line

1/2 point on curve

End Point

Move

Extrude

Interpolate

Extrude CRITERIA DESIGN

REVERSE ENGINEERING

CRITERIA DESIGN

REVERSE ENGINEERING

CRITERIA DESIGN

REVERSE ENGINEERING

ITERATIONS

CRITERIA DESIGN

A FORM GENERATION OPTIMIZATION Optimization of forms using Kangaroo

B FORM EXPLORATION AS ACOUSTIC POD Exploration of forms using Kangaroo

B-1 Contruct a simple shape which used

to optimized the shape in Kangaroo.

CRITERIA DESIGN

B-2 Adjust the mesh in Rhino

B-3 Using ‘spring’ and ‘gravity’ force

omponents to simulate in Kangaroo.

B-4 Loft those curves together, such we could gain a surface

from a mesh, although the result surface is not accurate enough.

CRITERIA DESIGN

C HUNCH-UP PATTERN (1 DIRECTIONS )

Displacement distance( d ) Cull Patterns

C-1

Extrach two sides of the panel, choose the mid point of the curve, then vertically move the point according the vector of the panel. d1 =0.26 d2 = 0.50 d3 = 0.75 d4 = 1.20

C-2

d1 =0.26

d2 = 0.50

d3 = 0.75

d4 = 1.20

C-3

D HUNCH-UP PATTERN (2 DIRECTIONS) Displacement Cull Patterns

D-1

Attempt to utilize bending wood panel as components with two kinds of shape. One is towards to outside and the other is towards to interior. Each row chooses alternant shapes.

CRITERIA DESIGN

D-2 Cull Pattern Component with 'True Flase' as input to remove some panels in the row whose panel is towards to outside.

D-3

to rem to insid

Cull Pattern Component with 'True Flase' as input.

Cull Pattern Component with 'True Flase' as input move some panels in the row whose panel is towards de.

C-4 d1 =25%

d2 = 50%

d3 = 75%

D-4

Merge two distinct rows with differnt shapes together.

CRITERIA DESIGN

E HUNCH-UP PATTERN (2 DIRECTIONS) Displacement Cull Patterns

E-1 Diamond subdivision panels.

E-5 In order to connect the surrounding panels in a row, remove some panels which is not in the row. B

CRITERIA DESIGN

E-2 Split the surface with diamond curves.

E-6 Same approach to the other panel list.

E-3

curv

E-7 M

Extrach two sides of the panel, choose the mid point of the ve, then vertically move the point according the vector of the panel.

E-4 Reverse the direction of movement.

Merge them together

E-8 And then remove some of them so as to group them including two different form of panel.

CRITERIA DESIGN

F FOLDABLE BIOMIMICRY PATTERN HEXAGON CELL

F-1 Attempt to subdivide the curve with hexagon curves.

F-5 Loft 5 curves to generate form .

CRITERIA DESIGN

F-2 Offset each hexagon curves to their center point.

F-6 Apply patterns onto surface

F-3 Move new curve vertically with

different height. And then loft two curves.

F-4 Add some pattern in the loft surface by extracting each control and reconstruct a new curve.

CRITERIA DESIGN

G PATTERN GENERATION FLOW ON SURFACE

STAGE 1 Foldable patterns

STAGE 2 Foldable patterns flow on surface scale rotation

STAGE 3 Foldable patterns flow on surface The scale of patterns influenced by attractive curve

CRITERIA DESIGN

H PATTERN GENERATION REMAP ON SURFACE

Point

CRITERIA DESIGN

1/2 Point on curve Divide Domian Surface

Isotrim

1/2 Point on curve

Line + Pt

Remap

Area

Orient

Scale Reconstruct point Move Move

Rectangle 3 Pt

Crv cloest pt

Max

Rotate

Scale

Remap

Curve

Rectanglar Array Area normal

CRITERIA DESIGN

I PATTERN GENERATION

CRITERIA DESIGN

CASE STUDY 2.0 SELECTION

CRITERIA DESIGN

CASE STUDY 2.0 SELECTION

CRITERIA DESIGN

CASE STUDY 2.0 SELECTION

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

This is a successful outcome which can embody the interaction between patterns and structure. There are many design possibilities behind this series of outcomes. All the patterns I made can be folded along etches and generate 3-dimensional shape. Moreover, all of these patterns can be prefabricated in accurate scale. For materially, I want to test what material is ductile enough for folding. I also want to test which pattern is the best one to fit on to grid. I add an influence curve to change the open and close of patterns. However, it will be better if the open and close of patterns can be influenced by the curvature of the form.

CRITERIA DESIGN

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

There is a regular logic behind this kind of patterns and all the patterns are will organized. Thus it can be fabricated. Furthermore, it can flow on can any kind of surface using the same logic. However, it is 2 dimensional and is suitable for faรงade design but cannot response to our acoustic pod design.

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

This outcome shows organized 3 types patterning: turn-up, turn-down and arranged gaping. By the way, light in different intensity can go through the gap in different angle. It can also be used for semi-private area, acoustic area and so on.

CRITERIA DESIGN

The surface formed by biomim folding. There are many etches folded to be 3-dimensional. By These patterns can be folded Once they are used in our desig interesting viewing perspective fabrication is quite important. I fi good to achieve this design appr

CRITERIA DESIGN

micry patterns has the ability of wholly on the pattern and the patterns can be the way, the entire surface is foldable. and reshaped in many different ways. gn of acoustic pod, users can have many es. As for fabrication, the accurate of find the texture of timber veneer is quite roach.

MATERIALTY

FABRICATION

DEVELOPMENT AESTHETICS

CRITERIA DESIGN

TECHNIQUE: PROTOTYES

CRITERIA DESIGN

B5 .1 PROTOTYPES 1.0

Triangulated form

The usage of polypropylene could be a mistake but also successful try as well.

According to the form that generated by Kangaroo, w laser cut a part of the model for contemporary form testing. The connections we use are eyelets. Compared t the tabs joints used in Dae Song Leeâ&#x20AC;&#x2122;s Component 101013 eyelets reduce the flexibility of this triangulated form an cause a problem that triangle panels are not able to fol to the angle that they are supposed to. At the end, it turn into a shape that curls itself up. However, visually th curled shape looks a bit more interesting than the ordere and regular shape in Component 101013.

Since the prototype we make is only a small part of th whole form, it is hard to tell whether this kind of connectio will fit the actual form or not. For future prototyping, w might test out the form with some constructible materia Besides, material selection will also relate to the fin proposal and its needs.

During this model making process, we also find out tha the definition of triangulation is restricting our design Triangulation can only create triangle pattern. Even thoug this planar triangulated structure provides us benefits fo future composition, it is restricting the pattern types tha applied on the form.

CRITERIA DESIGN

we m to 3, nd ld ns his ed

he on we al. nal

at n. gh or at

MATERIALS: POLYPROPYLENE, EYELETS

Our group consider that we will explore more complex pattern with constructing potential. In this case, the triangulation will be a obstacle and what we need is another medium that connect the form generated by the kangaroo to the pattern we want. After some discussion, we think the case studies and prototyping of another groupmate might help to solve this problem, potentially providing a structure system that represents the form and supports the pattern at the same time.

CRITERIA DESIGN

B5.2 PROTOTYPES 2.0

BALLOON VAULT

B5.1 Prototype One

CRITERIA DESIGN

The design varies from digital to fabrication. To reach the organic tessellated cells derived from VoltaDom, the relation between various cells and entire configuration can be abstract. Noticing the flexibilityof material are required, we tested single void and grouped void by balloons, strings and glue. Balloons are acted as temporary formwork to keep strings in shape until hardened. Strings are proposed to create linear surfaces with temporary form work of balloons and hardening by glue. The voids naturally generate while wrapping string around balloons, which create interesting patterns and visual filter.

This prototype shows the producing method is workable to make and connect cells. The strings perform as surfaces and structure at the same time through wrapping in certain density. However, due to whole producing process is handcraft, it is difficult to control each form of cells, which will also influence much the entire configuration. For further development, we need to think about a removable formwork for recycled use or find better surface material could replace strings.

CRITERIA DESIGN

B5.3 PROTOTYPES 2.0

balloon vault prototype making process

Balloon used as temporary formwork for strings to form a cone shape.

CRITERIA DESIGN

Cotton strings which contains more fiber are ideal for hardening in a frame surface.

Wrap the strings around balloons to create tessellated voids, and apply glue to immobilize the pattern. Puncture balloons until glue is dr-y and strings are hardened to get the clean fixed frame surface.

Use string and glue or wax to make connection between cell elements.

CRITERIA DESIGN

B5.3 PROTOTYPES 3.0

sin cos structure

The structure exploration based on sine curve referencing to South Pond Pavilion. To experiment the structure possibilities. Initially, there were failed attempts for plate clips with boxboard and notches with polypropylene. Box board strip with etches still behaves rigid and is really easy to exceed its bending property, which cause the failure of experiment. Notches for polypropylene are not fixed where the smooth poly-strips become loose frequently. After a few tests for different joint functions, taking advantage of the flexibility of polypropylene which is easy to fabricate by laser cut in any shape, our second prototype resembles the digital model well. Eyelet connections fix the structure successfully to achieve sine grid pattern created by stretching the grids is pleasant. The tructure can stand independently while the boundary bottom is attaching in place.

CRITERIA DESIGN

B5.3 PROTOTYPES 3.0

sin cos structure

CRITERIA DESIGN

I tried to use notches for poly strips or rectangular clips for etched boxboard, but all failed. Left top: boxboard is regid which does not allow it weaving in sine grids smoothly. Left bottom & Right: Polypropylebel strips with notches. This connection is loos, so that the structrue can not apply for variable patterns and forms.

CRITERIA DESIGN

B5.3 PROTOTYPES 3.0

sin cos structure

Above: strips smoothly weave to form sine structure.

CRITERIA DESIGN

Above: Eyelet joint to connect poly strips in a neat and strong way that always promise the structure follows sine order in different variations.

Left top: arc section for sine structure. Left Middle: top view for sine structure. Left Bottom: perspective for sine structure. We chose the simplest curvature surface â&#x20AC;&#x201C; arch, to test the opening variation of sine grids while the extra stretching forces are applied.

CRITERIA DESIGN

B5.4 PROTOTYPES 4.0 2-dimensional PATTERNS

CRITERIA DESIGN

These patterns of the prototype are the results of the penalization of the curvature surface. By analyzing the distance to the central points, many holes in different scales are drilled. There is almost no material limitation. We chose MDF for prototype making but we think we can also try Perspex, bamboo veneer and son on. By the way, various shadows can be created with the angle of incidence. However, the disadvantages are obvious that these pattern are 2- dimensional and the development is limited on â&#x20AC;&#x2DC;one planeâ&#x20AC;&#x2122;. We think it is better to explore the possibilities of 3- dimensional patterns.

CRITERIA DESIGN

B5.5 PROTOTYPES 5.0

Foldable biomimicry pattern

The prototype is mean to test the foldability of material. We find polypropylene is a good material which can be folded also its etches . The big issue that lead to failure is the connection. It is impossible to laser cut the prototype integrally and we need to joint many pieces together.

CRITERIA DESIGN

We choose cable tie to connect each patterns but the flexibility for moment at the connection cannot be minimized. Therefore, we are unable to join many pieces together to the accurate angle. As a result, the form cannot be folded wholly as we expect.

From the that conn need to e rigid to e from dig fabricatio

failure of this prototype, we realize nection is an important part. We explore how to make the connection ensure the shape arel controlled gital form generation to physical on.

CABLE TIE CONNECTION

CRITERIA DESIGN

B5.6 PROTOTYPES 6.0

OPEN- CLOSE PATTERNS

MATERIAL PERF

Cane is made from can be reshaped an the lining and hem suitable for our des

CRITERIA DESIGN

LASER CUT PATTERNS : As for patterns, polypropylene is used to make the 3-dimensional, foldable patterns. They can be folded along the etches. We drilled holes on the corners of these patterns and plan to apply them on cane.

FORMANCE OF CANE:

bamboo and bamboo is a widely grown and renewable resource. It is a pliable material and nd manipulated. After some researches, once we soak cane in water for around 15 minutes, micellulose in the bamboo cells will become flex. At this moment, we can reshape it. It is sign approach and can be used to construct our structure which could be flexible.

CRITERIA DESIGN

B5.6 PROTOTYPES 6.0

OPEN- CLOSE PATTERNS : Testing

The prototype test result is quite different from what we propose. Firstly, we are surprised by the interaction between cane and polypropylene. The friction between cane and polypropylene helps with holding patterns in shape and there is no more connection required.

Secondary, we find the simplest qu characteristic of plasticity. It can be frictions force between cane and poly has the ability of holding the two-dir both the pattering characteristic and

As for other patterns, they can be f already shaped and there is no interac suitable for 1 direction array instead o B

CRITERIA DESIGN

uadrilateral pattern is the best due to its e shaped in waving shape retained by the yproplene. Furthermore, this kind of pattern rection grid. By the way, the patterns have the connecting function.

folded in 3-dimensional shape. They are ction with cane. Furthermore, they are only of 2-direction grid. CRITERIA DESIGN

B5.6 PROTOTYPES 6.0

OPEN- CLOSE PATTERNS : Prototype making process

Stage 1. Drill holes on quadrilaterals

Stage 3. soak in water for more than 15 minutes

CRITERIA DESIGN

Stage 2. Apply quadrilateralson patterns to c the installation process of patterns number of patterns is right or it will b which is the disadvantage of the stru

Stage 4. Bend in two directions

canes to form structural grid. During , we need to make sure the series be quite difficult to disasembly ucture .

FInished grid and patterns . Patterns are gradually varied and the joint direction of each patterns are different to make the patterns waving.

Stage 5. Hold it in the shape we want.

CRITERIA DESIGN

B5.6 PROTOTYPES 6.0

OPEN- CLOSE PATTERNS : Final outcomes

CRITERIA DESIGN

By reversing the joint direction, the patterns are shaped in waving form and they look different from outside-in between inside-out. The open and close of patterns are influenced by the curvature of the structure. By the way, it can response to our design approaches of controlling the light and sound . Furthermore, there is no connection required to fix the patterns on which is even better than my reverse engineering precedent. Due to the various scale of patterns, changeable shadows are created.

CRITERIA DESIGN

TECHNIQUE PROPOSAL

SITE The site for the acoustic pod is roughly a 1.5*2*2.5 volume and the pod is mainly a meeting area. As a pod for meeting or gathering, noise control is quite important. We might control the noise by the pattern panels that are set in different angle, size or curvature according to the acoustic attractors of the space, or by attaching sound absorption material onto the pattern panels. Apart from this, the function of the pod and the location of the pod in the space will also affect the sound control performance. For example, if the pod is only for important meeting, then a high quality of sound control is required while the quality can be lower when the pod can be used for temporary gathering and chatting. As for the location, the pod sitting right at the middle of the space without touching any wall will create a different sound experience from the pod that sits next to the wall. In this case, the function of the pod should be clearly defined and we need to think more about the material selection and the size or scale of our patterns. However, we can challenge the idea of acoustic control as well. A right amount of noise will help to increase creativity [1], which means a productive working or studying enviro

CRITERIA DESIGN

B6 DEISGN PROPOSAL PROPOSAL:

To make a pod that wear sound and/or light controlling pattern which sits on a rigid frame structure that refers to the form generated by parametric design tools. As mentioned before, we are intending to use the structure to represent the dynamic form and support the pattern elements. We are trying to engage what we have done previously together, regarding the form, structure and pattern as a whole rather than 3 separate parts. Just like the last prototype at B.5, the cane grid is holding the pattern and the canes have a potential to show the dynamic form generated by the simulation under certain curving forces.

OPPORTUNITY FOR INNOVATION:

Is it possible to make the whole form (structure) movable or adjustable according to different lighting or sound need of the pod? Is it possible to make a small machinery to control the openness of the panel to allow sounds or lights getting into the pod?

ACHIEVEMENT OF THE TECHNIQUE:

With this technique, we are going to combine three approaches of designing into one design. Since this technique require us to have careful selection of material and we have to test out various material to see how well the pattern will work with the structure, we can gain more experience in terms of materiality for future optimization of the proposal.

CRITERIA DESIGN

ADVANTAGE OF TH

Kangaroo simulated form w opportunities to reduce mater Structure, as a communicatin present the form and support Cane is a proper material for c

DISADVANTAGE OF

Merging three designing app among approaches and we ne we need and what we donâ&#x20AC;&#x2122;t n characteristic in the final prop The thickness of the cane we u be useful for a larger scale con

HE TECHNIQUE:

with minimal surface provide rial usage and cost. ng medium, has a potential to t the patterns curving geometry

F THE TECHNIQUE:

proach might cause conflicts eed to make a balance on what need. It is hard to keep every posal at the same time. use for prototyping might not nstruction.

CRITERIA DESIGN

LEARNING OUTCOMES

OBJECTIVE 2:

Ability to generate a variety of design possibilities for a given situation The form generation process in grasshopper is quite cohesive and the final result is controlled by multiple parameters. In this way, parametric provides me with me design possibilities. The exploration process of generating matrix helps me learn more about the cohesive logic behind design algorithm and find out the potential of parametric design. For part B, I am doing acoustic pod, grasshopper and kangaroo plug-in are used for form generation.

OBJECTIVE 5:

OBJECTIVE 6:

Capabilities for concep architectural projects

In both part A and pa and my understanding The realization proces programming process By the way, the techn Furthermore, it inspire

OBJECTIVE 8: D

Ability to make a case for proposal

techniques

From Part B, my partners and I come up with too much ideas without much thinking. However, we can exam all the possible solutions using criteria set based on researches, together with the fabrication of prototypes, optimized solutions to the problem can be find out. By the way, we just need to focus on all satisfied outcomes. In this process, some mistakes or unsatisfied outcomes can help us with the design innovations.

During part B, my com process to get familia grasshopper. At the b connected the compo all of my file crashed d could be quite inter different when we cha my conputational tech

CRITERIA DESIGN

ptual, technical and design analysis of contemporary

art B, I analysis two some precedents systematically g to architectural development raised to a new level. ess of reverse engineering introduces me the digital and fabrication process. nic issues behind design are better comprehended. ed me a lot for future design.

Developing a personalized repertoire of computational

mputational skill is largely improved. It is such a tough ar with these computational techniques, especially, beginning, I misunderstood the data structure and onent in the wrong way when I am doing grasshopper, down. However, data structure in visual programming resting because resultant form will become quite ange the data structure. Thus , I still need to improve hniques to achieve my design proposal.

CRITERIA DESIGN

. 8 APENDEX

Achimmenges.net. (2017). Differentiated Wood Lattice Shell | achimmenges.net. [online]

Burkus, D. (2017). Turn It Up: How the Right Amount of Ambient Noise Increases Creativit up-how-the-right-about-of-ambient-noise-increases-creativity [Accessed 15 Sep. 2017].

CRITERIA DESIGN

Available at: http://www.achimmenges.net/?p=4339 [Accessed 15 Sep. 2017].

ty. [online] 99U by Behance. Available at: http://99u.com/articles/16711/turn-it-

CRITERIA DESIGN

E T A I L E D

D E S I G N

138

PROJECT PROPOSAL

C1 DESIGN CONCEPT C2 TECHNIQUE ELEMENTS PROTOTYPES C3 FINAL DETIALED MODEL C4 LEARNING OBJECTIVES AND OUTCOMES

PROJECT PROPOSAL

139

140

PROJECT PROPOSAL

DESIGN CONCEPT

PROJECT PROPOSAL

141

C1.1 Reflection on Feedback

142

PROJECT PROPOSAL

Based on a lot of helpful feedback received from Part B, a number of details remain to be improved in order to achieve and express in its better method. These changes can be divided into three sections logically and critically.

RECIPROCAL INTERLOCKING SYSTEM

In general, we decided to keep exploring and testing the simple idea of interlocking system which we think has the greatest developable potential. Within this system, joints are unnecessary for the whole form that the panels are functioned both as patterns and connections for structure. The friction promises that the patterns can curve itself upward, and lock the cane cores in grid structure.

MATERIALITY AND ATMOSPHERE

However, in terms of materiality, polypropylene is not the best material for the pattern for our final design since it is only a kind of prototyping material rather than a constructible option. To refine the polypropylene panels in previous stages, there were more expectations from Finn to consider other materials, such as bamboo veneer, which possess good tensile quality to fulfill our bending purpose. The entire system applying natural materials that cane for strcucture and bamboo veneer for panels, will also benefit for creating a relaxing working atmosphere of natural environment to release people’s pressure. Another consideration about the cane is diameter. A proper diameter of cane cores for the structure, being able to support the whole form with pattern and looking neat at the same time, needs to be tested out in the following stage.

OVERALL FORM

While doing different material testing, the group needs to find out the final form for the design. Site analysis from several perspectives, may contribute to setting down our final form, which satisfy our themes ‘Hiding without isolating’. However, applying the interlock system to the overall form in a larger scale may reveal some hidden problems that we cannot realize in a small scale. Therefore, a larger scale prototype is necessary to certify our design is workable.

PROJECT PROPOSAL

143

C1.2 Technique & Construction

Experimentation & Gen

144

PROJECT PROPOSAL

nerating Form

PROJECT PROPOSAL

145

C1.3 Precedents

146

Differentiated Wood Lattice Shell Jian Huang // Minhwan Park, Harvard GSD // 2009

The Serpentine Galleries Sou Fujimoto // Hyde Park, Lond

In this project, the structure and panels are separated systems. The upward tails of patterns are defined by the bolts and nails, which fix, support and deform the panels on grid structure. We adopted the ideas of grid structure and patterns, moreover, took them forward with more intelligent connection strategy â&#x20AC;&#x201C; interlocking.

This translucent architecture fr generates a profound sense of that geometry and constructed surroundings. In this way, refle utilize the strictly ordered struct space within a space, which e experience in office.

PROJECT PROPOSAL

don // 2013

ramed by thin and white structure f lightness. We got the inspiration forms could meld with human and ecting on our concept, we tend to tural system to create an interesting encourages people to share their

Forest of Light Sou Fujimoto // Milan // 2016 In this installation, a forest consists of countless light cones made from spotlights above, which pulsate and constantly undergo the state of flow. People could strongly experience a transition of space by the charm of light and mirror. This reminds us that a meeting space could be built existing between organic and abstract. The atmosphere provides the spatial definition through materials and form system, which blurs the boundaries between interior and exterior allowing the communication around space

PROJECT PROPOSAL

147

C1.4.1 Form Matrix l Loft Surface

148

PROJECT PROPOSAL

To fulfill the hiding purpose, we created and tested many forms in digital model and physical process. There were primary attempts testing simple lofting systems. With the assist of grasshopper, the shape was built based on the algorithm starting from a few points, then moving series of 2D-mateball curves. Through scaling, rotating and shattering, the surface gets distorted, weaved and coiled to form our expected flow. However, this method could merely cope with the form like wall, which lose the consistency in ceiling level.

PROJECT PROPOSAL

149

C1.4.2 Form Matrix l Loft Surface

150

PROJECT PROPOSAL

151

C1.4.3 Selected Form

Since we were not satisfied with the first algorithmic attempts form finding, there was the second digital exporting based on grid shell algorithmic definitions. Similarly, the grid was constructed from series strictly ordered points in flat plane. Exploring different sets of anchor points, the flat grid will be lifted up by bending force. Through this logic, the Kangaroo plug-in could examine the best forms with force bearing analysis. Therefore, the grid forms are bending and curving in more reasonable and practical method. The final form we selected in black follows the criteria that covering the space all round to achieve our ‘hiding’ purpose, and providing two-side access as well. The shape for the grid shell mimic a pair of ‘give hands’, which symbolizes the success cooperation between company, clients and team members.

152

PROJECT PROPOSAL

153

C1.4 key Conceptual Diagram

154

PROJECT PROPOSAL

155

TECTONIC ELEMENTS PROTOTYPES

156

PROJECT PROPOSAL

This process focuses on the experimenting and prototyping following the design concept concluded in C1. The new pattern material, bamboo veneer, has been fully explored in bending and friction performance. The design effects also required further development and there comes out structure defects, which will be optimised in next stage.

PROJECT PROPOSAL

157

C2.1.1 MATERIAL TEST

Bamboo veneer thickness & performance 0.9mm Bamboo Veneer ďź&#x2C6;soaked in water)

0.9 mm thick bamboo veneer 20(L) x 12(W) mm panel

Top view Bending along grain

With the suggestion about materiality for further development, bamboo veneer was considered as our pa

Firstly, we tested out 0.9mm bamboo veneer panels to see its performance after soaking. It behaves well direction to the grain. However, for our design, it requires the material in small panel size to be able to bend

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Side view Bending along grain

attern material due to its nice deformability after soaking into water.

when the 20 x 12 mm panel bends along its grain, yet too rigid to bend in perpendicular d in both directions. Obviously, the 0.9mm thick bamboo sheet cannot fulfil our proposal.

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C2.1.2 MATERIAL TEST

Bamboo veneer thickness & performance

0.6 mm thick bamboo paperback

Top view

Bneding along grain

Twisting diag

20(L) x 12(W) mm panel

As account for the failure of the first material testing, we speculated the thickness impairs the bending which performed a great capability to deform and bend. It is more flexible than 0.9mm thick one in improved after cold water immerses. After around 15-minuteâ&#x20AC;&#x2122; soaking, we try to bend, twist the pan

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gonally

Side view

Bending along grain

Bending perpendicular to the grain

g flexibility of bamboo veneer sheet. This time, we tested about the 0.6mm bamboo veneer paperback, bending performance. The malleability and plasticity of bamboo veneer paperback (0.6mm) could be nel and there is less prone to cracking.

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C2.1.3 MATERIAL TEST Double -Layer

Double layer the panels with perpendicular grain

Double-layer pan

Based on our design concept of interlocking system, the structure should be fixed by the panels since there working on the prototypes, there pump out a major problem that sometimes the reverse bending forces are

To address this issue, we came up with the solution that sticking double layer of paperback with perpendicul cooperates well with cane structure and reduce the cracking possibility to large extend.

To accommodate with ceiling equipment, such as light fittings, there are slits cut on the panels to create ligh

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nels assembled on cane grid

Double-layer panels with slits assembled on cane grid

are two side of panels bending reverse to lock the canes in position. When e too strong where some pattern in small sizes are stretched to crack.

lar grain to resist cracking along grain at back side. This double layer system

ht projecting through.

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C2.1.4 MATERIAL TEST size of canes

We initially used 4mm wide canes for the structure, which is light and reformable. But the 4mm cane is not strong enough to support the whole structure if the model is in 1:1 scale. Then we tried the 8mm cane, which is stronger than the 4mm one. However, the finishing of the 8mm cane is rough. To solve the supporting problem, we decide to sacrifice the consistency of the structural material and use cane for one direction of the structural grid and Perspex rods for the other direction.

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the relationship betwee

The relationship between th pattern and the cane also im of the friction. The friction wi beautifully when the differenc cane and hole is smaller. But same, otherwise it will be di through the pattern and bam become hard to bend.

en canes & the sizes of holes on patterns

he size of the holes on mpacts the performance ill form the pattern more ce between the size of the t their size cannot be the ifficult to insert the cane mboo veneer pattern will

As for prototyping scale (about 1:10), these soaked panel is suitable for physical fabrication and they are bended dynamically along with the curvature of the structure. However, when the scale become bigger (1:4 or 1:1), the size of the pattern gets bigger and the bending extent become less. Hence, we no longer need to soak the bamboo veneer to enhance its plasticity.

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C2.2.1 FABRICATION panel laser cut

Double Layer with slit

4 Sharp Corners

Arc Edges

Grow in Size

There are several limitations and challenges while realizing mass production of our patterns in four kinds. The only available size of bamboo veneer paperback is 2400mm*12mm. We need to divide 1 sheet to 8 pieces In order to reduce wastage, we need arrange the patterns tightly for laser cut. The shortcoming during this proc wastage. Another shortcoming is that the manually arrangement process is quite tedious.

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s to meet laser cut requirement (900mm*600). cess is that it is quite difficult to estimate the errors of laser cutting and will result in more

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C2.2.2 FABRICATION cane documentation

3350mm

2750mm

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For essay assembly and identification, we index the canes according to the length calculated in grasshopper. Moreover, straightforward process from digital designing to fabrication was achieved. However, the available length of canes confines this method. The longest length we need is 3.35m but the available length for us is only 3.25m. In order to reduce this error, we manually adjust our form to compensate the restriction.

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C2.3 CONSTRUCTION SEQUENCE

The construction work for our prototype is unique and the assembly process follows a knitting rule, since there is no joint between components. The completed structure system applied with patterns would be lifted up by squeezing anchor cores. Step 1: Laser cut bamboo veneer paperback panel. Step 2: Stick double layers of panel with perpendicular grain. Step 3: Reversely bend two adjacent sides of panel, then get two cane cores cross passing through holes Step 4: Move cane cores in vertical and horizontal axis until panel is located at the other end of cane cores. Step 5: Repeat the previous steps, to add panels according to one axis (horizontal cane core). Step 6: To knit more rows, assemble the second row of panels from the other end of cane cores and stay from the first row in distance until this row is complete. Step 7: fix the cane cores in vertical axis and push the second row approaching the row in front evenly, carefully. Step 8: Follow the same steps before, to add more panels for integrated shape in flat. When it is finished, the grid structure would arch up through squeezing the anchor cores.

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Step 1

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ver t

ica

l ax

is h

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la onta z i r o

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C2.4 PROTOTYPE 1

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OBJECTIVE: Briefly outline our design concept Description: In order to test the performance of large size patterns and actual size canes, we made a full size prototype.

IMPROVEMENT: The arc sided patterns are prone to cracking at the arc side due to non-uniform pressure during the assembly process. It is difficult to support the entire form by 5mm canes and the form can be easily deformed. Thus, we need to adjust the form to meet the restrictions of canes.

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C2.5 PROTOTYPE 2

OBJECTIVE: Deal with problems form last prototype DESCRIPTION: During the assembly process of prototype 1,

the cracking rate of patterns is extremely high result from nonuniform pressure on the arc side. In order to deal with this problem and retain patterns in waving shape, we change the arc side to a pointed corner with two sides to scattered the pressure.

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FINAL DETAILED MODEL

The through fully experimented for prototyping, the assembly process has been proved as a functional method following the knitting manner. As a potential trouble, the proposed form could not be promised by all cane structure system lifted up by squeezing manually. In the case of prototyping, there were too many factors influencing our design form, which grew further different from the proposed digital model. After arching in various forms, we found the height, shape of all cane grid shell is largely determined by the density of patterns, size and length of canes, etc.

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C3.1 CONSTRUCTION SEQUENCE

To make model accurate according to our digital proposal, we adopt Perspex, then laser cut into rods with precise curvature and measurement, which guarantees the final form standing by one side and show the gradient of pattern size obviously. Step 1: Laser cut bamboo veneer paperback panel. Step 2: Stick double layers of panel with perpendicular grain. Step 3: Reverse bend two adjacent sides of panel, then get cane core and Perspex rod cross passing through holes. Step 4: Move Perspex rod in vertical and cane core in horizontal axis until panel is located at the other end of cane cores. Step 5: Repeat the previous steps adding panels according to one axis (horizontal cane core). Step 6: To knit more rows, assemble the second row of panels from the other end of Perspex rods and stay from the first row in distance until this row is complete. Step 7: Holding the structure up and push the second row approaching the row in front evenly, carefully. Step 8: Follow the same steps before, to add more panels for integrate shape in 3d. The Perspex rods could guarantee the arch level.

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Step 2

Step 1

Perspex rod Ver ti

cal a

x is

a ntal o z i r o

x is

Cane core Step 3

Step 4

Step 5

Step 6

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Step 8

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C3.2 FINAL MODEL

IMPROVEMENT AND ADVANTAGES: We change the material of main supporting structure to clear Perspex. Therefore, the strong fixed structure can mold the form without any deformation. Furthermore, the sense of floating weightlessness can be realized.

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C3.3 FURTHER DEVEPLOMENT

Original pattern& Prototype

Stretched Pattern & Prototype

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As for the final design, we consider that it might achieve a higher level of visual accessibility and a better acoustic control if the shape of the pattern can be deformed in a bigger extent.

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LEARNING OBJECTTIVES AND O

OUTCOMES

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OBJECTIVE 1:“interrogating a brief” by considering the process of brief formation in the age of pioneering enabled by digital technologies;

OBJECTIVE 2: developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

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The brief is to design an acoustic pod for an existing office and understanding the meaning of ‘acoustic’ is the first step to approach to the brief. Our understanding to ‘acoustic’ is beyond sound and noise control, taking the visual privacy, materiality and atmosphere into consideration. The concept of our design is to create a meeting space that is hidden to a certain extent yet not isolated. Digital technologies, mainly grasshopper, enable us to finish our design process form site analysis, form finding to final optimizing stage based on the brief.

With the site analysis and its visualization done with grasshopper, we get clearer about what the form should be like. As for the overall form, a variety of design possibilities is generated with, mainly, the Kangaroo plug-in by altering the parameters within the definition during the form finding process. We also make use of some simple but useful algorithmic design for patterning variation, generating different kinds of pattern sizes according to the need of the design. In terms of the structure, the weaving interlocked structure is relatively hard to model in digital modeling. Even though we finally find out a way and model it out in Grasshopper, the limitation of this Rhino plug-in is exposed: not everything can be solved with a functional component and in some cases, it becomes less efficient to model in Grasshopper with algorithms than modeling it in Rhino directly. Therefore, grasshopper is an assistant tool and we are supposed to use it accordingly.

in various specifically parametric and digital

After all, we manage to resolve the digital workflow and manage to translate it into physical fabrication as well. The designing, presentation and documenting processes enable us to better understand the general workflow from design to construct and most of the time there are overlapping between these two stages, which allows more feedbacks and brings more new possibilities or alternatives for optimizing the previous design. For example, during the constructing process, we keep communicating with our material supplier in order to figure out the best way to apply the material to our design.

OBJECTIVE 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

By changing the material from polypropylene to bamboo veneers from Part B to Part C, we try to create a warmer atmosphere in contrast with the cold concrete around the office. In other words, we intend to define the meeting space into a different air by using a different and proper material for the medium (the acoustic pod) that communicating with the meeting space and the rest of the office.

OBJECTIVE 5: developing “the ability to make a case for proposal” by changing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

Firstly, the brief of making an acoustic pod is quite challenging since then we are supposed to make a constructible 1:1 design, which requires accurate site analysis and more material testing. Doing so, in face, allows us to know the material (cane and bamboo veneer paperback) performance well and deeply. Besides, since the design is intended to be built physically, we also try to consider beyond a studio level design project, instead a real proposal for potential clients. Because of this, other than material performance, suppliers, transportation, manufacture and some other enabled budgets require careful considerations as well.

OBJECTIVE 3: developing “skills three-dimensional media” and in computational geometry, modelling, analytic diagramming fabrication;

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OBJECTIVE 6: develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

OBJECTIVE 7: develop foundational understandings of computational geometry, data structures and types of programming;

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Individual member has all done the reverse engineering to a high level which made the conceptual collage of different ideas possible and easy to approach. Although the aspects or design direction of our precedents for reverse engineering are diverse, we manage to figure out a way to merge them properly, which results in the interlock system with the form generating with Kangaroo plugin in Grasshopper, and push it forward. Moreover, we also technically analyze our digital form in terms of curvature and this analysis influences either the size or density of the patterns.

OBJECTIVE 8: begin developing a personalized repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

We have developed our personalized repertoire of computational techniques through the sketchbook that we keep working on since Part A. To us, understanding the logic of how things work in those algorithmic aided software seems more important than making crazy stuffs with them, since parametric design is based on logical workflow. We also try to apply parametric method to other fields such as graphic design, which interesting outcomes. Though out the Studio, we experience both the advantages and disadvantages of Grasshopper, which allows us to use parametric design tool in a wiser and more effective way in the future.

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