Lim_yu_chia 816571 finaljournalstudioair by yuchialim

STUDIO air Yu Chia Lim 816571 2018 Semester 1 Tutor: Chelle

Table of contents Part A. CONCEPTUALISATION

Part C. DETAILED DESIGN

A.1 DESIGN FUTURING 5

C.1 DESIGN CONCEPT 44

A.2 DESIGN COMPUTATION 11 A.3 COMPOSITION/ GENERATION 17 A.4 CONCLUSION 22 A.5 LEARNING OUTCOMES 23

C.2 TECTONIC ELEMENTS & PROTOTYPES 49 C.3 FINAL DETAIL model 54 C.4 LEARNING OBJECTIVES & OUTCOMES 60

Part B. CRITERIA DESIGN B.1 RESEARCH FIELD 25 B.2 CASE STUDY 1.0 26 B.3 CASE STUDY 2.0 29 B.4 TECHNIQUE: DEVELOPMENT 32 B.5 TECHNIQUE: PROTOTYPES 33 B.6 TECHNIQUE: PROPOSAL 39 B.7 LEARNING OBJECTIVES & OUTCOMES 43

A M

y name is Yu Chia and I’m currently a third year student at the University of Melbourne, studying architecture under the Bachelor of Environments course. My interest in architecture was initially stemmed by a visit to the beautiful and monumental Taj Mahal when I was 16. After two years of study in university I learned about the history, design and construction aspects of architecture. My first encounter with digital design was through Digital Design and Fabrication, a subject I did in my second year. Our design brief was to reinterpret personal space by creating a second skin, to which my group members and I came up with the idea of a moving ‘confession room’ space separating two people from the public. The

INTRODUCTION form was created through Rhinoceros but the fabrication did not turn out as expected, due to the effects of gravity and material choice. Through this subject I hope to learn more about digital design and bridge the gap of knowledge that exists between design and fabrication which was a problem I encountered in the previous subject.struction aspects of architecture.

Fig 2.Final model for Digital Design Fabrication project

Fig 3. Prototype for Digital Design Fabrication project

Fig 4. Model for Digital Design Fabrication project

A. 1

DESIGN FUTURING

“Whenever we bring something into being we also destroy something” 1 - Tony Fry in Design Futuring

he notion of the future being finite has not crossed my mind until I read Fry’s Design Futuring. The act of destroying our future with unsustainability and human-centric actions was referred to as ‘defuturing’1 by Fry. In this rapidly changing world where technologies dictate our lifestyle, the ethical implications of design are becoming increasingly important due to the methods we employ to satisfy our needs. To create is to destroy - if we do not attempt to slow the process of defuturing, the consequences can be dire. On the other hand, Dunne’s Speculative Everything2 had a more positive outlook on the future of design, its focus placed on generating possible futures, also called speculative design. These ideas are important as every design intent has an impact on the world we live in. 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

CASE STUDY 1 Los Angeles Rams Stadium by HKS architects

cheduled to open in 2019, the Los Angeles Rams Stadium features a curved metal roof which wraps around the building, leaving an opening for the open area of the stadium. This roof structure is made up of approximately 70,000 unique panels, stretching across 500,000 square feet of surface area3 . The case study written by Warton and May from HKS Line and Kovacevic from Southern Methodist University suggested an alternative method for the fabrication of the roof struc3. Architectmagazine.Com, 2018 <http://www.architectmagazine.com/ project-gallery/los-angeles-rams-stadium_o> [Accessed 3 March 2018]. 4. Achim Menges and others, Fabricate.

ture, which is intended to open improved future possibilities to the fabrication of similar structures. The articleâ&#x20AC;&#x2122;s critique of the shop-fabrication and assembly of the ZEPPS process included its propensity for error and lack of workflow connectivity between design and fabrication4. Using the results of the case study, the authors showed that 3D printing may be an alternative fabrication method even at this scale of work, though they acknowledge that with the current resources which are limited and not widely available to many, the scope of this produc-

tion may prove difficult at this stage. However, by exploring such possibilities, we are made aware of the increasing versatility of the tools we have at hand to expand fabrication methods in the industry.

Fig 5. Los Angeles Rams Stadium by HKS Architects. Image from http://www. architectmagazine.com/project-gallery/los-angeles-rams-stadium_o> [Accessed 5 March 2018].

Fig 6.3D printed joint

Fig 7. 3D model of joint design

Fig 8. Los Angeles Rams Stadium by HKS Architects. Image from http://www. architectmagazine.com/project-gallery/los-angeles-rams-stadium_o> [Accessed 5 March 2018].

CASE STUDY 2 Philips Pavilion by Le Corbusier and Xenakis

he Philips Pavilion was designed for Expo ’58 in Brussels, Belgium in an intent to celebrate the technological advancement in the postwar period.5 It was a temporary structure and was demolished after the fair but remained as an inspiring piece of architecture in history. The structure was composed using hyperbolic paraboloids generated from connecting straight lines which are unparallel to each other. The construction of its complex shape was carried out using prefabricated panels hung from steel cables, and it is possible 5. ”Philips Pavilion”, Architectuul.Com, 2018 <http://architectuul.com/ architecture/philips-pavilion> [Accessed 4 March 2018]. 6.”The Church Of St. Aloysius / Erdy Mchenry Architecture”, Archdaily, 2018 <https://www.archdaily.com/296093/the-church-of-st-aloysiuserdy-mchenry-architecture> [Accessed 4 March 2018].

because the hyperbolic paraboloids were generated by straight lines5. This architectural work combines the art of music and architecture, as the form itself was inspired by Xenakis’ composition Metastasis5.

by Erdy McHenry Architecture6 uses a hyperbolic paraboloid roof which extends form the ground to stretch over a curved structure, and its sweeping forms may be inspired by the Philips Pavilion.

If recreated in this era, there would be much more advanced fabrication technologies which may speed up the building process. However, in 1958, such a modernistic form was considered one of the first to be constructed, its prefabrication methods being well ahead of time. The Church of St. Aloysius

Fig 9. Philips Pavilion, image from https://www.archdaily.com/157658/ ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis [Accessed 8 March 2018].

Fig 10. Philips Pavilion construction detail, image from https://www. archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis [Accessed 8 March 2018].

Fig 11. Philips Pavilion under construction, image from https://www. archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis [Accessed 8 March 2018].

Fig 12. Philips Pavilion design sketches, image from https://www. archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis [Accessed 8 March 2018].

Fig 13. The Church of St. Aloysius, image taken from https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture [Accessed 8 March 2018].

Fig 14. Architecture by Zaha Hadid, image taken from https://www. arch2o.com/10-parametric-pluginsevery-architect-should-know/. [Accessed 8 March 2018].

A.2

DESIGN COMPUTATION

â&#x20AC;&#x153; Beyond being merely a design technology, parametric design is a new form of the logic of digital design thinking.â&#x20AC;?7 -Rivka Oxman & Robert Oxman in Theories Of The Digital In Architecture

he use of digital tools in design has developed from replacing the paper and pen as drafting tools to digital modelling and subsequently parametric design. With parametric design, a new design logic emerged where parameters can be varied to change design outcomes. The significance of this development showed through the subsequent innovations of digital design to emulate building performances by calculating energy and structural requirements7. With these new tools, the possibilities of intergrating sustainability into architecture have expanded greatly. 7. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10

CASE STUDY 3 ICD/ ITKE Research Pavilion 2015 - 2016

pon first look at the 20152016 ICD/ITKE Research Pavilion, it reminded one of large basketballs sewn together. This structure however was made up of plywood strips sewn together using robots. The combined usage of computation and computerisation was vital in the construction of this pavilion. Physical computation allowed the material properties of timber such as its stiffness and elasticity to be tested and the results were vital in helping us understand the capabilities of timber as an elastic and bendable material. This pavilion is a pioneer in demonstrating how timber can be industrially sewn

to create forms and structure on an architectural scale8. The multi-disciplinary approach towards the pavilionâ&#x20AC;&#x2122;s design, as experts from different fields: architects, engineers, biologists, and palaeontologists, participated in the design process to yield this successful pavilion8. The design strategy of this pavilion was based on biomimetic research of the structure of sea urchins and sand dollars, their double-layered segmented lightweight plates being inspiration for the form, and the fibrous connectors of certain species of sea urchin led to the development of this design

which uses a similar methodology by sewing timber plates together8. An understanding of the material properties of timber was extremely important as each plywood strip was individually laminated so that the grain direction and thickness of each of the 400 over strips was varied according to the stiffness requirement at a specific part of the structure. The computation of these material properties allowed thin lightweight strips of plywood to be sewn together like a piece of fabric. This type of connection decreased the weight of the overall structure as no metal connectors were required, making its structural

weight only 7.8kg/m28. This pavilion is a good example of the expanded possibilities of using timber as a material to create more organic forms through digital fabrication, with computation aiding the process.

8. â&#x20AC;&#x153;ICD/ITKE Research Pavilion 2015-16 | Institute For Computational Design And Constructionâ&#x20AC;?, Icd.Uni-Stuttgart.De, 2018 <http://icd.uni-stuttgart. de/?p=16220> [Accessed 8 March 2018].

Fig 15. ICD/ITKE Research Pavilion 2014-2015, image from https://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart/572b5bf2e58ece4544000026-icd-itke-researchpavilion-2015-16-icd-itke-university-of-stuttgart-photo> [Accessed 8 March 2018].

Fig 16. ICD/ITKE Research Pavilion 2014-2015, image from https://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart/572b5bf2e58ece4544000026-icd-itke-researchpavilion-2015-16-icd-itke-university-of-stuttgart-photo> [Accessed 8 March 2018].

Fig 17. ICD/ITKE Research Pavilion 2014-2015 design process, image from https://www.archdaily.com/786874/ icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart/572b5bf2e58ece4544000026-icd-itkeresearch-pavilion-2015-16-icd-itke-university-of-stuttgart-photo> [Accessed 8 March 2018].

CASE STUDY 4 Mesh Mould by ETH Zurich

he mesh mould is an innovation created by researchers at ETH Zurich which aims to revolutionise the construction of steel-reinforced concrete structures. By combining formwork and reinforcement, this method of construction allows architects and engineers to build more complex structures without extra cost and also save material by not creating waste through having separate formwork9. This robotically fabricated metal mesh is designed through the computer, in a way such that the

mesh is dense enough to hold in the concrete so that it does not run out laterally9. The versatility of the mesh mould is such that it can be formed into any shape, expanding the possibilities of concrete construction as well as sustainable options for building. The limitations with using traditional formwork such as the inability to vary thickness of concrete walls, are non-existent when the mesh mould is used. This flexible formwork which also provides reinforcement is a great example where the computer can aid us in innovating technologies that improve the

workflow and sustainability of building processes. Even though computer-aided design received much criticism in the beginning of its usage, it has gone far and has proven itself to be an indispensable tool, due to the advancement in digital technologies. Parametric design has further developed possibilities in designing form which would be difficult without using a computer. Its importance is stressed in its abilities to generate multiple possibilities without actually investing in the results itself. As in Dunneâ&#x20AC;&#x2122;s

Speculative Everything10, he emphasised the importance of speculative design, not because of the results it can yield, but the possibilities it can bring to us. Here using the mesh mould, the ability to create a design that is not necessarily physical has proven to be useful in driving us further in the field of design and architecture.

9. NCCR (DFAB) and others, â&#x20AC;&#x153;Mesh Mould: Robotically Fabricated Metal Meshes | Robohubâ&#x20AC;?, Robohub.Org, 2018 <http://robohub.org/ mesh-mould-robotically-fabricated-metal-meshes/> [Accessed 8 March 2018]. 10. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

Fig 18. Mesh mould by ETH Zurich, image from http://robohub.org/mesh-mould-robotically-fabricated-metal-meshes/ [Accessed 10 March 2018].

Fig 19. Mesh mould by ETH Zurich, image from http://robohub.org/mesh-mould-robotically-fabricated-metal-meshes/ [Accessed 10 March 2018].

Fig 20. Mesh mould by ETH Zurich, image from http://robohub.org/mesh-mould-robotically-fabricated-metal-meshes/ [Accessed 10 March 2018].

A.3

COMPOSITION/GENERATION

“ 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.”11 - Brady Peters, in Computer Works - The Building of Algorithmic Thought

ifferent from computerisation, computation, as defined by Peters, refers to ‘ the use of the computer to process information through an understood model which can be expressed as an algorithm’. I found the author’s statement that computation can provide inspiration to an architect’s design to be interesting but conflicting. Does it still constitute as a design intent if the designer encountered it as an accident? Peters also stated that computation may potentially exceed the intellectual of designers and I found that a little disturbing as it almost seems as if computers would come alive in the future. 11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

CASE STUDY 5 Esker House by Plasma Studio

he undulating roof of the Esker House was added onto the existing house, creating an interesting roofscape and new spaces for the house. It was the architect’s intent for it to look like the dolomites in the surroundings to establish a relationship with the context12. The rippling effect of the timber frames were created by varying the lengths to create a continuous curve. This roof form can be modelled in Grasshopper and by using algorithms, the designer would be able to vary the lengths of the individual strips of timber

easily, generating different rippling effects. The widths of the gaps in between can also be controlled easily and modelled so that the different amounts of light can be let through the gaps for optimal sunlight. This leads to the possibility of using computation to simulate building performances. This allows the designer to evaluate the building’s performance during the design process and explore various options before arriving to the final design. This is not only efficient but also ensures that we would be able to create more sustainable buildings.

The architect of Esker House has chosen to consult specialists while fabricating the roof design, due to the interconnectivity of different materials within the design12. With advancement in computation, future technology may allow us to simluate material properties and behaviour within the software and generate results using that. This opens a whole world to the exploration of material tectonics. With these resources, architects and designers will be able to make more informed design decisions and focus on design ethics as well as construct betterperforming buildings. 12. “Gallery Of Esker House / Plasma Studio - 12”, Archdaily, 2018 <https://www.archdaily.com/11957/esker-house-plasma-studio/ 500f127a28ba0d0cc700195b-esker-house-plasma-studio-image> [Accessed 9 March 2018].

Fig 22. Esker House, image from https://www.archdaily.com/11957/esker-house-plasma-studio/500f127a28ba0d0cc700195b-esker-house-plasma-studio-image> [Accessed 9 March 2018].

Fig 23. Esker House, image from https://www.archdaily.com/11957/esker-house-plasma-studio/500f127a28ba0d0cc700195b-esker-house-plasma-studio-image> [Accessed 15 March 2018].

Fig 24. Esker House, image from https://www.archdaily.com/11957/esker-house-plasma-studio/500f127a28ba0d0cc700195b-esker-house-plasma-studio-image> [Accessed 15 March 2018].

Fig 25. Esker House, image from https://www.archdaily.com/11957/esker-house-plasma-studio/500f127a28ba0d0cc700195b-esker-house-plasma-studio-image> [Accessed 15 March 2018].

CASE STUDY 6 Robotic Fabric Formwork

nlike traditional formwork, fabric formwork is flexible and stretchable. Its flexibility allows it to be stretched into complex shapes which cannot be achieved using inflexible formwork. Fabric formwork is sustainable as it can be reused, economical and offers a variety in geometries. It can create shapes that are organic, sensual and biological through casting. In this case study, the fabrication process used a robotic arm to create hyperboloid paraboloid cast panels13. To do so, the robotic arm must be programmed in such a way that it understands the material13. A mould has been used to help

the robotic arm to understand the limits of the system and the information is used to program it13. The use of robots in construction is complex but it ensures precision in the construction process as there will not be any human errors. Robots can also work at any hour and continuously for long time spans, speeding up construction considerably as compared to human labour. With its flexibility and ability to be casted into organic forms, the usage of fabric formwork as a construction method will allow designers to stretch their limits in design and create more interesting forms using parametric design.

13. Yang, Xuyou & Jyh Shen Koh, Shawn & Loh, Paul & Leggett, David. (2017). Robotic Variable Fabric Formwork.

Fig 22. Esker House, image from https://www.dezeen.com/2016/05/19/ron-culver-joseph-sarafian-fabric-forms-cast-concrete-robotic-arms-construction-method-of-the-future> [Accessed 15 March 2018].

A.4

CONCLUSION

n this digital age, the role of computers in design is rapidly increasing as we start to learn better and improved ways to use it as a tool to aid us in our design processes. I believe that to improve the sustainability of our buildings and slow the rate of defuturing, computation definitely plays an important role in this process. With computation becoming more widely used and extending to areas such as building performance, material tectonics and sustainability, it can generate different possible futures for us to envision.

A.5

LEARNING OUTCOMES

o learn the importance of understanding the place of design within our futures is equally important as learning the methods of designing, as we have tools with us that can create massive impacts on our planet. Computation is also becoming increasingly relevant in the realm of design. In these three weeks, I have gained a brief understanding of these concepts and have begun to understand more about Grasshopper, algorithms, inputs and outputs. In the coming weeks I hope to expand my knowledge by applying theories and concepts I have learned using Grasshopper. 23

Figure 1. “Green Void / LAVA”, Archdaily, 2018 <https://images.adsttc.com/media/images/55e8/9eff/e258/4674/1c00/00c4/large_jpg/1868790740_081210-green-void-build-up3-cb.jpg?1441308388> [Accessed 8 April 2018].

B. 1 RESEARCH FIELD GREEN VOID BY LAVA

he Green Void installation by LAVA in 2008 at Sydney was a demonstration of the capabilities of digital design in creating complex forms that can be fabricated easily. Stretching across the open space of the atrium in the Sydney customs house, the arms of the structure latched to the building like a parasite. The design to fabrication workflow was entirely computerised, from the 3D modelling of the form which was founded using minimal surface tension to the connection

14. “Green Void / LAVA”, Archdaily, 2018 <https://www.archdaily. com/10233/green-void-lava> [Accessed 8 April 2018].

of the individual fabric strips through mechanical seaming14. This project was chosen as my research field as its form strongly relates to the case study precedent for my group’s design proposal. I was interested in the design possibilities that can be generated through this form throught the 3D modelling software, Grasshopper.

B.2

CASE STUDY 1.0

ased on the research field I have chosen in B.1, I used the example grasshopper definition from the LMS to generate new forms and created the matrix on the following page. There were 3 methods given to create this form and I chose to use the exoskeleton because it is the easiest to manipulate within grasshopper. Method 1 was to create a mesh from a set of curves drawn in Rhinoceros which is useful if the desired form is already known, but since I am still experiment-

ing and exploring possibilities, that method is not suitable. The third method involved creating a set of meshes in Rhinoceros and using the welded mesh to create a tensile membrance in Grasshopper. I did not choose this method also because of the difficulty to change parameters as the form is already fixed in Rhinoceros.

Grasshopper definition

his definition is produced using the second method which involves an extra plugin named Exoskeleton. Using Exoskeleton, I was able to create a mesh that has inputs that I can manipulate as parameters. The limitations of this method are also present in the event when complicated shapes have to be created and the membrane created does not produce the effect desired.

Figure 2. Grasshopper definition for reverse engineering of Green Void by LAVA

Exoskeleton allows for a quick mesh to be generated around lines which are inputted into the component and also generates a variety of meshes by the manipulation of radii, nodes, capping and sides of the mesh surrounding the line. I used it here to generate the desired mesh for the mesh relaxation.

Weaverbird plugin in grasshopper allows me to extract the mesh edges to be used the spring line for the mesh relaxation component. The vertices of the openings are found using the naked vertices component and attached as anchors for the mesh relaxation process

Merging the spring length and anchor points allow for the bouncy solver, a component from the Kangaroo 2 plugin in grasshopper to calculate the mesh relaxation and simulate the behaviour of fabric or a membrane being stretched in the model. The length of the spring can affect the tautness of the fabric, which is explored in the matrix.

Parameters varied Sides (number of sides for struts in exoskeleton component)

Start radius (radius at the start of each line in exoskeleton component)

End radius (radius at the end of each line in exoskeleton component)

Node depth (offset depth for nodes in exoskeleton component)

100

Division (segment division length in exoskeleton component)

Length of spring for mesh relaxation

Figure 3. Matrix of variables for reverse engineering of Green Void by LAVA

B.3

CASE STUDY 2.0

Mars Pavilion by Form Found Design

his case study acts as a precedent to my design proposal. The robotic fabric formwork used and the form generated in this precedent are key aspects that we are exploring through our group design project for this studio. The design of the Mars pavilion involved a form-finding process of creating a hexagonal mesh and fitting it to a gridshell generated from a catenary arch15. However, instead of using a 15. â&#x20AC;&#x153;Form Found Designâ&#x20AC;?, Form Found Design, 2018 <https://www.formfounddesign.com/palm-springs-pavilion> [Accessed 10 April 2018].

similar form-finding process as the precedent had, we decided to adapt the form and the fabrication method to other ways of creating the structure as we did not want to be limited by a gridshell.

work as opposed to the accuracy and precision produced by a robot. Instead of using robotic arms we are using mechanical arms which are manipulated manually during the process of creating the form.

n terms of fabrication, with limited resources and equipment, we can only try our best to create similar forms even though there may be limitations to our own created form29

Grasshopper definition Similar to the research field, this form of three branches which creates a simple Y shape which relies on the tension of membranes or fabric to form its shape. Hence I have decided to apply a similar method to create this Y shape. Initially I had created it using method 3 which is welding meshes in Rhinoceros to input as a mesh in Grasshopper but I found that method to be too limiting and difficult to manipulate as there are not many parameters to play around with. With the exoskeleton method, it is more flexible and allows more room for variation as well as complicating the form further by adding branches to the existing Y shape. This expands the design possibilities of the bike shelter.

Figure 5. Grasshopper definition for reverse engineering of Mars Pavilionby Form Found Design

With the Y shape, 3 curves act as inputs into the line component of the exoskeleton. However, because the radius of the ends and starts of the curves can be changed in the exoskeleton, the curves must be drawn in a certain sequence to ensure that the radii of two ends match up.

Similarly, weaverbird and naked vertices are used to obtain the length of the spring and anchor points for the bouncy solver. The length can be set to 0 which makes the tensile membrane stretch to its maximum so that it is in a very taut state.

With the merging of components of spring length and anchor points, the tensile membrane can be generated and the variations created are shown in the matrix on the following page.

Parameters varied

Sides (number of sides for struts in exoskeleton component)

Start radius (radius at the start of each line in exoskeleton component)

Division (segment division length in exoskeleton component)

Length of spring for mesh relaxation

Figure . Matrix of variations for reverse engineering of Mars Pavilionby Form Found Design

Since the end radii and the node depths of this form shows no changes in the tensile membrane generated from them when they are manipulated, these parameters are not included in this matrix. The ideal form chosen was one with 35 sides, 15 start radius, 30 end radius, 0 nodes and 10 divisions with a spring length of 0. This chosen form acts as a control for the matrix where the rest of the variables are fixed according to these inputs while one variable 31 is changed.

B.4 TECHNIQUE: DEVELOPMENT

he development of the Y shape to suit our design proposal is required as we did not want to use the Y shape merely as a module as we thought that it would be too limiting for our design intent. Other developments that are required include creating some sort of branching structure that can has its own form and can be structurally sound.

These forms express the possibilities of the system by branching out into different directions and creating more interesting forms and voids unlike the regular hexagonal void of the Mars Pavilion. It is essential to our design brief that we are able to vary the voids and branches of our design proposal.

I also explored the possibilities of developing this shape in a lateral direction instead of vertical direction, to create forms like a fallen tree branch which can provide seating spaces as well as gaps and void at which bikers can park their bikes.

B.5 TECHNIQUE: PROTOTYPES

aving no experience in casting and creating forms using concrete, prototyping is an important stage we have to carry out to gain a better understanding of our system and materials. Therefore, we experimented with our materials and chose the suitable ones to create prototypes out of. We were satisfied with the results of the prototypes but there is much more to be improved on, based on feedback we have received, such as considering the possibilities of using lightweight aggregate such as paper pullp or styrofoam to reduce the weight of our individual Y modules. The density of the cement can also be a variable which may help us improve our concrete casts. We also have to consider the joints and connections of our Y modules as they would have to be cast into the concrete to ensure a more stable connection.

Stage 1 planning and conceptualisation The precedent Mars Pavillion was fabricated using robotic arms and more advanced equipment which are not accessible to us at this point in time due to our lack of experience in the subject and skill to use those advanced equipment. Hence, we decided to create a simpler version of the fabrication technique using timber formwork and mechanical arms attached to the formwork to control the outcome of the prototyping process. The design of the formwork was first suggested by our tutor and then further developed by us. This formwork did allow us to cast concrete into the Y-shape and produce successful results for our prototyping stage, but there are several improvements that can be made to it. Its limitations included the fact that we can only cast it in an inverted Y shape which makes the forming of the shape influenced by gravity with more concrete pooling at the bottom of the branches and also the lack of pressure to push the concrete into the fabric and stretch it to its limits, as this was carried out in the precedent using pumps which we did not have. Knowing these limitations can help us push our formwork design forward in the next stages of the design.

First sketch of the formwork and fabrication method of the Y-shape

Connection of fabric to pipes to create an opening at the top and a cap over the end of the branch and connection of fabric to the robotic arm

Usage of steel cables to create a grid system at the top of the formwork and configuration of timber mechanical arms which will hold the fabric in placeFigure while concrete 8. Schematic diagrams for formwork design is poured Figure 8. Schematic diagrams for formwork design..

n..

Stage 2 framework setup and concrete testing

Step 1 concrete tests Concrete tests were carried out in simple formwork to test out different types of concretes and ratio of water added. This aids us in deciding which concrete to use in our prototypes.

Figure 9. Sample 1: 700g concrete + 110ml water

Figure 10. Sample 2: Geelong Builders cement + 110ml water

Figure 11. Drilling into timber pieces that are screwed together to create the frame of the formwork.

Figure 12. The finished formwork with a grid system at the top and two mechanical arms which allow manipulation of the location of the arms within the formwork system.

Figure 13. Sewing the Y shape into the fabric using a sewing machine

Figure 14. Sewing the Y shape into the fabric using a sewing machine

Step 2 timber formwork The timber formwork system was created according to the planned diagrams using timber pieces obtained from the Fabrication Lab and Bunnings.

Step 3 sewing fabric We initially started by handsewing the Y-shape to the fabric but due to the lack of experience and skills we did not come out with a good outcome (prototype 1) and we managed to get our hands on a sewing machine to sew the other fabrics.

Stage 3 analysis of materials

Fabric

type of fabric 24-way stretch shiny nylon Scoop buy knits #3 (off (colour) s5pandex (Cobalt) white)

2-way stretch mesh Lycra (Skin)

Fabric from Chelle (Black)

composition

Polyester and Spandex

30% Lycra and 70% Polyester

20% Spandex and 80% Nylon

80% Polyester and 20% Spandex

test results

The black fabric was chosen because testing the fabrics have proven that it is the most suitable as it is not too stretchy which makes it withstad weight without deforming under concrete weight, and it is highly durable as well as allows moisture to drip through without concrete leaking throught it.

Concrete

Sample 2 was chosen because of its lighter weight and the lack of large aggregates will not create problems should the sharp edges of the aggregate pierce through the fabric. It is also fast-drying and produces a more desirable finish than the first sample.

stretchability durability permeability

4 3 3

2 4 2

5 2 5

Samples

Composition

700g concrete + 100mLwater

390g Geelong Builders cement + 110mL water

Qualities

- Darker Colour - Heavy inweight - Takes longer time to dry - Tougher to mix

- Lighter Colour - Lighter in weight - Fast drying (~1day) - Easier to mix - Tidier finish and smooth surface

1 5 1

Stage 4 prototyping

Step 1 mixing concrete

The cement is first sieved to ensure that the concrete particles are fine and no aggregates are present.

Water is first added into the bucket and concrete is added slowly in batches. Concrete is mixed with the aid of a timber batten to stir and and ensure it is mixed uniformly.

The fabric is attached to the formwork before concrete is poured and left ready for the concrete mix.

While pouring, we have to manually push the concrete downwards and tap the fabric rapidly to remove air bubbles existing in the concrete mix.

The next day, the concrete is removed from its formwork (this photo being the result of the first failed prototype of using a material that is too stretchy and clings to the fabric which forced us to cut the fabric open). In the case of the successul prototypes, the fabric is removed by taking off the stitches which allows us to reuse to formwork if needed.

The concrete is laid in a secure and sheltered place as it still contains moisture and needs to fully cure for a longer time.

Step 2 pouring concrete

Step 3 removing the fabric formwork

Prototype results Prototype 1

Prototype 2

Prototype 3

B.6 TECHNIQUE: PROPOSAL

ur design brief is to create a bike shelter located in the new student precinct which is still under construction. The ongoing construction meant that we cannot really access the site properly to collect data and the only data we could obtain is from the internet. With our precedent in mind, we want to intergrate the form of the individual modules of Y shapes into our design, however, we did not want to be limited by the shape of a gridshell, and this led to many questions and difficulties because we are uncertain of the structural capabilities of our design, but hopefully this will be resolved by using 3D modelling later in the design process. 39

SITE: NEW STUDENT PRECINCT

SITE ANALYSIS

Using these analysis results we came to the conclusion of choosing the walkway between Frank Tate buildingand the Sidney MyerAsia Centre building as it is very accessible to bikers as well as pedestrians and our design intent is to integrate our branch-like forms with the trees in the campus, and the laneway has trees which serve this purpose as well as provide

shade to our design. Our proposal aims to improve student experience through natural, cultural and social engagement. We plan to look at trees on the existing site and study the branches to create iterations of the Y shape form. In terms of natural engagement we want our structure to integrate into the existing envi-

ronment (maybe with the usage of vine walls) For social engagement, we thought that the bike shelter can potentially become a meeting point. It can provide free phone charging and drinking water fountain.

PLAN AND RENDER OF INITIAL DESIGN

B.7 LEARNING OBJECTIVES & OUTCOMES

t this stage of the design process I believe that my team and I have been putting most of our focus on creating prototypes and experimenting with the material because we were initially very daunted by the idea of designing with concrete and creating our own formwork. The process was very illuminating and we have gained a better understanding of the materialsâ&#x20AC;&#x2122; behaviour and this will help us proceed with creating models for the design outcome in part C. However, we need to now put our attention to the design proposal and come up with a better proposal as well as fully utilise the 3D modelling tools and skills we have learned in lectures and

tutorials. Having received the feedback from our tutors and guest crits, we believe that the next step to our design is to improve on our grasshopper iterations by exploring more ideas and possibilities of our form and putting forward a design proposal which answers our brief and satisfy our interpretation of the functions of bike shelters. It was a steep learning curve for us as we were unfamiliar with the digital as well as physical modelling process of our system, however we have learned a lot in this stage of the studio.

c.1

design concept The tree growth concept

As a group we collectively think that the Y shape reminded us strongly of tree branches, and the idea of trees as a concept form interested us due to its various possibilities. The concept of growth also ties in with the context of the site, which is the new university precinct, and we hoped that our design concept can also signify the growth of the university as well as the growth of students studying within the university.

FEEDBACK &

further development

Based on feedback we received from our tutor and guest crits on the form of our design, we have decided to add more variety to our branches by adopting different generations of our tree form generated through using Lsystems in Grasshopper. The form was also changed as per the feedback to increase its flexibility in shape and design possibilities

DESIGNING FOR GROWTH FIRST ITERATION This diagram aimed to explore the workflow of the design concept from growth to the desired form for our bike shelter. Using Morphocodeâ&#x20AC;&#x2122;s Rabbit plugin for Grasshopper, a formula for the L-systems was input into the system to create paths which are then converted into branch -like paths through Turtle, another grasshopper component.

Generation I

angle (in degrees)

Generation II

Generation III

This method of workflow allowed us to explore different iterations of branches and the forms they create before extracting the desired form of branch. Exowireframe is then used to increase the thickness of the branches. Subsequently the Kangaroo plugin is used for mesh relaxation, a process which simulates the fabric formwork used. 46

SECOND ITERATION After receiving feedback on our first iteration we have decided to stick to using Y shapes as the basic form of our branches due to our chosen fabrication method, which utilises the Y shape branch as modules which are connected to form a more complicated branch. The diagrams on the left below show the generations of the Y branches produced by the Rabbit plugin which enforces the idea of growth within our design, as the tree grows bigger as the number of generations increases. The angle in which the branches are angled allowed for the manipulation of the shape of the Y branches produced.

from

digital to physical

With the variation of size, thickness and form of our Y branches, it is not possible to duplicate multiples of the same Y shape and connect them to produce the desired form. Hence, a stacking method is used, where different sizes of formwork would be used for different parts of the branches, and can be reused for branches of similar sizes to avoid wastage. The idea was that three or four sizes of the formwork frame would be sufficient to produce our design, as the formwork itself can also be adjusted to a certain degree to manipulate the size of the Y branch produced using its mechanical arms. The Y branches will then be connected to each other by casting a connector within the first then stacking the next above it.

c.2

tectonic elements and prototypes

formwork details

The shape and orientation of the Y branches can be easily manipulated using the formworkâ&#x20AC;&#x2122;s mechanical arms and steel cable grid. This allows for flexibility of the shape produced and expanded the possibilities of our design. After the arms are adjusted and the end branch cap is moved to the require position within the grid, the fabric is stretched and attached to the caps. The fabric formwork is then ready for concrete to be poured in.

prototyping issues Based on the feedback received in Part B, our group decided to focus on improving and solving three aspects for the next stage of prototyping.

weight

connection joints

stacking

Firstly we have to decrease the weight of the concrete as our idea was that the structure would become more lightweight towards the top so that it can be supported by a larger, heavier base branch.

Our second concern was the connection joints between two branches. We were searching fo a connection which would be permanent to ensure that it can hold two branches together.

The third one is the method of connecting one branch to the other as proposed in the design concept in terms of farication method. This depends on the connection joint chosen to be used.

lightweight

connection joints or

Following feedback suggestions from our guest crit we used foam beads as an aggregate within the mixed concrete to decrease the weight of the branch produced.

The resulting branch is much lighter than previous prototypes and the addition of foam beads did not compromise the concreteâ&#x20AC;&#x2122;s strength.

This metal connection was proposed by one of our groupmates but the idea was rejected due to the rigid straight tubes which would not allow us to create our curved Y branch.

We opted for a simple timber connection which would be cast into the concrete permanently to ensure a strong connection between the two pieces.

branch to branch connection Temporary props were needed to support the lower branch as the upper branch is being connected to it during casting

The two branches are connected permanently

1a 2a

1 2

The upper branch is connected to the lower branch by directly casting the timber connection into both of them

The newly cast branch is removed from its formwork

c.3 final detail model

site plans

section

render

Concrete Y branch cast at 1:1 scale.

Concrete Y branch cast at 1:1 scale.58

Concrete Y branch cast at 1:1 scale. 59

c.4 learning objectives and outcomes It has been a steep learning curve for me but I have gained a lot through this studio. The implications and the importance of digital design is further highlighted through the development of the tree growth concept design. There is much more that parametric design can offer and I hope to explore that further in my studies.

The feedback from our tutor an guest crits has been invaluable in improving our design further and will be discussed next.

FEEDBACK &

further development

Based on feedback we received from our tutor and guest crits for the final presentation, we had to rethink the structural integrity of our design as the timber connection will deteriorate over time when exposed to weather. Hence, a steel connection would be better in our design. We are making considerations to use a galvanised pipe which is more resistant to corrosion as a substitute to be cast into the concrete.

In terms of structure we were also given the suggestion by our tutor to add in the Helix Micro-rebar16 as reinforcement in our concrete to increase its strength and structural integrity. The Helix Micro-rebar also provides crack protection and corrosion resistance, ideal for our structure as it is outdoors. 16. â&#x20AC;&#x153;Helix - Steel Reinforcement.Progressive Structures Internationalâ&#x20AC;?, 2018 <http://www.progressive-structures.com/helix---steel-reinforcement.html> [Accessd 4 June 2018].

The form of our design was also something we have to improve on as the render could not effectively represent the curved forms of our fabricated Y branches as the mesh relaxation is not done for each and every branch. We are considering to add more overarching branches to create interest and improve the spatial qualities of our design. 61

credits to my groupmates for their amazing effort and teamwork

to our tutor chelle for her helpful inputs and constructive feedback

thank you.

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