Yu Chia Lim Studio Air Part A

Page 1

STUDIO AIR PART A JOURNAL NAME: YU CHIA LIM YEAR: 2018 SEMESTER 1 TUTOR: CHELLE


INTRODUCTION

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 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.

Fig 1. Prototype for Digital Design Fabrication project


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


PART A: CONCEPTUALISATION

A .1 A .2 A .3 A .4 A .5 A .6

design futuring design computation composition/generation conclusion learning outcomes appendix - algorithmic sketches


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

T

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

S

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 structure, which is intended to open improved future possibilities to the fabrication of similar structures. The article’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

3. Architectmagazine.Com, 2018 <http://www.architectmagazine.com/ project-gallery/los-angeles-rams-stadium_o> [Accessed 3 March 2018]. 4. Achim Menges and others, Fabricate.

this production 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

T

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 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. 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

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].

St. Aloysius 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.


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-lecorbusier-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-lecorbusier-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-lecorbusier-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/10parametric-plugins-every-architectshould-know/. [Accessed 8 March 2018].


A.2 DESIGN COMPUTATION “ Beyond being merely a design technology, parametric design is a new form of the logic of digital design thinking.�7 -Rivka Oxman & Robert Oxman in Theories Of The Digital In Architecture

T

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

U

pon first look at the 2015-2016 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 pavilion’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

8. “ICD/ITKE Research Pavilion 2015-16 | Institute For Computational Design And Construction�, Icd.Uni-Stuttgart.De, 2018 <http://icd.uni-stuttgart. de/?p=16220> [Accessed 8 March 2018].

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.


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


CASE STUDY 4 Mesh Mould by ETH Zurich

T

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 innovat-

9. NCCR (DFAB) and others, “Mesh Mould: Robotically Fabricated Metal Meshes | Robohub�, Robohub.Org, 2018 <http://robohub.org/meshmould-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

ing 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 Dunne’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.


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].


Fig 21. Smithsonian Institution by Foster and Partners architect, image from http://www.chuckchoi.com/portfolio/dcs-new-grid [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

D

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

T

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

12. “Gallery Of Esker House / Plasma Studio - 12”, Archdaily, 2018 <https://www.archdaily.com/11957/esker-house-plasmastudio/500f127a28ba0d0cc700195b-esker-house-plasma-studioimage> [Accessed 9 March 2018].

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.

Fig 22. Esker House, image from https://www.archdaily.com/11957/esker-house-plasmastudio/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-eskerhouse-plasma-studio-image> [Accessed 15 March 2018].

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

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


CASE STUDY 6 Robotic Fabric Formwork

U

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.

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

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.


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

I

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

T

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.


A.6 APPENDIX Algorithmic Sketches


WEEK 1 Generating five iterations of towers using Grasshopper



WEEK 2 Points to curves to surface, then back to curves and points

A rectangle is first referenced into Grasshopper then populated with points. The Delaunay Mesh component is used to create triangles between the points (point to curve to surface). Face Boundaries is used to convert the mesh faces into polylines (surface to curve). Then the normal of the triangles were found using the Face Normals component (curve to point). The points obtained are then extruded to random heights to create the surface.


The points are created by dividing two curves, then new curves are formed using the catenary arch component (points to curve). Lofting the arches creates a new surface. (curves to surface). Perpendicular frames are used to break down the surface to create circles around the planes perpendicular to the point where it is located in the catenary arch (surface to curves). The centre of the circles and obtained through the area component (curves to points) and moved upwards. The Delaunay edges component is used to generate triangles between the new points and the points on the curve.


A rectangular box is referenced as the geometry then populated with points using population3D component. The Voronoi component creates a mesh that connects all the points together (pointsďƒ surface) the deconstruct mesh allows us to access parts of the mesh such as the vertices and points. (surfaceďƒ curvesďƒ points) the smooth mesh component is used to create interesting variations of the Voronoi mesh.


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.