STUDIO
AIR
Aye Banez | Semester 1 2016
STUDIO: AIR Aye Banez Semester 1 2016 Tutor: Finnian Warnock
CONTENTS
INTRO A
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C.2. Tectonic Elements 99 and Proposal
A.1. Design Futuring
9
A.2. Design Computation
15
A.3. Composition/Generation
21
A.4. Conclusion 26 27
A.6 Appendix 28
B
CRITERIA DEISGN
B.1. Research Field
DETAILED DESIGN
C.1. Design Concept 73
CONCEPTUALISATION
A.5. Learning Objectives
C
33
B.2. Case Study 1.0 35 B.3. Case Study 2.0 47 B.4. Technique: Development
50
B.5. Technique: Prototypes
58
B.6. Technique: Proposal
62
B.7. Learning Objectives
66
B.8. Appendix 68
C.3. Final Detail Model
105
C.4. Learning Objectives
120
A
CONCEPTUALISATION
‘Second Skin’ student project for Digital Design and Fabrication, 2015
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INTRODUCTION Aye Banez
Bachelor of Environments Third Year Architecture University of Melbourne My interest in architecture started at a young age when I was first exposed to the floor plan of a house my father was designing for a client at that time. I remember having the urge to create my own set of drawings; to design a house, which consisted of everything I wanted as a child. Ever since then, my interest grew into multiple fields of design such as fashion, graphic, and architecture. I was 15 when I undertook a short work experience at a small architecture firm in Melbourne, where they introduced me to digital modelling. During this time, I had a very narrow understanding of what design was. For me, it was all about aesthetics. Only when I entered university did I understand how design is much more than its exterior. It can be a used as an instrument to tackle existing problems today, and help our society move into the future. Along with this, I also learned how to use different digital tools such as AutoCAD, Revit, and Rhino. These have helped me immensely in completing different projects, from creating presentation drawings, 3D modelling, and digital fabrication. I gained a lot of my knowledge for Rhino from the class Digital Design and Fabrication. It was then that I realised how today’s technology allows for easier and more accurate prototyping. It also broadens the range of potential designs, thus enhancing the process for current and future designers. So I look forward to developing my skills in digital modelling, through Studio Air.
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Habitat 67, Montreal, 1967 || Moshe Safdie http://www.archdaily.com/404803/ad-classics-habitat-67-moshe-safdie
A.1. DESIGN FUTURING Design as perceived by the majority is solely about appearance and style, rather than its function and performance. However, design should go beyond what looks pleasing to the eye, and instead address issues that could affect our future. As architects, we must utilise design and creativity to contribute ideas that can instigate change, therefore redirecting the power of design from aesthetics towards sustainability.1
These designs can be speculative or critical of what already exists within our society, therefore exploring new perspectives on ongoing problems.
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Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 10.
1
HABITAT 67 BY MOSHE SAFDIE
The aim of Habitat 67 was to address the issue of urban sprawl within cities, however the goal was not to create a traditional apartment building with rooms simply stacked on top of each other in a linear fashion. What makes Habitat 67 different is the complexity and arrangement of the modules, which successfully integrates both the positive aspects of suburban housing and urban dwelling. Moshe Safdie, the architect behind the apartment complex, had the intent to bring in natural light, fresh air, and a roof garden for each block, whilst having multiple families residing in the building.2 This was achieved through the arrangement of prefabricated modules in an organic fashion, therefore creating a space and atmosphere different from what had been previously done with this building typology. Its unique aesthetic made this an iconic building in the 1960s, and it also sets
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a precedent for future housing typologies; a medium density dwelling that transforms the cold geometry of high-rise buildings into a warm and inviting community space.3 While the building is successful in creating an ideal inner city housing, it also received critiques for exceeding the budget, thus resulting in high living costs.4
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Gili Merin, ‘AD Classics: Habitat 67/Moshe Safdie’, Archdaily, (2013) <http://www.archdaily.com/404803/ad-classicshabitat-67-moshe-safdie> (para. 7 of 9) 3 Genevieve Paiement, ‘Habitat 67, Montreal’s failed dream – a history of cities in 50 buildings, day 35’, Guardian, (2015) <http://www.theguardian.com/cities/2015/may/13/habitat-67-montreal-expo-moshe-safdie-history-cities-50-buildings-day-35> (para. 11 of 13) 4 Genevieve, (para. 7 of 13). 2
Habitat 67, Montreal, 1967 || Moshe Safdie http://www.archdaily.com/404803/ad-classics-habitat-67-moshe-safdie
HEMEROSCOPIUM HOUSE BY ENSAMBLE STUDIO
is:
The question that this design tackles can we create a space for a family with materials used in highway infrastructure?
Anton Garcia-Abril and Debora Mesa from Ensemble Studio did just that with the Hemeroscopium House in Madrid, where they created a building made out of discarded concrete materials and glass. The juxtaposition of the heavy masses arranged on site, and the atmosphere of lightness it creates was viewed to be radical at the time, yet it also gave the building recognition as one of the buildings that is the future of architecture.5 It allowed for materials to be reimagined and reused in ways that were thought to be unconventional.6 Buildings and structures generate a lot of waste, and the Hemeroscopium House shows us how to utilise waste materials to create something that could satisfy a variety of needs for city dwellers such as cutting costs. With seven elements in total, the building undertook an incredible assembly
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period of seven days, which is a construction process that the team wants to further develop in the future.7 This was made possible through months of engineering, and the unique way in which the team approached the design process. Enormous foam blocks were used for 1:1 prototypes, which tested variations of self-constructed systems, allowing them to experience the space created, thus enhancing the design process.
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Marc Kusher, The Future of Architecture in 100 Buildings (Simon & Schuster, 2015). 6 Peter Dizikes, â&#x20AC;&#x2DC;Building with blocksâ&#x20AC;&#x2122;, MIT News, (2014) <http://news.mit.edu/2014/profile-architect-anton-garcia-abril-0513> (para. 14 of 19) 7 Ensamble Studio, Hemeroscopium House. Madrid, 2008 (Ensamble Studio, n.d.) <http://www.ensamble.info/#!hemeroscopiumhouse/cfh7> [accessed 9 March 2016]. 5
Hemeroscopium House, Madrid, 2008 || Ensamble Studio http://www.ensamble.info/#!hemeroscopiumhouse/cfh7
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Walt Disney Concert Hall, Los Angeles, 2003 | Frank Gehry http://archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehry
A.2. DESIGN COMPUTATION Computation plays a major role in the design practice, enhancing innovation and experimentation. In areas where humans lack the capability or the time to perform rational tasks, computers become excellent tools to use, whereas the designer supplies the creative input.8
dictate the way in which architecture looks, but instead, assist in the realisation of the architecture designers have imagined.
With contemporary architectural forms being influenced by digital design,9 it is easy to fall into the assumption that parametric tools define form. This should not be the case, as computation is a tool and not a replacement for creativity. It should not
Yehuda E. Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 3. 9 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London and New York: Routledge, 2014), p. 3.
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NOMADIC GARDEN BY BARKOW LEIBINGER
Technology’s evolution has always influenced design, enabling innovation, and putting emphasis on research and experimentation.10 As designers, we have a tendency to adapt new techniques and methods that can inform our designs and our process. Frank Barkow of Barkow Leibinger utilises digital design and fabrication in multiple of his projects including the Nomadic Garden featured at the 11th Venice Architecture Biennale in 2008. The interactive installation was a cluster of steel tubes on top of a timber platform, which explored the idea of formation, dispersion, and reformation.11 By having a flexible, and open-ended system, each component can be rearranged within the space.
informed the method of construction, which was to use Trumpf laser-cutting machines to create the patterns of each metal tube. Fabricating the 1:1 prototype was essential for Barkow Leibinger as it was believed to narrow the gap between the design idea and the built reality.13 The scale of the prototype also provides experiential effects, which wouldn’t be as easily achieved without the development of digital modelling software and machines. This then suggests that digital fabrication is the future of design as it enables research and experimentation, which could potentially inform architecture.
______________________________________ `This therefore explored the capabilities of components to self-assemble under external influences, thus acknowledging the idea of temporality and the nomadic aspect generating unlimited possibilities.12 Material research also played a role in the project, as their choice of materials
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Frank Barkow, ‘Farbicating Desgin: A Revolution of Choice’, Architectural Design, 80 (2010), 94-101. 11 Barkow Leibinger, A Nomadic Garden- Vennice Biennale 2008 (Barkow Leibinger, n.d.) <http://www.barkowleibinger.com/archive/view/ formation_re_formation> [accessed 9 March 2016]. 12 Frank, pp. 94-101 (p. 101). 13 Frank, pp. 94-101 (p 96). 10
A Nomadic Garden, Venice, 2008 | Barkow Leibinger http://www.barkowleibinger.com/archive/view/formation_re_formation
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WALT DISNEY CONCERT HALL BY FRANK GEHRY
It’s interesting to see the shift in Gehry’s design process from hand-made models to digital modelling. Through the use of computation, he and his team were able to develop unique forms and geometries, which became a signature style for his buildings, including the Walt Disney Concert Hall in Los Angeles, USA. The dramatic curvilinear structure was not only challenging but also very costly to build, which resulted in the project shutting down in 1994.14 Upon embracing the idea of 3D modelling using the aerospace software CATIA, the concert hall finally resumed production.
Computers were able to store more information, which increased the level of accuracy, therefore resulting to fewer errors, and an over-all well organised process. These were the benefits of computation, hence Gehry’s move towards digital design, and eventually towards “paperless buildings” where all information regarding a project is stored and shared digitally to clients, engineers and contractors.15
______________________________________ Gehry’s paper models were often digitally scanned and resolved into parametric surfaces, which allowed the constructability of the structure, thus the creation of complex geometries on a budget. This affected his practice, as he pioneered the software Digital Program now used by other architects.
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Rennie Jones, ‘AD Classics: Walt Disney Concert Hall/Frank Gehry’, Archdaily (2013) <http://www. archdaily.com/441358/ad-classics-walt-disneyconcert-hall-frank-gehry> (para. 2 of 7) 15 Nathan Hurst, ‘Building on the Cloud: Gehry and Box Overhaul Architecture with New Paperless Service’, Wired (2013) <http://www.wired. com/2013/04/frank-gehry-hates-paper/> 14
Walt Disney Concert Hall, Los Angeles, 2003 | Frank Gehry http://archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehry
Anaheim Regional Transportation Intermodal Center, Southern California, 2014 | HOK http://archdaily.com/615466/anaheim-regional-transportation-intermodal-center-hok
A.3. COMPOSITION OR GENERATION As discussed previously, contemporary forms have taken a language that is distinguished to be digital design. The sweeping curves, undulated surfaces, and dramatic planes are similarities found in architecture that have taken advantage of computation and generation of complex forms and structures.
the way in which architecture firms conduct their practice, as there is now more focus on computation and digital software.17
This then suggests that unlike the traditional method of design through composition, computation produces a number of variations that can extend the intellect of the designer.16 This has also altered
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Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83 (2013), 8-15. 17 Brady, pp. 8-15 (p. 11). 16
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ARTIC BY HOK
Parameters and algorithms are considered to be the standard production tools within the HOK office. Digital software such as Grasshopper, Digital Project and bBuilding Information Modelling (BIM) are only three of the multiple programs used in designing the ARTIC (Anaheim Regional Transportation Intermodal Center) in Southern California.18 The building takes a parabolic form to create a large open space, suited for its function. With the increase in complexity of the design requirements – from the budget, constructability, sustainability, and high performance, with the added needs of clients and building aesthetics – it becomes challenging for architects to satisfy all of these.
constructability of the structure at a reduced cost.19 The use of BIM aided the navigation the system’s complexities, which then evaluated the building’s performance in a virtual environment, before even going on site. It also helped the team achieve a green building certification for the way it is able to reduce energy consumption by 50 precent.20 So by using a series of digital tools, they are able to provide a design solution that satisfies the many integrated needs, therefore enabling a successful design in architecture.
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Parametric tools help make this more manageable, as it resolves simple and repetitive tasks accurately and at a fraction of the time. To create the light grid structure of the rail station, exploring a variation of algorithms in Grasshopper helped determine and select the shape of each panel in order to achieve
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Todd Halamka, ‘Intelligent Building Design’, Design Intelligence, (2012) <http://www.di.net/articles/intelligent-building-design/> [accessed 17 March 2016] (p. 5). 19 Todd, p. 5. 20 HOK, A New Era of Transit for Orange County (HOK, n.d.) <http://www.hok.com/design/type/ aviation-transportation/anaheim-regional-transit-center-artic/> [accessed 17 March 2016]. 18
ARTIC, Southern California, 2014 | HOK http://archdaily.com/615466/anaheim-regional-transportation-intermodal-center-hok
VAULTED WILLOW BY MARC FORNES
Design practices now involve exploring through a series of iterations of complex geometries available through the use of parametric design tools. By changing the information we input, it generates a new form, which could be the potential outcome of a project. This has changed the language of contemporary architecture as we continue to experiment with technology and the knowledge we can gain from it. Marc Fornes of Theverymany utilises computation and digital fabrication with his self-supporting structures with unique geometries and artistic expressions. The Vaulted Willow, located at Borden Park in Canada is an example of the multiple pavilions and commercial projects he has created. The project’s aim is to build a lightweight shell structure that combines the structure, skin and ornamentation in a unified system.21 This was achieved through algorithms encoded in a program that generated unpredictable outcomes, which then influenced the final design. The team assembled hundreds of shingles, all digitally fabricated, thus resulting in a form derived from catenary curves.
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Fornes employs similar methods to his other projects in which computation brings ‘mutation’ to the architectural language, through the emergence of generative results in architecture.22 While there is a trend of generation taking over composition in our design practice, perhaps employing one method should not mean eliminating the other, but instead to integrate both methods to assist in realising more successful outcomes.
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Theverymany, 11 Edmonton (Marc Fornes & Theverymany, n.d.) <http://theverymany.com/public-art/11-edmonton/> [accessed 17 March 2016]. 22 Sabin-Cristian Serban, ‘Process Algorithm and Generative Language in Architecture’ (unpublished thesis, Ion Mincu University of Architecture and Urbanism, 2013), p. 32. 21
Vaulted Willow, Edmonton, 2014 | Marc Fornes Theverymany http://theverymany.com/public-art/11-edmonton
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A.4. CONCLUSION Design has definitely moved towards a digital platform in which computation and the use of algorithms and parameters greatly influence the process and the language of architecture. And this should be the case, for design is no longer just appearance based, but it is seen as a tool for us as a community to progress further into the future. Design, from the readings was defined to be critical of what exists, as well as speculative, thus resulting in architecture that makes people think. It embraces the radical and the idea of exploring new possibilities.
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This is then enhanced by the use of technology in which the designerâ&#x20AC;&#x2122;s creativity is extended by the information we can gain from computation. Digital tools can assist designers in aspects of efficiency and organisation in the design process, in bridging the gap between an idea and a built structure, in providing analytical information, and in testing and evaluating outcomes. And these all contribute to how external constraints can be successfully satisfied.
A.5. LEARNING OUTCOMES Through the tutorial readings, lectures, and the analysis of different precedents, I have developed an understanding of the role of computation within the design practice, as well as how designers fit within this digital platform. I have come to realise that whilst computation is beneficial for designers, we must take caution when utilising this tool for architecture. Since design is not solely about aesthetics, we must not fall into the trap of using parametric tools to design something just for the way it looks. I now understand that design is much more, that aside from aesthetics, it is also an instrument that can drive us towards a sustainable future. Therefore computation is not the core of design; rather it is a tool to help us achieve what design is really about.I
I definitely would have applied digital modelling tools in previous projects had I knowledge and understanding of them. I feel as though it would have expanded the possibilities of what I could come up with, as well was allowed me to work more efficiently. Parametric tools would have definitely helped with my Digital Design and Fabrication project from the previous year, as it wouldâ&#x20AC;&#x2122;ve reduced any errors or inaccuracies with my second skin project. In the future, I hope acquire more knowledge of tools such as Grasshopper to one day be able to experiment with complex geometries, yet have the balance of form and function incorporated into my own work.
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A.6. APPENDIX Working with Grasshopper these previous weeks have contributed to my understanding of computation. Through the design tasks I explored the use of an attractor point to create a variation in radius and height of the extruded circles. And by changing the information entered in the components, it also changes the geometry. With this design task, more components were added to the algorithm to explore more possibilities. In a way, it gave me a glimpse towards generative design and how computation plays a role in it. I noticed that as I was adding, removing and adjusting components on Grasshopper, there was a vague geometry I had in mind, however the outcome would tend to be unpredictable, and at times better than what I couldâ&#x20AC;&#x2122;ve imagined.
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REFERENCES Barkow, Frank, ‘Farbicating Desgin: A Revolution of Choice’, Architectural Design, 80 (2010), 94-101 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) Kusher, Marc, The Future of Architecture in 100 Buildings (Simon & Schuster, 2015) Oxman, Rivka, and Oxman, Robert, Theories of the Digital in Architecture (London and New York: Routledge, 2014) Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 Serban, Sabin-Cristian, ‘Process Algorithm and Generative Language in Architecture’ (unpublished thesis, Ion Mincu University of Architecture and Urbanism, 2013)
B
CRITERIA DESIGN
STRIPS FOLDING
&
B.1. RESEARCH FIELD There is something elegant and beautiful in the curves created by the natural bend of materials, which can be explored by the research field of strips and folding. There are a couple opportunities that can be drawn from this. Firstly, it allows exploration of gentle forms and expression that can accompany the boardroom site – a commonly tense environment. Secondly, using strips as the main element in the celling installation design can showcase the thinness of the chosen timber veneer material. This can then emphasise the soft forms and “weightlessness” of the final design.
Fabricating strips should not pose too difficult of a challenge, however connections between the strips could be the main concern of the design. Whether the connections are also made out of the same timber veneer material, or 3D printed. Exploring this field will certainly be a challenge in order to satisfy the brief for a ceiling installation.
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Seroussi Pavilion,Paris, 2007| Biothing http://www.biothing.ord/?cat=5
B.2. CASE STUDY 1.0 35
SEROUSSI PAVILION BY BIOTHING
The precedent chosen uses strips to create an interesting organic form, where an algorithm was used to develop a structure of self-modifying vectors on electromagnetic fields. On plan view, the pavilion looks more like a musical notation than an architectural drawing with the dynamic sweeping curves. And with the use of parametric tools, an artistic structure cohabited by humans can be created – a focus of this research and experimental design.1 For the ceiling installation project, the pavilion is used as a starting point to generate several iterations, testing how the form changes with slight or major alterations to the original script. After all, this process of adjustments to the design is what parametric modelling aims to improve in terms of efficiency and difficulty.2 The use of grids, offsets and attractor points can hopefully be beneficial for the generation of ideas for the project. Similar to several contemporary research pavilions, the primary structure is integrated with the enclosure and decoration to create a unified system. This will also be the
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aim in which a clean and seamless aesthetic for the design. The main constraint that this precedent offers is the process of fabrication. Because the pavilion was 3D printed, and the project is meant to be laser cut, therefore connections between the strips will be constantly thought out during the entire process. The material’s limitations should also be taken into consideration as timber veneer leafs are thin delicate. Further testing and prototyping should be able to explore the properties of the material to be utilised for the success of the project.
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Biothing, About Biothing (Biothing, n.d.) < http://www.biothing.org/?page_id=2> [accessed 1 April 2016]. 2 Robert F. Woodbury, ‘How Designers User Parameters’, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p.153. 1
Seroussi Pavilion,Paris, 2007| Biothing http://www.biothing.ord/?cat=5
SELECTION CRITERIA
LIGHTWEIGHT
It would be desirable to achieve a visually and physically lightweight structure for the purposes of the installation method (which would most likely be suspension) as well as showcasing the material’s dominant property – thinness. The material itself already helps satisfy this criterion, however it is still crucial to consider the level of complexity in the form that might result to a physically heavy or visually heavy structure.
LIGHT EFFECTS
A ceiling installation certainly provides the opportunity to play with light and shadow effects. Therefore a structure that has the potential to utilise the natural or artificial light fixtures on site, as well as generate interesting shadow patterns will be selected as a successful iteration.
FABRICATION
The method of fabrication is limited to the university equipment where there are size restrictions for laser cutting. The strips should therefore have the possibility to be fabricated using FabLab equipment and following requirements.
CONNECTIONS
Using the “Dividing to Conquer” method as explained by Robert Woodbury,3 the iterations mainly explore forms and structure. In the next stage, ideas for connections will be generated; therefore what would be considered successful depends on the complexity or the possibility of connections between the strip or folded elements. ––––––––––––––––––––––––––––––––––––––
Robert F. Woodbury, ‘How Designers User Parameters’, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p.157.
3
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ITERATION CHANGING THE CURVES
OFFSETTING CURVES
SQUARE CENTRE
MATRIX RECTANGULAR OR RADIAL GRID
ATTRACTOR POINT
OFFSETTED EXTRUSIONS
SUCCESSFUL ITERATIONS Changing the plane of the electromagnetic fields created an interesting form where the strips clustered together, thus adding volume to the rather flat structure of the original grasshopper definition. LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
Changing the radius of each electromagnetic field creates holes in the structure, which gives the opportunity to play with lights and shadows. Spotlights can be created and the shadow pattern produced by the strips can serve as an accompanying or contrasting light effect. LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
The two iterations use a similar definition, where the only difference is the surface they are applied to. There is simplicity in the flat surface, which seems to display the delicate nature of the material, however there is more interest in the form of the electromagnetic fields applied to a curvilinear lofted surface. LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
POTENTIAL 1
FIGURE 1 Combining the chosen iterations, two potential designs were generated which tried to incorporate the elements of volume, circular holes and simplicity in the structure. Both images (Figure 1 and Figure 2) use the exact same script, however one is flipped upsidedown, which gives a different effect, Figure 1, opening the space up, whereas Figure 2 closes it up.
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Lights can be fitted through the holes, which has the potential to create unique shadow patterns with the strips. However, connecting each strip can be challenging as it runs the risk of easily creating connections isnâ&#x20AC;&#x2122;t properly integrated to the whole structure.
FIGURE 2 LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
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Luminescent Limacon, 2011|Andrew Saunders http://www.andrewsaunders.com/2011/12/16/luminescent-limacon/
B.3. CASE STUDY 2.0 47
LUMINESCENT LIMACON BY ANDREW SAUNDERS
The design intent of this precedent was to make historical references by means of contemporary fabrication technology, which is then used to manipulate the effects of light. The design took inspiration from Dutch ruffles, and the baroque painting style “chiaroscuro” where there is a dramatic contrast between light and dark.4 Saunders tried to capture both these elements into a design that makes use of folded strips overlapped to express volume. He is then able to trap the light within the structure, and this dense accumulation of light imitates the chiaroscuro painting technique in a 3-dimensional form. There is a level of detail behind this design in terms of fabrication. Each strip is unrolled, and one differs from the other in size and shape, therefore each element contains its own set of instructions for assembly. Saunders had already taken this into consideration in the early stages of his process, taking into account the material thickness and performance, as well as connections.5 Saunders successfully satisfies all his design intents, however the connections chosen to construct the object tend to be distracting from the structure itself. There is a
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certain neatness and finesse in each curve of the folded strips, which is also an expression of the whole unit. However, the wires seems removed from this expression. Whilst it could’ve been an intentional design choice, it doesn’t seem to enhance the effects of light dispersal and accumulation. To be able to integrate the connection detail with the design’s form and performance would definitely indicate success for this semester’s ceiling installation project, which was achieved by both the Seroussi Pavilion and the Vaulted Willow.
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Andrew Saunders, Luminescent Limacon (Andrew Saunders, n.d.) <http://andrewasaunders.com/2011/12/16/ luminescent-limacon/> [accessed 6 April 2016]. 5 Lidija Grozdanic, ‘Luminescent Limacon integrates equation-based geometru with 17th century fashion’, Evolo, (2011) <http://www.evolo. us/architecture/luminescent-limacon-integratesequation-based-geometry-with-17th-centuryfashion/> [accessed 6 April 2016]. 4
Luminescent Limacon, 2011|Andrew Saunders http://www.andrewsaunders.com/2011/12/16/luminescent-limacon/
B.4. TECHNIQUE: DEVELOPMENT STEP 1: CURVES & LOFT Create the curves on Rhino, which will determine the form. Using the arc component, loft the curves together. STEP 2: GEODESIC & LOFT Shift the points of the curve, and then with the geodesic and loft component, a slight twist in the form is produced. STEP 3: SURFACE DOMAIN NUMBER This component generates a grid on the lofted surface, which will help in creating the ‘ruffles’ for the structure. STEP 4: POINTS ON CURVES Using the nurbs component on Grasshopper, connect the several points selected from the grid. STEP 5: OFFSET & LOFT Offset the lofted surface from Step 2, and loft each ‘ruffle’ thus creating the folded strips.
ITERATION
MATRIX
ITERATION
MATRIX
The aim was to unroll the precedent in order for it to be more applicable as a ceiling installation. Before that, however I played around with the original script to test the result of each slight change, and then the definition was applied to different surfaces. The curve for each strip was then altered, taking into account the materialâ&#x20AC;&#x2122;s properties and limitations â&#x20AC;&#x201C; creating gentle curves that the timber veneer would potentially allow.
SUCCESSFUL ITERATIONS The curve of the folded strips is what initially drew me towards this iteration, as well as the overall form which complements each curve of the strips. The length of each unit needs to be adjusted however to remove extreme bending in the material which can cause breaking. LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
POTENTIAL 2
The iteration was further developed to arrive at a current potential design, which has a more dynamic expression in both the natural folds of each strip element, as well as the curvilinear form of the structure. It definitely has the potential to produce beautiful shadow patterns, however it doesnâ&#x20AC;&#x2122;t seem to have the same effect and affect produced by the precedent Luminescent Limacon. It does indeed have a strong narrative, which is another goal for this semesterâ&#x20AC;&#x2122;s project.
LIGHTWEIGHT Visually lightweight/Visually heavy LIGHT EFFECTS Has potential/No potential FABRICATION Possible/Impossible CONNECTIONS Has potential/No potential
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B.5. TECHNIQUE: PROTOTYPES
FIGURE 3
FIGURE 4
FIGURE 5
A series of prototypes tested the chosen iterations and potential designs whether they resembled the digital model or not. Unfortunately for most of the prototypes there were certain factors in real life that I had forgotten to consider when creating the script that resulted in a slight difference between the prototype and the digital model. Figure 3 tested an iteration from Case Study 1.0 where the focus was to explore the natural bend in the material. There is something elegant in the form, which I had lost in all my potential designs, and would like to bring back. The result showed that the strips should be in compression in order to produce similar curves.
B.5. TECHNIQUE: PROTOTYPES
FIGURE 6
FIGURE 7 Figure 4 tested the same iteration, but with the chosen material. The result suggests that it is more than capable to achieve the bend required. This is because to the timber veneer is glued onto a thin sheet of plywood, therefore adding rigidity to the material. Figure 5 tested an iteration from Case Study 2.0, and found that the system needs to be tension in order to achieve the same aesthetic and form of the digital model. This is therefore a factor that needs to be considered with the Grasshopper definition. Figure 6 tested an element from Potential Design 1 with a quickly generated connection. The idea is for each strip to be
slotted into a 3D printed ring, therefore maintaining a very similar form to the digital model. This, however doesnâ&#x20AC;&#x2122;t complement the strips very well, therefore it is another element that needs further refinement. It also takes away the delicate expression of the strips spaced apart. Figure 7 tested the effect I wanted to achieve where lights can be fitted through the hole. It produces a very similar effect as the Luminescent Limacon, and with further refinement on the design, this effect can be made stronger, therefore adding a performance value to the ceiling installation design.
B.6. TECHNIQUE: PROPOSAL
PLAN
NORTH ELEVATION
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Further refinement in the design resulted in a structure where I tried to incorporate all of my goals of achieving a natural bend in the material, volume in the structure, holes for the light effects, connection that allows the fabricated model to look like the digital model, as well as the components in my selection criteria. At this stage, it is not a hundred precent resolved in terms of the method of installation onto the site, however suspension might be the most effective. It is still ideal to integrate all systems together similar to the Vaulted Willow precedent in order to achieve a maintain the gentle and delicate expression of the proposed design. The symmetry in the design maintains the simplicity that I had favoured in one of my iterations. Whilst it doesnâ&#x20AC;&#x2122;t enhance the light effects, it does reinforce my intent with the overall form.
EAST ELEVATION
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B.7. LEARNING OUTCOMES
Throughout Part B I’ve become more comfortable with parametric modelling as I played around with the original script of Case Study 1.0 and did multiple trial and errors with the reversed engineer definition of Case Study 2.0. While I wouldn’t say that I have mastered the digital tool, my confidence level has certainly increased, which helped me move forward with the project with more motivation. This of course did not reduce the amount of tasks I struggled with, such as integrating all my goals into the proposed design. In fact, I’ve found that as I progress through Part B, there is another goal that gets added to my current list, and because of this, my focus shifts to the new goal, therefore forgetting the previous goal. And example would be by original intent, which was to focus on creating elegant curves by utilising the way a material bends or folds. However once
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I discovered a lighting effect I could produce with holes in the structure, my focus moved towards that. Thus producing the result of Potential Design 1 where I’ve incorporated volume and light effects, but ignored my original aim. I believe that this is due to the fact that I tend to follow the method of “Dividing to Conquer” in which I design in parts and combine all of them towards the end.6 The method – although less efficient – allows me to organise my thoughts and ideas in a sequential manner.
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Robert F. Woodbury, ‘How Designers User Parameters’, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p.157-158.
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I have also learnt about ornamentation from the readings, on how parametric modelling has brought it back to contemporary architecture.7 Generating the iterations has definitely reinforced this idea as creating patterns and repetitive forms can be easily achieved, therefore resulting in its application to architecture. Our return towards ornamentation however is not more focused on the affect, where it produces an emotional experience rather than simply producing a beautiful image or pattern.8 9 Of course the effect and performance of a design should not be ignored, after all performance is a primary consideration.10 11 In fact architect Kai Strehlke argues that “designs are not primarily visually driven” therefore ornament is not the main focus.12 I agree that performance is definitely important, however as proven by the case of this semester’s project, ornamentation or aesthetic is integrated with
performance, in which the arrangement of elements is integral in the performance of the design.
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Branko Kolarevic and Kevin R. Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), p. 6. 8 Branko and Kevin, p. 20 9 Farshid Moussavi and Michael Kubo, The Function of Ornament (Barcelona: Actar), p. 8. 10 Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83 (2013), 56-61. 11 Branko Kolarevic, ‘Computing the Performative, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p. 105. 12 Brady, pp. 56-61 (p. 60). 7
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B.8. APPENDIX The following algorithmic sketches show the progression of how I extrapolated the chosen iterations from Case Study 1.0, in which I tried to integrate all four into one potential design.
REFERENCES Kolarevic, Branko, and Klinger, Kevin R., Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge) Kolarevic, Branko, ‘Computing the Performative, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014) Moussavi, Farshid, and Kubo, Michael, The Function of Ornament (Barcelona: Actar) Peters, Brady, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83 (2013), 56-61 Woodbury, Robert F., ‘How Designers User Parameters’, in Theory of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014)
C
DETAILED DESIGN
Dior Ginza,Japan, 2004 | Kimiko Inui http://www.inuiuni.com/projects/234/
C.1. DESIGN CONCEPT Based on the feedback from the interim presentation, the concepts that were explored were narrowed down to FORM & VOLUME, FRAME & PANELS, and LIGHT EFFECTS with the over-arching concept of TRANSITION incorporated into the three elements mentioned above. These were drawn from the precedents that different members of the group explored in the previous stage.
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FORM & VOLUME
DOUBLE SKIN
FLUIDITY
FIGURE 1
DIOR GINZA BY KIMIKO INUI
The Dior Ginza building by Kimiko Inui was the main precedent that inspired the form of the project. It has a smooth external skin, which also conveys texture through the perforations on two layers of steel planes1. This concept of the double skin creates an interesting volume in a relatively flat façade, as the external layer’s perforations vary in pattern to the internal layer, which eventually create the overall pattern displayed on the entire structure. The double skin concept influenced the project’s aim to achieve volume in the
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design, as well as an elegant form that would convey fluidity and movement, all the while, taking into consideration the material properties of timber veneer. By taking the double skin geometry and twisting it, it creates complexity and interest in the form (Figure 1).
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Tokyo Architecture, Christian Dior Ginza Building (Tokyo Architecture, n.d.) <http://www. tokyoarchitecture.info/Building/4195/ChristianDior-Ginza-Building.php> [accessed 3 May 2016]. 1
Dior Ginza,Japan, 2004 | Kimiko Inui http://www.inuiuni.com/projects/234/ 75
FRAME & PANELS
HEX PANELS
X FRAME
FIGURE 2
EXOTIQUE BY PROJECTIONE
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This ceiling installation influenced the idea of penalisation as a way to fabricate a curvilinear surface in a two-dimensional method such as laser cutting. The precedent project also uses computation for its design, which helped in creating the Grasshopper definition for this project2.
The idea of transition is then made evident through the transformation of a hexagonal panel to an X panel that simultaneously acts as a frame and a panel (Figure2), thus challenging the definition of these two elements.
The concept of frames and panels then became the focus, in which the fluidity and movement of the form is emphasised through the variation in size of the hexagon panels.
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Projectione, Exotique (Projectione, n.d.) <http://www.projectione.com/exotique/> [accesed 3 May 2016]. 2
Exotique, USA | Projectione http://www.archdaily.com/125764/exotique-projectione
LIGHT EFFECTS
CLOSED
OPEN
FIGURE 3
LUMINESCENT LIMACON BY ANDREW SAUNDERS
As explored in Part B, the Luminescent Limacon project explored the baroque painting technique of chiaroscuro through the idea of trapping light within a tight void, thus resulting in a dramatic contrast of light and dark3. Itâ&#x20AC;&#x2122;s strong design narrative inspired the lighting effects incorporated into the design. To take it a step further, this effect was explored alongside the concept of transition through the shift in panels, which create
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hexagon-shaped holes in the form, allowing the trapped light to be revealed (Figure3).
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Andrew Saunders, Luminescent Limacon (Andrew Saunders, n.d.) <http://andrewasaunders.com/2011/12/16/ luminescent-limacon/> [accessed 3 May 2016]. 3
Luminescent Limacon, 2011 | Andrew Saunders http://www.andrewsaunders.com/2011/12/16/luminescent-limacon/
FORM FINDING
PANELISATION
FINAL FORM
DUPLO The process of refining the geometry underwent multiple trial and errors, which eventually led to design decisions that the group felt had successfully turned simple concepts into a realised outcome. Duplo is a design that has a sculptural function with its volume and undulating form, yet it is also a functional sculpture as it provides atmospheric light to the boardroom site.
Figure 4 shows the method of generating the panels that make up the entire structure. It started out with the hexagonal shapes, where the X frames were derived from the negative spaces. The hexagonal panels are then bent to create more volume, which were manipulated using the Kangaroo plugin.
The structure functions as an eyecatching installation that conceals light within its form to create the high contrast of light and dark. This light is then revealed through the transition of panels, made possible by using attractor points on Grasshopper. These hexagonal panels curve and bend to celebrate the material properties of timber veneer as well as to release the light from within the double skin, which creates interesting shadow patterns in the boardroom.
FIGURE 4
C.2. TECTONIC ELEMENTS & PROTOTYPES
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CONNECTION DETAILS Constructability was the main concern during the entire process; therefore the prototypes tested a couple connection details. A slit connection was tested, however, this didn’t serve to be a strong connection for the panels. Another type that was tested was adding strips in between each panel connection, which created a rigid structure, however it made the geometry too complex. The structure’s simplicity helped emphasise its elegance, therefore a complex connection detail would stray away from the form’s concept that the group favoured.
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CONNECTION DETAILS To maintain the structureâ&#x20AC;&#x2122;s simplicity, two pin connections were tested: using a fastener, and using an eyelet. Both provide a clean connection detail, however the fastener was the chosen connection detail as it allows maintenance on the structure and each individual panel.
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C.3. FINAL DETAIL MODEL
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ASSEMBLY
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C.4. LEARNING OUTCOMES After the final presentation, the main feedback the group received were both positive and negative. Whilst an elegant form that celebrates the material properties and demonstrates the desired light effects was achieved, its scale for a ceiling installation was considered too small in comparison to the other projects that cladded the majority of the boardroom ceiling.
Perhaps its scale does become questionable when placed alongside other designs, however the appropriate dimensions of a ceiling installation isn’t well defined, therefore it is subject to interpretation. Overall, we are satisfied with the project’s outcome, which I believe addressed the issues we encountered when exploring the concepts of form & volume, frames & panels, and lighting effects.
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During the start of the subject, the idea of computation was daunting, and even to this day it still is, though the subject has helped break the barrier between designer and digital tools. It’s now interesting to view parametric designs and imagine how they could have been scripted on Grasshopper. Though these imagined scripts don’t always work as I’ve come to learn from the multiple trials an failures on creating the geometry of the project, it’s still a leap away from where I started before taking up the subject.
Computation will definitely be beneficial for future design endeavours, and I can only hope that it’ll become less and less daunting.
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STUDIO
AIR