Material Ellipse Architecture

Material Ellipse Architecture 2010-1015 world collection

seeker

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Chung Kai Hsieh IAAC (Institute for Advanced Architecture of Catalonia) Master,1015 Tamkang University Bachelor, 2010

Materi-ellipse

rquitectura

OPTOGO, Taiwan pavilion Milan, Italy, 2015

Competition- self-sufficient factory Barcelona, Spain, 2014 Smart Flexibility Exposici贸n en Disseny Hub Barcelona, Spain, 2014 4th International Architecture Biennale Rotterdam, Dutch 2009 Competition - NYC Sukkah City, Central Park, New .York, USA, 2010 Rhino Maya sketchup 3d printer milling mach. lazer cut realflow keyshot autocad Adobe collections http://issuu.com/archi_jacko 1

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建築是材料的聚合體，是自然演化的堆疊過程 結果 誤導了時間的推進

既然它還在移動 就應該正視 材料 是慢生活的代表作 Architecture is an aggregate of materials, a process of natural evolution. The result of stack system misleads the progress of time. Since it still moves on, we should face it squarely.

Material, is a masterpiece of slow movement.

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materials a

.abstract. b

.nature.

CORK

liquefaction boundary

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REED

wnid generator

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.artificiality.

MEMBRANE

pneumatic environment

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FOAM

smart matter

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.human selfishness.

BEE

the dark side

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Cork, Quercus super, Barcelona, Spain, 2015 Sustainibility Insulation, Buoyancy, Flexibility Lightness, Decay resistant, Biodegradable 9

Quercus super

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uercus super (Cork) can only be got from the bark of oak tree and harvested even only decade or longer up to fifteen years. It is a absolutely environmental material that owns several features like sound Insulation, decay resistance, biodegradable, recyclable and renewable. Overall, in addition to be used in furniture industry, it also displays the powerful ability to be applied into architecture field.

However, there is only a few cases we could come out with architectural usage - sound insulation. Why so less?

軟木只能從一棵橡樹的樹皮採集，期間只有十年或長達十

Therefore, Which elements of architecture that cork is able to be used? In the material view, Cement and Plaster are both the mostly used materials through entire the architectural construction field. They have features of accessibility, instantly fabrication method and structure stability. However, there is no doubt any benefit which can be compared to Cork usage whatever in terms of reused, non-flexibility or decay resistance but in structure way.

點。但是，毫無疑問的，與軟木相較之下，水泥無法重複使

Cork itself is able to become the main role of structure? No. But, what if we mix up the cement (plaster) and cork with specific proportion? The answer is yes. Therefore, I propose that the main interesting point of entire research is to find out the proportion of two element. In addtion to focus on mixing fabrication process, these experiments also bring about he pattern parameters. In the material matter, I called this situation while soft (Cork) and hard (plaster or cement) are compounding at the same time. On one hand, during the mixing process, as long as controlling the flow, splash, dynamic parameters and point, line constraints. We determine the speed of material revolution. Retaining the advantages of cement/plaster, makes up a cork deficiency.

By the gradually replaced process, cork not only strongly displays the major added-value, but will stand the priority place of largely use material in several manufacturing fields. On the other hand, through the mixing process, unexpectedly, result display the fantastic patterns as a result of cork powder shows the great buoyancy ability.

五年。這是一個擁有多種功能，如隔音，耐腐蝕性能，可生

物分解，​​可回收和可再生的絕對環保材料。總體上，除了可 在工業設計中使用的，它也顯示了建築領域的使用條件。 然而，只有少數認知下，軟木可以與建築結合 - 隔音。為什 麼這麼少？

因此，在於建築的架構下，軟木能運用在哪個元素？在材質 上來看，水泥和石膏都是貫穿整個建築施工領域最常用的

材料。它們有無限的使用方法，快速製造和結構穩定性的特 用，非彈性或不耐腐性方面，除了在結構上的好處。

軟木本身能夠成為結構嗎？不，但是，如果我們平衡了水泥（ 石膏）和軟木的混合比例。答案是肯定的。 因此，我提出整

個研究的重點是找到了兩個元素的比例。 除了專注於混合

製造工藝，這些實驗還帶來了參數。在材質的方面，我稱這

種情況而軟（軟木）和硬（石膏或水泥）。一方面，在混合過程 中，只要控制流量，動態參數和點，線的約束。另一方面我們 確定材料革命的速度。保留的水泥/石膏的優勢，彌補了軟

木的不足。通過逐步替代的過程，軟木不僅有力地顯示了主 要的價值，反而會站在慢慢顯示能在多種領域成為主要使

用的材料。在另一方面，通過混合的過程中，意外的發現擁 有有強大浮力的軟木粉末所產生出來的圖案。

一直在嘗試多種比例和製造方法，理解到的是主體（水泥）

無法在短期內被取代，但有一種方法，總是可以逐步的找到 解決途徑。在互相影響的兩種物質達到交叉的方式，圖案 表示交叉點的結果。在這項研究中，我重新定義了傳統的 分層重疊法的方式。 相反，奇妙的圖形詮釋了液化材料組 合的新思路。

Have been trying several proportions and casting, we understand that priority never be replaced shortly, but there is a way which can always be found to figured out gradually.

Intersection defines the way of two substances reaching each other. Pattern is the result of showing intersection point. In this research, I redefine the manner of conventionally layered overlap method. Instead, sensational graphic pattern gives the new idea of material combination which is called Liquefaction.

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Save a Tree, Use Real Cork Cork oaks and their scrubby cousins, holm oaks, are well adapted to the hot dry summers of the region. They help prevent these places from turning into deserts. Thestands are rich in plants and — when the farmers restrain themselves from shooting everything in sight — animals, especially birds.

The cork oak ecosystems have high biodiversity of plants and fauna — the highest in Europe and one of the highest in the world. Cork oaks are well adapted to hot, dry weather. They create a rich habitat in what otherwise would be a near desert. These southern forests look somewhat austere, but they have thousands of plant species, including orchids, as well as exotic birds like hoopoes with big orange crowns, and griffon vultures.

軟木橡樹及其同種屬性，聖櫟樹，都擁有適應炎熱乾燥地

區的特點。它們有助於防止這些地方演變成沙漠。 有豐富

的植物多元性 - 防止農民濫殺在沙漠裡所看到的 動物，尤 其是鳥類。

栓皮櫟的生態系統植物和動物的生物多樣性極高 - 是歐洲

和全世界的代表。軟木橡樹很容易適應炎熱，乾燥的天氣。

他們創造了豐富的棲息地，否則將是一個只有沙漠的地景。 這些南方的森林看起來有點單調，但他們卻擁有成千上萬 種植物，包括蘭花，以及異國情調的鳥類如戴勝與大橙色 冠，和格里芬禿鷹。

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By imitating the waterproof interface of springtail, inverting the idea into architecture facade system. As we look back to the conventional way, we used the painting layer, or certain insulation sandwich system to protect from heavy raining and windy climate. Therefore, having started looking into microscope scale of organism such as springtail learning how natural animal use pattern or bristles to respond to global environment, building will get closer to naturalizing thinking .

通過模仿躍尾蟲的防水界面，轉化 理念融入建築幕牆系統。 當我們回 望傳統的方式，我們所用的塗裝

層，或某些夾芯保溫系統去抵擋繁 降雨和多風的氣候。因此，從生物

顯微鏡規模尋找，如躍尾蟲身上學 習如何使用天然動物使模式或刷

毛對全球環境作出反應，建築將越 來越接近自然化的思考

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These two photos besides display the two status, the right side one was milled into grid texture and ready to deform. But we still can notice that some column are broken during the milling process. In the other hand, soaking cork into boiling water for an hour to soften the cork converting into flexible status, so that it has the transformable ability to be bend and twist. But after this process, cork will be expanded because absorbing water in and also put one some weight at the same time.

In the second fabrication process is too make flexible cork follow the skeleton in order to deform the flat surface into curved status. The way I used is putting both elements into vacuum bag, extracting air, making environment compressing the cork so that it could attach the curved skeleton evenly.

However, in order to return the cork into solid condition, the issue is how to make water evaporate in the vacuumcondition circumstance. As a result, I did not notice that cork will be expansion status which skeleton could not be fixed in a really good condition. The second failure, cork should be milled in both sides, because of that, is able to make cork be bended much easier. However, in the right side picture rather showing the proper joining condition which skeleton and cork attach each other in the evenly way, although they did not fit all, at least I found out that it is the fascinating material combination.

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右邊的三張照片顯示，除了這兩個狀態，上面一張碾磨成方格紋 理，準備塑形。 但是，我們仍然可以注意到，有些依然在研磨過程

中斷裂。在另一方面，浸泡軟木放入沸水一小時，以軟化軟木轉換 成柔性狀態，因此，它是具備彎曲和扭曲的可變形能力。 但這個過 程之後，軟木會吸水並且同時擴大。

在第二個製造過程讓可塑性的軟木按照骨架，以平面變形到曲

面。我使用的方法是將軟木以及骨架放入真空袋，抽取空氣，壓縮 軟木，這樣它可以均勻地附著彎曲的骨架。然而，為了軟木返回

成固體狀態，問題是如何使水蒸發的情況。這樣一來，我沒有注意 到，軟木塞會一直呈現擴張狀態而骨架不能被固定在一個非常良 好的狀態。第二個失敗是，軟木應銑削兩側，正因為如此，能夠使 軟木塞彎曲容易得多。在右側的畫面，而顯示出合適的條件其中 骨架和軟木互相均勻的方式，雖然他們並不適合所有的，至少我 發現這是令人著迷的材料組合。

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Based on the cork status, it can be subdivided into natural form, block, granule and powder—before going deeper into experiment, I had tried cutting, gluing, turning, casting, compressing, stretching, laminating and broke the material over and over. I began to see one interesting status --- powder. For the first time in my test process, I was thinking what the pure stage is for cork. Of course, we could argue that bark peeled from tree is the original status for fabricating process, but there is few methods we could use for keep the great properties. That is why the cork stopper is always being produced by just compressed without too much artificial process. However, what if I could discover a specific type which keep the great features what I want but which some potential of full of shaping?

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基於上段所述的軟木狀態，它可以被細分為天然形式， 塊，顆粒和粉末之前深入到實驗中，我曾試圖切割，膠

粘，車削，鑄造，擠壓，拉伸，層壓和打破了材料。 我開始

看到一個有意思的情況 - 粉末。 第一次在我的測試過程 中，我在想的純階段是什麼軟木。 當然，我們可以說，樹 皮從樹上剝下是製造過程中的初始狀態，但有幾個方

法，我們可以使用保持很大的性能。 這就是為什麼軟木 總是被高壓加工卻沒有太多人工過程。 但是，如果我能

發現哪個保持強大的功能是什麼，但我想這完全塑造一 些潛在的具體類型？

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cork dust & water

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B

uoyancy is a mysterious one among cork’s properties. In these tests, basically I found out that cork powder performed the best rule in buoyancy factor. It could easily be mixed up with mushy plaster, meanwhile dust was spread evenly as it stayed with plaster. Inversely, both fabric and strip showed the unstable condition due to the contact area at the interface by cork and plaster. To sum up, in the end of solidification, by controlling consistency of compound, cork powder somehow is able to end up gathering together and floated on the top of mixture because of its own buoyancy property. Secondly, the unpredictable pattern of cork which stand on the surface is just the natural behaviour what I would like to point out later.

Look through these experiments, we could say that all the cork dust ( cork strip ) still keep their own buoyancy. All the granule somehow stayed on the surface, or gathering and maintained between middle position. However, although we can be sure the cork can performs like this, in the structure way, it is still to fragile as structure to support the whole weight of plaster. So far, I continuous tested to see how much I could control the buoyancy of cork, to see apart from its dynamic floating matter, how I can place the position of cork, and how much amount cork with different positions.

Between cork powder and plaster, I have to create dialogue showing the proper combinations to adapt to different situations.

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浮力是軟木神秘的一個的屬性。在這些測試中，基本上我發 現，軟木粉進行浮力的因素最好規則，它可以很容易地混在 一起糊狀膏，同時粉塵擴散均勻。相反地​​，無論織物和帶材 顯示出不穩定狀態，無論在由軟木和石膏界面處的接觸面

積。綜上所述，在凝固結束時，通過控制化合物的一致性，軟 木粉某種程度上能夠最終聚集在一起並漂浮由於其自身的

浮力性質對混合物的頂部。其次，軟木的不可預知的模式而

站在表面上僅僅是自然的行為是什麼，會在之後重點說明。 看著這些實驗，我們可以說，所有的軟木粉塵（軟木條）仍然 保持自己的浮力。所有的粒子以某種方式停留在表面，或 聚會上中間位置的保持。然而，儘管我們可以肯定軟木的

極限，在結構方式，它仍然是脆弱的結構去支持石膏的整機 重量。到目前為止，我連續的測試，看看有多少我能控制軟

木的浮力，看到除了其動態漂浮物，我怎麼控制軟木的位置

和數量。軟木粉和石膏之間，我創造的表格顯示了適當的組 合，以適應不同的情況。

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cork dust plaster : water = 2/1

cork fabric plaster : water = 3/1

cork dust plaster : water = 4/1

cork fabric plaster : water = 4/1

cork strip plaster : water = 4/1

twice pouring plaster : water = 5/1

cork strip plaster : water = 4/1

twice pouring plaster : water = 4/1

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During the mixing process, liquefaction expresses the fabrication idea of two different material status in terms of powder and liquid. Buoyancy feature flows of liquid plaster (cement), then cork powder run into the unpredictable pattern, a uniform one.

In the beginning of research, I have already talk about the natural merging method. It is not the easy and quick result which we could witness immediately, on the other hand, time is the key for all the natural substances. Firstly, waiting for the plaster solidifying need time to consume, in the progress, is manufactured as a dry powder and is mixed with water to form a paste when used. The reaction with water liberates heat through crystallization and the hydrated plaster then hardens.

Through the all process from the setting of unmodified plaster starts about 10 minutes after mixing and is complete in about 45 minutes. Therefore, for my research, in 10 mins, even shorter is the period of mixing with cork powder, it will be splashed with liquid plaster and keep floating on the top of surface, most of them do, but some not.

The moment while liquid unmodified plaster was poured into fabric, it is the time of starting controlling the position of hitting cork powder where I placed.

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在混合過程中，液化 表示兩個不同材料的狀態在粉末和液

體方面製造的方法。液體石膏（水泥）的浮力功能，然後軟木 粉末產生不可預知的圖案，流線型的那種。

在研究開始的時候，我已經談了自然融合的方法。它不是簡 單快速過程，我們可以立即看到的，另一方面，時間是所有

天然物質的關鍵。首先，等待石膏凝固需要時間來消耗，在 過程裡，一開始被製造為乾粉，並與水混合，以形成糊狀使 用。與水反應釋放出的熱量通過結晶和水合成石膏，然後

硬化。通過從未修改石膏的設置全過程開始約10分鐘混合

後，完整的約45分鐘。因此，對於我的研究，在10分鐘，甚至

更短的是用來與軟木粉混合的時期，它會液體石膏混合，並 保持浮在表面上，大多數會展現絕佳浮力，但有些不是。而

液體石膏倒入彈性布料的那一刻，就開始控制了軟木粉，與 所放置的時間。

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realflow

plaster

cement

+ cork dust

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flexible fabric

curvature/ weight

flowing direction

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In the fabrication process, I used wooden structure to support the fabric outline so that fabric is not going to over stretch, also plaster could under control and be deformed inside the fabric. And then I placed the constraint sticks under fabric which the whole structure has clear two levels in order to give enough space as fabric was stretched down by certain weight of plaster.

The height of lower level was about 30cm with the top level of fabric in 20cm by 40cm which is the perfect size for experiment brick. The position of constrain like the image above will limit the area and make fabric cave holes while other side became the mountain shapes which was naturally deformed by its own weight gravity. Of course, the size of swelling component will be decided according to where the constrain sticks placed and the distance between each other, lastly the densities of sticks.

在製造過程中，我用木結構，支持織物的輪廓，使織物不會

過度牽拉，使石膏可以得到控制和內部結構變形。然後，我

置於織物，其整體結構有清晰的兩個層次，以提供足夠的空 間，織物拉伸下降一定重量的石膏。水平高度為約30cm面

料的20厘米頂級水平40厘米這是實驗磚完美的大小限制， 如圖像中的位置上方將限制區和使織物洞穴孔而另一側成 為山形狀將其自然因自重重力變形。當然，腫脹​​分量的大

小將根據其中放置在約束棍子與期間彼此最後的密度之間 的距離決定。

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n the constraint point of view, I subdivided the methods into two parts, one is stretch constraint and another one is dowel constraint which each one will cause different boundary result. At stretch constraint, the result is more equal divided and the boundary the line creates was more obvious and straight, clearly express the direction of pattern going. It will be used as while I need the cork powder spread evenly and clear. Therefore, in this situation, I will choose to place the cork powder more closer to the bottom of fabric so that when liquid plaster was pouring into module, the result will present the gradient graphic which is evenly layout to the edge. What is more, I also tried the cork pattern of two or three swelling components connected to each other, the beautiful seamless joint gave the unpredictable merge situation as they touched together.

At the second constraint way of dowel, it gave the rotating direction. Be honest, it is more attractive to me because the outcome it showed is more closer to natural behaviour. The reason is that each dowel constraint has two direction, clockwise and anticlockwise, whatever one of them, I am not able to control it because sometimes it was influenced by gravity, sometimes by the way I pour, or situation happen as two flowing cork hitting each others. There are too many unsure factors determine the final pattern result of product, but it is what I want. Just like what I mentioned in the previous chapter, through all the fabrication, 95 percent of controlling factors I could settle in any equipment, but the rest of 5 percent will be decided by the natural conditions. Truly, the most charming design always is connecting tightly with environment and natural factors, cork comes from bark, outcome should also back to nature as well.

在約束一點，我細分方法為兩部分，一個是拉伸約束，另一

個是棒式約束，每個皆會造成不同的邊界的結果。在拉伸的 約束，其結果是更平等分割​​線創建邊界更為明顯和直接，清 楚地表達模式的方向前進。它將被用來作為當需要的軟木

粉擴散均勻，清晰。因此，在這種情況下，我會選擇以放置軟 木粉末更接近織物的底部，以便當液體膏藥倒入模塊，結果

將呈現梯度圖形被均勻地佈置到邊緣。更重要的是，我也嘗 試過互相連接兩個或三個腫脹成分軟木圖案，美麗的無縫 對接了不可預知的合併情況。

在第二約束方式，它給了旋轉方向。說實話，對我來說這是

更有吸引力，因為它顯示出的結果更接近自然的行為。其原 因是，每個棒式約束有兩個方向，順時針和逆時針，不管其

中之一，我無法控制它，因為有時它是通過重力從我倒方式 的影響，有時，或情況發生的兩個流動軟木互相撞擊。有太 多的不確定因素決定了產品的最終的結果，但它就是我想

要的。就像我在前面的章節中提到，通過所有的製造，95％

的控制因素，我可以通過工具掌握，​​但5％，其餘由自然條件

決定。誠然，最迷人的設計一直是緊密的環境和自然因素的 連接，軟木來自樹皮，結果也應該回歸自然。

cork place position pouring position stretch constraint- linear effect

dowel constraint- curvature effect

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HY-Domain 1 Particles 54.019

HY-Domain 1 Particles 54.784

HY-Domain 1 Particles 53.354

HY-Domain 1 Particles 52.267

HY-Domain 1 Particles55.533

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Fabric V:935 F1.750

Fabric V:943 F1.739

Fabric V:935 F1.750

Fabric V:935 F1.750

Fabric V:935 F1.750

Gravity 1

Gravity 1

Gravity 1

Gravity 1

Gravity 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

HY-Mesh 2 V:5.580 F:11.220

HY-Mesh 2 V:8.923 F:11.382

HY-Mesh 2 V:5.320 F:12.245

HY-Mesh 2 V:5.580 F:15.565

HY-Mesh 2 V:6.133 F:15.753

HY-Domain 1 Particles 52.763

HY-Domain 1 Particles 52.024

HY-Domain 1 Particles 55.124

HY-Domain 1 Particles 54.756

HY-Domain 1 Particles 56.076

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Emitter V8 F:12

Fabric V:935 F1.750

Fabric V:935 F1.750

Fabric V:935 F1.750

Fabric V:935 F1.750

Fabric V:935 F1.750

Gravity 1

Gravity 1

Gravity 1

Gravity 1

Gravity 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

Noise-Field 1

HY-Mesh 2 V:5.462 F:13.467

HY-Mesh 2 V:5.752 F:14.124

HY-Mesh 2 V:5.540 F:11.775

HY-Mesh 2 V:5.230 F:11.750

HY-Mesh 2 V:5.580 F:11.264

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apart from using plaster as a mixing material, I also tried merging cork powder with cement together. Surprisely, it displayed this sensational appearence, althrough I did not put to much effort on it this time, but I am sure it will be next level of continous research

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除了使用石膏作為混合材料，我也試過用水泥合併軟木粉

在一起。出乎意料的 ，它顯示這個聳人聽聞appearence ，g 雖然我並沒有把這個時間就可以了很大的努力，但我相信 這將是連續的研究一個新的水平

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through all the experiments, I made approximate 20 pieces of flowing brick with cork pattern. Puzzle is the best way to express the pattern layout, according to different cork graphic, connect to each other with joint edges so that people could easier experience the sensational cork shock. By playing with the puzzle logic, I more understood the game rule of my thesis, not only calculate the load analysis, but play with the natural system with innate behaviour of both materials

在所有的實驗中，我做了大約20件軟木流動磚。拼圖是

表達樣式佈局的最好辦法，根據不同的軟木圖形，連接彼 此邊緣，使人們可以更容易體驗到神奇的軟木衝擊。 通過 與邏輯拼圖玩，我更了解我的論文的遊戲規則，不僅計算 負載的分析，更與自然系統，這兩種材料的特性發揮

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he idea is to convert the dowel constraint into string constraint so that the fabrication process is able to be assenbled from 2d to 3d.

In the previous experiments, I used dowel stick as a constraint factors, but there is a drawback of those sticks need to be placed on one surface level so that they are able to support the weight of gravity. Therefore, this method just only be used in 2D direction, not 3D one. So I was thinking what fabrication could conver 2D into 3D. String was coming out from my brain, it could be placed in any positions and no limitation in any angle.

All the fabrication is able to progress by Kuka arm work environment, just like pre-fabrication system. In the begnning of frame work, and place the fabric membrane on it, and then calculate the load analysis to see if the form and the whole structure is able to hold by itself weight. Next step is to set the Kuka arm weaving the string in the position as same as dowel does but in 3 dimension way. After checking all the structure support and string is stable, Kuka starts to place the cork powder in the fabric and another Kuka pours plaster(cement) into the module with rotating at the same time.

All the process needs three assemble lines go together so that make sure anything is flowing smoothly and no any chance to be broken. This method could make pre-fabrication goes more mature, floor, wall, and celing go together, or imagine like metro channel, all the circle building could be done in high speed way.

想法是棒式約束轉換成線性約束，使得製造工藝是能夠從

二維到3維。在以前的實驗中，我使用的木釘棒作為約束因 素，但棒的缺點是需要被放置在一個表面上的水平，使它

們能夠支持重力的重量。但是這種方法只是僅在二維方向

上使用，而不是3D。所以，我在想什麼方法刻意轉化2維到3

維。線性約束就想法就這麼出現，它可以放置在任何位置， 並在任何角度沒有限制。

所有製造過程能夠藉由機器卡臂工作環境的進步，就像預

鑄系統。在木結構的框架開始，放置在其上的織物膜，然後 計算負載分析，看是否形式和整個結構能夠通過自身保持

的重量。下一步是在3個維度的方式設置機器手臂線性約束 中的位置。檢查所有的結構支撐和串是穩定後，開始藉由機 器手臂放置軟木粉在織物和另一個手臂澆注石膏（水泥）與

旋轉的同時該模塊。全部過程需要三個組裝線一起去，這樣 確保任何流動順暢，沒有任何機會被打破。這種方法可以使 預製的推移更加成熟，地板，牆壁，天頂和一起去，或者想像

這樣的地鐵通道，所有圓的大樓可以在高速的方式來完成。

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Although the quality of test is not precise to generate the proper surface, it still has potential to combine with robot system in order to get the stable and systemly fabrication process. The attempt on 3 dimension fabrication is try to break the way of conventional construction system. There is already Kuka, robotic arm system involved in architecture field, the main idea of that is try to improve and rethink the way we used to do.

Although fabrication method is the key of my thesis, but cork is always the primary in the future. The cork powder I used was provided by Association of Catalan Cork Entrepreneurs, is also the by-product after factory took out of the wine stopper. Cork still is a mystery material for people because it is lack of designing and promote the benefits of cork.

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儘管測試的質量不足精確以生成穩定表面，它仍然有潛力與機器人系統結 合以穩定地製造工藝。 在3維製作的嘗試是試圖打破傳統的系統結構的方

式。 已經有Kuka公司，涉足建築領域機械臂系統的主思路是盡量提高，並重 新思考我們用來施工的方式。雖然製造方法是我的論文的關鍵，但是軟木 總是在未來的初級。軟木粉我使用是由加泰羅尼亞科研究協會提供，也是 酒廠拿出酒塞後的副產品。軟木仍然是一個充滿謎的材料，因為目前它缺 乏足夠設計和推廣。

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At the experiment step, instead of using Kuka, fabricated all by hand, so that I noticed that the weight of plaster is quite heavy enough to break the wooden frome if I do not calculate the load analysis properly 40

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實驗步驟裡，前期與其使用機器手臂，目前已全手工製作， 卻讓我注意到，石膏的重量是足夠重到破壞到木結構如果 沒有計算負載分析正確

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reed wind generator

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he concept of wind generator, took from nature resources, contribute towards to natures. We researched the previous wind devices types and criticized them. It is a exploration that can extend the pratice of permaculture. We went look into the idea of inputing the energy directly into crops, to create a more sustainable, self-maintained system in the food production of Valldaura.

風力發電機的理念，源於大自然的資源，有助於對著質性。

The many advantages of electroculture include increased soil fertility, accelerated growth rates, larger size fruits and vegetables and decreased water consumption and use of pesticide. Testimonials have shown that it can even influence to qualiuty the crops in the way they taste. The energy unit of the prototype is therefore meant to support the practice of agriculture with less effort and increase crop yield at lowder cost. The sustainilibility of it is also in the soil fertility timeline, it is a method that enables to help soil management in order to better deal with soil depletion for example.

鑑定表明，它甚至可以影響到莊稼品質在它們的味道的方

我們研究了以前的風設備類型和多加於批評。這是一個探

索，可以延長永續農業的實踐。我們輸入查詢的光能直接轉 化為農作物，以創造一個更加可持續的，自維護的系統在食 品生產Valldaura的想法。

電氣栽培的諸多優點包括增加土壤肥力，加速增長的趨勢， 更大尺寸的水果和蔬菜，減少水的消耗和使用的農藥。個人 法。 因此，樣機的用能單位的目的是支持農耕的做法少努力 和提高農作物的產量在勞德成本。它的永續也是在土壤肥 力時間表，這是一個方法，使幫助土壤管理，以更好地與土 壤貧瘠，例如處理。

儘管如此電氣栽培是一個非常試驗階段。這不是一個完全

能控制的技術，即使一些實驗已經顯示恆定正整個年。沒有 標準的參考，所使用的電流的性能因為它創建與自然元素（ 土壤，植物）的電路，其結果可能是相當不可預測的。

Nonetheless electroculture is a very experimental field. It is not a fully controlled technique even though some experiments have shown constant positive throughout the years.

There are no standard reference as to the characteristics of the electric current used because it creates a circuit with natural elements (soil, plants) and the results can be quite unpredictable.

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The aim of our concept is based on achieving the high altitute of the sky as much as possible so that the device is able to get more wind power to generate more electricity. In these experiment. Therefore, Kite becomes the main principle in our purpose. However, we are still trying into two different prototypes which generator is combined with kite, another one is connected the generator putted on the ground. The comparison will let us know how efficient the electricity we are able to get and be used into the electric equitments without losing too much amont of it. 我們的概念的目的是基於實現天空的高海拔高度盡可能使得設備能夠獲 得更多的風能來產生更多的電力。在這些實驗中。因此，風成為我們的目

的主要原理。但是，我們仍試圖成兩個不同的原型其中發電機是結合風與

當地的植物，另一個被連接推地面上的發電機。 通過比較，讓我們知道如何 高效的電力都能夠得到和使用到電動設備不失太多入賬金額。

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3a

3b.

The third prototype with a control system and a magnet and coil mechanism on ground and tests with a double line kite

3b

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The third prototype with a control system on a ground and piezoeletric plate attached to a double line kite

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The second prototype with a control system on ground and tests with a double line kite

2a.

The third prototype with a control system on ground and tests with glider and sail planes

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The third prototype with four propellers and two dynamos mounted on a single line kite

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POSSIBLE DEVELOPMENT PHASES: The prototype was firstly developed planting on the ground and generates electricity by the wind pulling. By this, it can catch the most strongest wind by put the kite in the high altitude area. And then convert the catching idea into pull back and forth version.

1. Top of the vertical structure pushed by high altitude wind 2. surface area at the top Iincreased for better pull 3. detachment of the area on top: free movement

可能的發展階段： 樣機首先開發種植在地面上和通過拉風發電。 由此，就 可以捕捉最強勁的風通過放風箏，在高海拔地區。 然後 轉換捕捉想法變成拉來回版本。 1.頂部的垂直結構，推高海拔風

2.表面積在頂部Iincreased更好拉 3.脫離頂部區域：自由活動

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Reed is a common name for several tall, grass-like plants of wetlands. They are all members of the order Poales (in the modern, expanded circumscription).

People use them as architecture material as roof thatch.

蘆葦是濕地的幾個高大，草類植物的通用名稱。 他們

As I was thinking the light weight material to be the wind catcher which could easily be blowed by wind and swing all the time even in the breeze environment. Therefore, reed was showing in front of me, they live together, but not like huge as wind generator , they do not need strong wind to activate the electricity. They are light, so not the really visible device, they come from ature, so could more then others to adapt to nature.

正當我在想何種輕質材料能做拿來當作風捕手，可

https://upload.wikimedia.org/wikipedia/commons/a/a2/Reed_beds_-_River_Nadder_at_Harnham.jpg

是為了禾本目全體成員（在現代，擴大界限）。 人們 用它們作為結構材料，屋頂的茅草。

以很容易地被風吹和擺動，即使在微風環境。因此， 蘆葦呈現在我的面前，它們生活在一起，但不像如此 巨大的風力發電機，他們並不需要強風，以激活電

力。 他們是輕，所以不是真正可見的裝置，它們來自 於自然，所以能夠更然後其他人適應自然。

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firstly, glass fabrics form the shape which is able to catch the maximum wind. Then used different diameters of stick to replace the fabric and follow the shape to frame the it, and then weaving reed to fill the gap

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首先，使用玻璃纖維織物構成扇形，它能夠 捕捉到的最大風速的形狀。 然後用棍子不

同直徑更換面料，並按照形狀來框定它，然 後編織蘆葦填補了空白

shaping development 59

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magnets copper coil copper coil

track electric circuit

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he vibrations and oscillations of its mast acts as a scarecrow discouraging birds and other animals tempted disturb crop growth. Because of its weight distribution and lightness the prototype is always oscillating, it moves even when there is no wind insuring the protection of crops all times.

它的桅杆行為的振動和晃動作為一個稻草人阻止鳥

It is energy unit is primarily used for experiments in electroculture. Pioneered around 1904, electroculture explores the use of electricity and magnetism for the growth of plants. It consists in creating a flow of electrons in selected area of plants to improve their growth and cure them. It can be applied to seeds, roots, soil or to the water and nutrients for the plant.

Techniques in electroculture range from the use of static electricity to current electricity with natural (or earth) batteries, magnetic rocks and many other natural or artificial tools.

它是能量單元主要用於在電氣栽培實驗。圍繞1904

類和其他動物的誘惑干擾作物生長。因為其分子量

分佈和亮度的原型是總是振盪，它的動作，即使在無 風時作為保護作物。

年首創，電氣栽培探索利用電和磁的植物的生長。 它包括在建立電子流在植物的選擇的區域，以提高

它們的生長和固化它們。它可以應用到種子，根，土 壤，或水和營養物質的植物。從使用靜電電流電力

用的天然（或接地）電池，磁性岩石和許多其它天然 或人造的工具在電氣栽培範圍的技術。

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pneumatic architecture

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material: PVC machine: sealing machine

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wIf the structure can be added to the soft material, soft object will have its own structure. The gas inside will not be the only hold up to the key, and membrane will not be fall down even there is no enough gas to fill it all.

Membrane is a light weight material, which also own several features such as portable idea, and inflatable factor which there is no position restriction. In the previous period, form was created in 2 dimension mode, and then cut it, finally seal up into 3 dimension mode. However, in this project, I used sealing device to seal the line as same as structure, providing structure and form change at the same time, in this case, sealing line determined the system and form. In the other hand, gas volume though decide the deformation stages in terms of controlling the gas volume.

如果結構可以被添加到軟材料，軟材料將有其自

身的結構。氣體內將不會是唯一撐起來的主要因 素，膜也不會塌下來，即使沒有足夠的氣體，以填 補這一切。

膜是一種重量輕的材料，這還擁有若干功能，例如便 攜式想法，和充氣因子其中沒有位置限制。前一段

時間，形式，二維模式的創建，然後再剪裁，最後封成

3維模式。 然而，在該項目中，我使用的密封裝置以密 封線相同的結構，同時賦予結構和格式轉換，在這種

情況下，密封線所確定的系統和形式。在另一方面， 氣體體積雖然決定變形階段中控制氣體體積。

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used to script of grasshopper of rhino, which a large number of copies were composed of joints of different way, in this mode, the inflation factors affecting ther first overlooked, and split line and body type into the most concise form, a purely structural connection to discuss the change in the overall 用於grasshopper, thino，其中大量的拷貝，共組成了不 同的方式關節，在這種模式下的腳本，影響療法通貨膨 脹因素首先忽視，分割線和體型成最簡潔的形式，一個 純粹的結構連接討論整體的變化

curve structure, changes of vertical and rotation 曲線結構，垂直和旋轉的變化

point control, method of joint 點控制，連接方法

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emoved a certain number of line segments, because of small cell ventilation port between the exigencies of the external of the four units than the component began to produce the middle level of compression and rotation

除此之外，因為外部的四個單位比​​組分的

then used grasshopper software to calculate the angle of each deformation of 3 dimension. by this technique, I could know more precise angle control factors in terms of minimum and maximum so that I know how to limit the range of connecting each units together and not going to be splitted apart

度。通過這種技術，我可以了解更多精確

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原故之間小細胞通氣口一定數量線段，開 始產生壓縮和旋轉的中間水平

然後用蚱蜢軟體計算3維的每個變形的角 的角度控制因素，最小和最大的方面，讓我 知道如何限制每個單元連接在一起的範圍 內，不會被分開分裂

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using 3 dimension software (rhino) in the grasshopper, to a large training unit operator to connect the state, also using data simulation unit scale of the operation. instead of the paper models, because now needed a variety of components to test units, and thinking about transform ranges and the angle of surface for a future space

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採用3維軟件（犀牛）的螞蚱，一個大型培訓單位運營 商連接的狀態下，也使用操作的數據模擬單元的規

模。 而不是紙紮，因為現在需要的各種組件的測試單 位，考慮改造範圍和表面的角度為未來的空間

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because the actual model transformation to the paper model, using the data to prove the fact of the rotation, but also can be controlled by parameters in time to see changes in the reference data changes on the model can be seen in the 3 dimension under simulated conditions

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因為實際的模型轉換到紙張上的模型，使用該數據 來證明旋轉的事實，但也可以通過參數在時間被控

制，以看到變化模型上的基準數據的變化可以在3維 中可以看出根據模擬條件

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used to adjust the way the data have begun to understand the point of each cell line connecting the degree of change of distance. in this analysis chart can understand the size of the vertical angle will affect the start of the level, so how to indentify the different units points of view is the biggest focus of the entire design

用於調整數據已經開始認識到每個細胞系連接距離 的變化程度的點的方式。在這個分析圖可以了解垂 直角度的大小會影響到水平的開始，那麼如何來識 別不同的單位是整個設計的最大焦點

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in EA5, the research of diploma were dividing into 4 phases in 1 year, inorder to create a new prototype of soft materials, and be easier and faster to take, reuse and fabricate then before. but it has a problem that was too light to control the natural prototypes. so I used the pneumatic principle and let the air inside becomes a flexible elements. in future, the space of construction will present multiformity 在EA5 ，文憑的研究被劃分為4個階段在1年，序打造軟質材料

一個新的原型，並且更容易和更快的採取，再利用和之前製作 即可。 但它有一個問題，即過輕，以控制天然原型。 所以我用氣 動原理，讓裡面的空氣就變成了靈活的元素。 在未來，建設空 間將呈現多形

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he objective of the project is to provide visitors with an outdoor recreational area for the summer needed refuge in an urban environment, making the best usage of the pre-existing space and available materials. the architects follow a program with a tight budget, and are involved in every aspect of the design, development and construction of the project. the site the large triangular entrance country yard and outdoor sculpture are of P.S.1 is an integral part of P.S.1 ‘s popular music concert series

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該項目的目標是在夏季需要投靠在城市環境中，使

得預先存在的空間和可用材料的最佳用量為遊客提 供戶外休閒區。 建築師遵循的程序有嚴格的預算，並 參與項目的設計，開發和建設的各個方面。 現場的大 三角入口國院子和戶外雕塑​​是PS1的是PS1的流行 音樂系列音樂會的組成部分

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surface produced the second state to make the change which, is to adjust the unit volume in the inflatable reached on the adjustment of distortion. of course, inflated the amount to change out gas in different condition, may also pressure from the interation with people and achieved the objective weight 表面產生的第二狀態，使其中，是調整對失真的調整 達到了充氣的單位體積的變化。 當然，充氣量變化出

來的氣體在不同的條件下，也可以從與人互為作用的 壓力和達到的目標體重

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smart foam matter

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Intelligent material

Input reaction

Recursion

re-deforming

I

f the structure can be added to the soft material, soft object will have its own structure. The gas inside will not be the only hold up to the key, and membrane will not be fall down even there is no enough gas to fill it all.

Membrane is a light weight material, which also own several features such as portable idea, and inflatable factor which there is no position restriction. In the previous period, form was created in 2 dimension mode, and then cut it, finally seal up into 3 dimension mode. However, in this project, I used sealing device to seal the line as same as structure, providiang structure and form change at the same time, in this case, sealing line determined the system and form. In the other hand, gas volume though decide the deformation stages in terms of controlling the gas volume.

如果結構可以被添加到軟材料，軟材料將有其自

身的結構。氣體內將不會是唯一撐起來的主要因 素，膜也不會塌下來，即使沒有足夠的氣體，以填 補這一切。

膜是一種重量輕的材料，這還擁有若干功能，例如便 攜式想法，和充氣因子其中沒有位置限制。前一段

時間，形式，二維模式的創建，然後再剪裁，最後封成

3維模式。 然而，在該項目中，我使用的密封裝置以密 封線相同的結構，同時賦予結構和格式轉換，在這種

情況下，密封線所確定的系統和形式。在另一方面， 氣體體積雖然決定變形階段中控制氣體體積。

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Magnets

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Cooper Wire

The purpose of using the magnetic force was in order to molecularly move the structure,creating a magnetic field, making this the iron powder used to give the material properties of attraction.

Electricity

We use copper wire for insertion into the mixture of polyurethane and copper, in order to conduct electricity from one pole to another.

To make the polyurethane + iron powder reacts in the first test we use electricity, from 2 to 30 volts, but the result was not successful.

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Acrylic Polymer + Iron Powder The aim was to use a plastic material that could change shape, so we use the acrylic polymer that has high elastic properties. So we wanted to magnetize the material to see if we could merge these eleasticas iron powder particles, to try to use magnetic forces to deform.

Poliuretane

In this test, only deal with the polyurethane to check its characteristics, including a thermal insulator, is a memory foam and flexible.

Poliuretane + Iron Powder In this case we try the polyurethane foam that has a porous molecular structure unlike acrylic polymer in which its structure is more composed, due to the flexibility that has polyurethane foam.

Poliuretane + plaster

The combination of polyurethane and gypsum, never reached the solid state.

Poliuretane + silicone The mixture of silicone and polyurethane provided us greater compression strength than normal foam and in turn got more elastic characteristics to the original.

Poliuretane + cement + Iron Powder We did the combination with polyurethane, cement and iron powder, in order to understand the behavior of these chemical alterations would have in the mix for a different behavior in the use of cement and see if this might be able to deform or achieve some kind of moviento through an input.

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Poliuretane + Iron 1Component: Iron Powder: 16 % Foam :84 %

2Component : Iron Powder: 32 % Foam :68 %

3Component : Iron Powder: 48% Foam :52 %

2Component : Cooper Powder: 16 % Iron Powder: 16 % Foam :68 %

3Component : Cooper Powder: 24 % Iron Powder: 24% Foam :52 %

2Component : Iron Powder: 32 % Foam :68 %

3Component : Iron Powder: 48% Foam :52 %

Poliuretane + Cooper 1Component : Cooper Powder: 8 % Iron Powder: 8 % Foam :84 %

Poliuretane + Cooper 1Component : Iron Powder: 16 % Foam :84 %

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By combining the polyurethane foam with iron or cement particles, the compressive resistance is improved without overloading the mix because saturating of these particles within the structure of the foam, this causes an internal rupture thus loses its properties.

通過組合聚氨酯泡沫與鐵或水泥顆粒，壓電阻

Polyurethane foam has memory properties so even deforming over a long period of time the structure after some time is going to return to its original state, also this material reacts with the temperature returning it once deformed to their original shape in a more rapid manner.

度返回它一旦變形到其原來的形狀以更迅速

而不超載混合因為飽和泡沫結構內這些顆粒 導致內部破裂從而失去了它的性能提高。

聚氨酯泡沫具有記憶性能，以便甚至變形隨

著時間經過一段時間後的結構是要恢復到原 來的狀態長時間，也這種材料發生反應的溫 的方式

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foam is a substance that is formed by trapping pockets of gas in a liquid or solid. A bath sponge and the head on a glass of beer are examples of foams. In most foams, the volume of gas is large, with thin films of liquid or solid separating the regions of gas.

泡沫是液體中的氣體或固體而形成的物質。洗澡海

An important division of solid foams is into closed-cell foams and open-cell foams. In a closed-cell foam, the gas forms discrete pockets, each completely surrounded by the solid material. In an open-cell foam, the gas pockets connect with each other.

孔泡沫材料。在封閉單元泡沫中，氣體形成離散的口

A bath sponge is an example of an opencell foam: water. can easily flow through the entire structure, displacing the air. A camping mat is an example of a closedcell foam: the gas pockets are sealed from each other, and so the mat cannot soak up water.

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綿和一杯啤酒頭部是泡沫的例子。在大多數泡沫， 氣體的體積是大的，與薄膜的液體或固體分離氣體 的區域。

固體泡沫的一個重要的劃分是成閉孔泡沫塑料和開 袋中，每個完全由固體材料包圍。 在開孔泡沫中，氣 體口袋相互連接。

洗澡海綿是開孔泡沫的一個例子：水。 可以很容易地 通過整個結構流動，置換空氣。 野營墊是閉孔泡沫的

一個例子：氣袋被彼此密封，所以墊子不能吸收水。

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A:B=1:3

A:B=1:2

A:B=1:1

A Component

B Component

Density: weight/ length x width x height

Typical density ranges for different foam applications (pcf)

seat cushions seat backs furniture backs automotive seat cushions mattress cores mattres topper pads carpet underlay

0.8

1.0

1.5

2.0

2.5

3.0

3.5

4.0

4.5

5.0

5.5

6.0

6.5

7.0

8.0

Suppot facter: Firmness (65% IFD)/ Firmness (25% IFD)

1.5

1.6

1.7

1.8

1.9

2.0

2.1

2.2

The usual procedure is mixing the components (polyol) with component B (Isocyanate) to create the polyurethane foam.

In order to prevent the air from escaping iron poweder 5% by weight was added.

Thus we obtained a foam where we can isolate the element, because the porosity in the material is reduced.

2.3

2.4

2.5

2.6

2.7

2.8

2.9

通常的過程是混合各組分（多元醇）與B成分（異氰酸 酯） ，以創建該聚氨酯泡沫。 為了防止空氣（重量）逸

出鐵粉5％的溶液。 因此，我們得到的泡沫，其中我們 可以隔離元件，因為在材料孔隙率減少。

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Exterior layer:

The exterior layer which is exposed to open environment structure: will have theMembrane similarly plastic membrance being the isolation and waterproof abilities During the period of generating process, the ironfoam acts similar to a plastic membarne forming a film.

Mid- layer:

This layer is between the isolation and pattern layes, Mesohyl structure: which provides the deformable features

Inner

This layer consists of jelly-like mesohyl sandwiched around thin layers of cells, which the pores are much bigger than the smaller one, and are more flexible. layer:

The inner one are the pattern geometries placeing inside the foam, also consists of defferent densities of foam, which have specific firmness and deformation ranges Multicellular structure:

This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

material coding

This layer are multicellular organisms that have bodies full of pores and channels allowing air to circ

and channels allowing air to circulate through them.This layer are multicellular organisms that have

multicellular organisms that have bodies full of pores and channels allowing air to circulate through

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culate through them. This layer are multicellular organisms that have bodies full of pores

e bodies full of pores and channels allowing air to circulate through them.This layer are

h them.

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Prototype sections:

pouring order 1

pouring order 2

po

Pore size:

section ANALYSIS

This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate

full of pores and channels allowing air to circulate through them.This layer are multicellular organisms tha through them.This layer are multicellular organisms that have bodies full of pores and channels allowing

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ouring order 3

pouring order 4

pouring order 5

e through them. This layer are multicellular organisms that have bodies

at have bodies full of pores and channels allowing air to circulate air to circulate through them.

According to the following sections you can see the change of porosity in the structure based on the different densities containing the element. As can be seen there is a directly proportional relation between the density of the pore and the deformation that can be achieved.

根據以下各節可以看到基於包含該元素的密度不

同，在結構中的孔隙率的變化。 如可以看到的有孔的 密度，並且可以實現變形之間的直接比例關係。

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WATER

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AIR

Input geometry

input geometry This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

D

rawing parallels from nature the foam acts in a similar manner to that of a sea sponge. Here the multicellular organism absorbs water from the sea and changes in volume which is synonymous to the foam which on the extraction of air changes in voulme.

Input geometry

繪圖緯線從自然到的海洋海綿以類似的方式將泡沫

Recursion

Intelligent material

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Deformation

行為。 這裡的多細胞生物體吸收水分從海上和成交量

的變化是同義的泡沫，其對空氣變化，電壓快速提取。

r

The purpose of the experimentation was to have a sense of controlled deformation that was to be achieved either through the addition or subtraction of materials. This deformation was to be such that it would return to its original position at rest.

繪圖緯線從自然到的海洋海綿以類似的方式將泡沫

Based on this concept we start analyzing different materials, in which the majority were in the family of polymers. Within which due to their characteristics of deformation we focus on polyurethane foams, acrylics and silicon.

大多數是在聚合物的家族。 在這緣於變形的特點，我

行為。 該實驗的目的是為了有受控的變形的一種感

覺，是既可以通過材料的加法或減法來實現。 這種變 形是成為使得其將返回到原來的位置靜止。

基於這樣的理念，我們開始分析不同的材料，其中的 們專注於聚氨酯泡沫，丙烯酸樹脂和矽。 ，其對空氣 變化，電壓快速提取。

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Density 1:2 Density 1:3 Air Conduit

For futher development, we would like to implement a sensor system, which depending on the movement, temperature, and touch the material system would be responsive to what the further application would require.

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獲得進一步的發展，我們想實現一個傳感 器系統，該系統根據不同的運動，溫度和 接觸材料系統將響應哪些進一步的應用 需要。

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While using combinations of mix between 1:1, 1:2, 1: 3 and varying the volumes of the mixtures different patterns were also tested. This not allowed for the deformation to be controlled but also acted as the wind channels through which the suction of the air could take place.

在使用混合物的組合1之間：1，1：2,1：3和 改變混合物不同的圖案也被測試的卷。 這

不允許變形加以控制，但也充當風通道，通 過該空氣的吸入能夠發生。

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demostration device This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

Density sucsion mechine

these foams connect with pipes together into sucsion mechine

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these foams consist of defferent fiemnesses so that they are able to perform into several states

Pattern

By placing the thinkness of foam into different orientations, it can bend to the direction we want

interective sensor This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

device analysis This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

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An international overview of I+D projects about flexible and active materials, at Disseny Hub Barcelona organised by Materfad, and including Breath 0.7 and Bimetals, 2 projects developed in the Digital Matter – Intelligent Constructions Research Line of the Master in Advanced Architecture!

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printing layer: Layer 9

pro. : 1 : 3

1:08 mins

Layer 8

pro. : 1 : 1

1:12 mins

Layer 7

pro. : 1 : 1

1:14 mins

Layer 6

pro. : 1 : 1

1:18 mins

pro. : 1 : 2

1:13 mins

Layer 4 Layer 3

pro. : 1 : 2

1:14 mins

pro. : 1 : 2

1:12 mins

Layer 2

pro. : 1 : 3

1:13 mins

Layer 1

pro. : 1 : 3

1:30 mins

Layer 5

fabrication

This layer are multicellular organisms that have bodies full of pores and channels allow

full of pores and channels allowing air to circulate through them.This layer are multice

through them.This layer are multicellular organisms that have bodies full of pores and

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Fabrication order 1

Fabrication order 2

A

3D printing then wing air to circulate through them.test Thiswas layer are done multicellular organisms that have bodies

for different densities of and each ellular organisms that have bodies full of pores channels allowing air to circulate layer reducing as the structure grows.

The rigidity of the layers were also varied. The study of the process and the given waiting time between each layer can be understood through the digram above.

d channels allowing air to circulate through them.

三維印刷試驗，然後為每個層的不同密度減少作為 結構生長完成。層的剛性也被改變。該方法的研究

和每層之間給定的等待時間可以通過上面的分析圖

Foam

Suction machine

KUKA

INGREDIENT & TOOLS This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

組合來理解。

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Firmness 1.72

Firmness 1.75

mixing time:

mixing time:

solid time:

solid time:

Firmness 2,35

Firmness 2.72

mixing time:

mixing time:

solid time:

solid time:

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fabrication-KUKA

This layer are multicellular organisms that have bodies full of pores and channels a

through them. This layer are multicellular organisms that have bodies full of pores a

to circulate through them.This layer are multicellular organisms that have bodies fu

allowing air to circulate through them.This layer are multicellular organisms that hav and channels allowing air to circulate through them.

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Firmness 1.78

Firmness 2.32

Firmness 2.26

mixing time:

mixing time:

mixing time:

solid time:

solid time:

solid time:

ss 1.75

Firmness 1.78

Firmness 2.32

Firmness 2.26

me:

mixing time:

mixing time:

mixing time:

me:

solid time:

solid time:

solid time:

Firmness 2.81

Firmness 2.86

Firmness 1.81

mixing time:

mixing time:

mixing time:

solid time:

solid time:

solid time:

ss 2.72

Firmness 2.81

Firmness 2.86

Firmness 1.81

me:

mixing time:

mixing time:

mixing time:

me:

solid time:

solid time:

solid time:

allowing air to circulate

This air layer are multicellular organisms and channels allowing

that have bodies full of pores and ull of pores and channels

ies full of pores and channels allowing air to circulate channels allowing air

to circulate that, there r organisms that have bodies full of poreshardness and channelsof foam could are different multicellular organisms that have bodies full of pores influence the structure system. We . found out that different time determined the structure properties which each is able to decided to put in the bottom or on the top

full of sve thatbodies have bodies fullpores ofthrough pores and them. channelsAallowing resultairof

這一層是具有充分的孔和通道，允許空氣通過它們

流通的機構多細胞生物體。 這方面的一個結果是，也

有不同的硬度的泡沫可能影響結構體系。 我們發現， 不同的時間所確定的結構性能，其中每個能夠決定 把在底部或頂部

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Proportion 1 : 1 Mixing Timing

01:15 mins

01:30 mins

01:45 mins

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 02:30 mins

expansion height: 0.15 cm

expansion height: 0.30 cm

expansion height: 0.42 cm

expansion height: 0.75 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 02:24 mins

expansion height: 0.10 cm

expansion height: 0.32 cm

expansion height: 0.52 cm

expansion height: 0.80 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 01:30 mins

expansion height: 0.15 cm

expansion height: 0.55 cm

expansion height: 0.8 cm

expansion height: 0.80 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:16mins

semi-solid timing: 01:16 mins

expansion height: 0.21 cm

expansion height: 0.41 cm

expansion height: 0.65 cm

expansion height: 0.65 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 01:54 mins

expansion height: 0.35 cm

expansion height: 0.41cm

expansion height: 0.58 cm

expansion height: 0.80-0.40 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 02:20 mins

expansion height: 0.31 cm

expansion height: 0.45 cm

expansion height: 0.64 cm

expansion height: 0.90-0.60 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 01:41 mins

expansion height: 0.18 cm

expansion height: 0.29 cm

expansion height: 0.51 cm

expansion height: 0.75-0.7 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30mins

semi-solid timing: 01:38 mins

expansion height: 0.17 cm

expansion height: 0.31 cm

expansion height: 0.52 cm

expansion height: 0.80-0.75 cm

best period

02:00 mins

Proportion 1 : 3 Mixing Timing

01:15 mins

01:30 mins

best period

01:45 mins

02:00 mins

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Proportion 1 : 2 Mixing Timing

01:15 mins

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 02:51 mins

expansion height: 0.21 cm

expansion height: 0.33 cm

expansion height: 0.53 cm

expansion height: 0.8-0.5 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 02:18 mins

expansion height: 0.21 cm

expansion height: 0.41 cm

expansion height: 0.51 cm

expansion height: 0.75-0.60 cm

01:45 mins

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 01:37 mins

best period

expansion height: 0.24 cm

expansion height: 0.32 cm

expansion height: 0.56 cm

expansion height: 0.80-0.60 cm

02:00 mins

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30mins

semi-solid timing: 01:47 mins

expansion height: 0.17 cm

expansion height: 0.31 cm

expansion height: 0.42 cm

expansion height: 0.60-0.40 cm

01:30 mins

Proportion 1 : 1 + iron powder Mixing Timing

01:15 mins

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:30 mins

semi-solid timing: 01:38 mins

expansion height: 0.21 cm

expansion height: 0.52cm

expansion height: 0.61 cm

expansion height: 0.80 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:24 mins

semi-solid timing: 01:24 mins

expansion height: 0.40 cm

expansion height: 0.58 cm

expansion height: 0.74 cm

expansion height: 0.90 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:17 mins

semi-solid timing: 01:17 mins

expansion height: 0.35 cm

expansion height: 0.56 cm

expansion height: 0.79 cm

expansion height: 1.00 cm

semi-solid timing: 00:30 mins

semi-solid timing: 01:00 mins

semi-solid timing: 01:11 mins

semi-solid timing: 01:11 mins

expansion height: 0.47 cm

expansion height: 0.65 cm

expansion height: 0.89 cm

expansion height: 1.10 cm

best period 01:30 mins

01:45 mins

02:00 mins

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In order to print the polyeurethane foam in the robot, we had to create an extruder.

This is design to have the two differents components separately , where the fluid of both are controlled by valves. Due to the different viscocity of the components, further mixing is done by allowing the mixing to take place in a pipe that is wound in a hellicodial pattern. This mix then passes through the nozzle. The length of the wounded pipe is varied based on the consistancy of the mixed required.

為了打印泡棉在該機器人中，我們必須建立一個噴

嘴。這是設計來分別有兩個型態組分，其中兩個的流 體由閥門控制。 由於不同黏度的組件，進一步混合是 通過使所述混合發生在被纏繞在一個螺旋圖案的管 道進行。 此混合物然後通過噴嘴傳遞。 導管的長度是 基於混合所需的相合變化。

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3D printing fabrication This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

Cylinders: component A and B

Switch: there bars controll the amount of component Mixer: two component gathers here to mix up

Spiral tube: foam goes through the loing tube until the right timing to be

printed. The time for the best state of the foam is approximately 0120 to 0150 mins, which is perform semi-solid type. And also. the period for printing is around 30 sec, yet slow movement to make shape.

Nozzle: the disavantage of 3d fabrication is that the hozzle has to be

changed each time runs, because foam will stick to the surface and turn into solid substance.

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Polyurethane foam is a material that has the properties of light weight , it is inexpensive , it is one of the best heat insulation and soundproofing, the property of shape memory helps to deform the material and return it to its original state, is resistant outer and is not toxic.

聚氨酯泡沫是具有重量輕的特性的材料，它是便宜

Based on the extraction of air we controlled the deformation of the material depending on the location of the suction input, also the density of the polyurethane foam and the shape that takes originally makes this behavior. The fact that the polyurethane foam is denser does not mean it is stronger in this case the higher denser the material becomes softer .

中，聚氨酯泡沫也密度而這需要最初使得此行為的

的，這是最好的隔熱和隔音之一，形狀記憶的性質，

有助於變形的材料，並將其返回到其原始狀態，可耐 外和是沒有毒性。

基於空氣的提取我們受控依賴於吸力輸入的位置 形狀的材料的變形。 事實上，該聚氨酯泡沫的密度

大，並不意味著它是在這種情況下，更緻密的材料越 高變得柔和更強。

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3D printing fabrication This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them. This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.This layer are multicellular organisms that have bodies full of pores and channels allowing air to circulate through them.

Component A : Component B: 1:1, 1:2, 1:3

Switches: these two switches controll the defferent proportions of the foam which generate into three types of densities, firmness amd factor support. At the same time of switching on, we also add little bit pressure to achieve the exactly speed and amount due to viscousness of two components.

Polyurethane foam is a very difficult material to control ,when this reacts because it is affected by several elements such as : temperature , humidity , how to mix the components and the amount of carbon dioxide that is released. The silicon and acrylic coating used in this case are easy to use but the process of setting these varies depending on the environment, not totally cure at temperatures below 15 ° , if there is high humidity in the environment and if combined or used latex gloves also slows the process.

The future of this material would be apply it to the buildings where the controlled deformation could be controlled through the circular of air.

Here the volume of spaces could increase or decrease also the strcuture could change as from a table to chair or the floor could be modified based on th properties of the foam and the requirements.

聚氨酯泡沫體是非常困難的材料來控制，當該反應， 因為它受到幾個元素，如：溫度，濕度，如何混合組分 和二氧化碳被釋放的量。在這種情況下使用的矽和 丙烯酸塗料是易於使用，但設置這些過程的變化取

決於環境，在溫度不完全固化低於15° ，如果有高濕

度的環境中，組合或使用乳膠手套會相對減慢過程。 該材料的未來將是將它應用到那裡的受控的變形可 通過空氣的圓形進行控制的建築物 。 這裡的空間的

體積可以增加或減少也晶格結構可以從一個表作為 改變到椅子或地板可以基於所述泡沫和要求的屬性 進行修改。

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the dark side

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his project dIffers from other solar decathlon entries as it exacts energy from dark matter than sunlight. According to other solar analysis conducted, it was discovered that the site had a vast amount of darkness and minimal contact with sunlight. Therefore, this existing darkness was used in order to provide the building with its energy When conducting the site analysis, we discovered the limited amount of sunlight that reached the site. Rather than attempting to capture the limited light, we decided to harvest the existing darkness in order to create energy. We then discovered the living matter that was surviving in this darkness. Testing these materials, we studies that would provide the most energy.

其他太陽能十項全能項目該項目的不同，因為它需 要付出的能量來自暗物質比陽光。 據進行其他太

陽能分析，發現該網站有黑暗與陽光接觸最少的大 量。 因此，這種現有的黑暗，使用，以便提供建築物 與它的能量

當進行現場分析，我們發現陽光是達到該站點的數

量有限。 而不是試圖捕捉有限的光，我們決定收穫現 有黑暗以產生能量。 然後，我們發現了生命物質被尚 存在這黑暗之中。 測試這些材料，我們的研究，將提 供更多的能源。

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When conducting the site analysis we found existing natural materials that grew in this darkness. Our project is based on how these materials support one another in order to provide the building with energy. These three materials are moss/ mycelium/ bees

當進行現場分析，我們發現，在這黑暗之中長

大現有的天然材料。 我們的項目是基於這些材 料是如何互相支持，以提供建築節能。 這三種 材料是苔蘚/菌絲/蜜蜂

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watts/m2

0.1%

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moisture semi-sun soil W-retaining insulate

Pleurocarpous and Acrocarpous

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convert efficiency

Photo-MFCs

anodic & cathodic electric connector posituve &negative pole of circuit rechargable storage

evolutional timetable

to grow to water

daily

every three days

2 months

3 months

weekly

twice

4 months

5 months

6 months

random

• Increase the rate at which the moss excretes organic compounds into the soil.—site environment • Increase the rate at which the bacteria break down the organic compounds and produces electrons.—site environment • Improve the electrical connection with the bacteria.—factory • Reduce the internal resistance of the device.—factory

steriliz food temperature construction mold

Mycelium (Xiitake)

0.33 30

kg/ brick

aprox/brick

Padel generator

DC/ AC convertor energy storage

evolutional timetable

to make brick mushroom

mix up

dry & mold

2 months

3 months

harvest

4 months

production

• sport is one of the few institutions in society, where people can still agree on the rules”. No matter where you’re from, what you believe in and which language you speak, you can always do sports together.

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5 months

recycle

6 months

education gardens semi-sun plants data

Bee’s ecology reservation

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hive constructions

1088

kg H./year

10% Lab equipment H testing./weekly

construction of hive import plant

evolutional timetable to insert hive to scrape wax, honey, test to pollinate

daily

weekly

every summer. spring season yearly

• Allium ampeloprasum. Euphrasia flower. Symphytum Officinale • Nearby water source for the bees, dappled sunlight, and minimal wind • Rather than using the bees as a means of production for there honey, we will be using them as for science. There fore, this open source beehive project will invest in the information of bees, rather than there product. By encouraging the community to plant melliferous flowers and communal beehives, they will become ‘citizen scientists’. The bees will therefore act as indicators of the ecosystem, as if there is not enough plant diversity, the bees will be forced to travel elsewhere.

Water filterable system

609 30-50

mm/ year

recycle natural aquatic algae irrigation

mm/hour

Filter equipment water plants coarse sand, fine sand separation layer (Charcoal)

evolutional timetable

to filter

12 hours

daily

• sport is one of the few institutions in society, where people can still agree on the rules”. No matter where you’re from, what you believe in and which language you speak, you can always do sports together.

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Each material is located on different levels in order to brake up these separate atmospheres. Whilst at the same times they are all linked in order to contribute the whole system.

每種材料位於不同水平，以制動向上這些單獨 的大氣壓。 而在同一時間，他們是為了促進整 個系統的所有鏈接。

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The bees are not used as a source of income, or there ability to produce honey. The bees are rather being utilised for their ability to naturally 3d print, in order to construct the building. In order to provide the darkness for the natural materials, we designed vertical hives that would block out the sun. Following the bee’s natural process, the bees will occupy and deliver the honey in summer, resulting in fractured light being directed towards the plants. And in winter the bees fully occupy the hives for protection form the cold, leaving the pipes full and blocking out the external sun. The pipes will be designed so that some will be open and spray and some attracting the bees so that they create darkness for the plants bellow.

蜜蜂是不作為收入來源，或在那裡生產蜂蜜的 能力。 蜜蜂是相當被用於他們的能力，自然3D 打印，為了造屋。 為了提供黑暗的天然材料，

我們設計了垂直蕁麻疹，將阻擋陽光。 以下蜜 蜂的自然過程，蜜蜂將佔據並交付蜂蜜在夏

季，導致裂隙光被引向植物。 而在冬季蜜蜂完 全佔據蕁麻疹保護形成的冷，讓管道充分，擋

住了外部太陽。 管道將被設計成使得一些將開 放和噴霧和一些吸引蜜蜂，使他們創造黑暗 植物波紋管。

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on going projects

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No. pallet is the project of zenzoo interior renovation in Barcelona, Spain. The client has a view of caring global warming. Therefore, we proposed that all the construction process from the begining til end should be followed the sustainability notion. All the materials were almost developed from pallet and convert the structure idea from the original pallet panels. In my point of view, was focus on the wood pattern during the rubbing technique, poping up the unpredictable, and amazing pattern.

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No. Pallet 是在西班牙巴塞羅zenzoo室內裝修 工程。業主有關心全球變暖的觀點。因此，我

們建議從一開始直到結束時，所有的施工過程 中應遵循的可持續發展的概念。幾乎從貨板

開發並從原來的托盤板將結構構思的所有材 料。 在我的角度來看，是專注於木圖案摩擦技

術時，磨出了不可預測的，和驚人的木紋形式。

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No. wood, the first project as I was studying master degree. Wood, has an unbelievable smell, and make people to touch and experience them. I proposed that not only useing the sensibility of sight in my design concept, also activate smell one to guide people living in this aroma spacial.

Specially, I picked up the wood from recycle factory, and converted into floor material, feet step on them, feeling transmits form bottom towards up to top.

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No wood，第一個室內案子發生我正在就讀

學碩士學位。木材，有一個令人難以置信的氣 味，讓人觸摸和體驗它們。 我 提議，不僅期運

用的視線感覺在我的設計理念，也激活異味人 指導生活在這個香味空間的人。

特別地，我拿起從回收工廠的木材，並轉換成 地面材料，對他們的腳一步，感覺形式發送向 上頂底。

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Chung Kai Hsieh

Architecture Designer

Espano

+34 602 647 559

Taiwan

+886 937 680 728

Address

carrer de padilla 304, 2-2, Barcelona, Spain

Email

jackohsieh0129@gmail.com http://issuu.com/archi_jacko

Tamkang University

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