Journal part b

STUDIO AIR MIMESIS

ABOUT ME

My name is Hongchang Duan, a third year architecture student at the University of Melbourne. Since I was young I’ve always got this interest in buildings. Through the years this interest has evolved and eventually got be to join the university and studuy to become an architect.

I believe that, art forms such as paintings, photography, films, and of course, architecture, are all intertwined somehow. Therefore as a designer I draw inspirations from a broad range of mediums, and has taken interest in them as well.

As an architecture student I have a very strong interest in speculative projects that not only tackles realistic problems, but at the same time provoke thinking and cretiques. I believe that as a student it is important to investigate not just what was being taught at universities, but also the ownself’s beliefs, whether architectural or general.

A. CONCEPTUALISAION

A.1

DESIGN FUTURING

CASE 1.0 NAKAGIN CAPSULE TOWER

ー

タ中 ワ銀 カ プ セ ル

CASE 1.0 NAKAGIN CAPSULE TOWER

N

akagin Capsule Tower, designed by Kisho Kurokawa, is one of the rare remaining example of the Japanese Metabolism movement in the early 1960s.

In was a utopian dream of an architect, that the possibility of realising the fantastical conceptual proposal of the Archigram ‘Plug-in city’. The tower is mainly composed of 140 capsules, which are prefabricated in the factory and then assembled to the main structure on site.

Each capsule is fitted with necessary utilities and furniture, and meant to be updated as technology advances. Only bolted to the main structure by four high tension bolts, the capsules are designed to be easily replaced, and detached from the main body, when it has degraded or damaged.

However, coming back to reality, none of the 140 capsules on the tower has been updated or replaced, since it’s completion in 1972, due to high cost of maintenance. 1The tower now has been left in despair, and possible demolition has been proposed.

subsequently reducing the need for demolishing the building to update its facilities. In a way, it certainly could have opened new possibilities in new patterns of living, or even revolutionise the industry. However, in today’s time, the tower, though still inhabited, have been way behind schedule in terms of its maintenance and updates. It still serves its function as intended, both residential and commercial, but just never fulfilled its vision.

In the words of Nicolai Ouroussoff, an architectural critic from The New York Times, “ The Capsule Tower is not only gorgeous architecture; like all great buildings, it is the crystallization of a far-reaching cultural ideal. Its existence also stands as a powerful reminder of paths not taken, of the possibility of worlds shaped by different sets of values.”

The tower was, back then, a radical advancement. It introduced a future where housing apartments could be customised and mass produced, and

1. Froster, Katie, Tokyo’s tiny capsules of architectural flair (2014) <http://www.japantimes.co.jp/culture/2014/10/03/arts/tokyos-tiny-capsules-architectural-flair/> [accessed 6 March 2017].

Ouroussof, Nicolai , Future Vision Banished to the Past (2009) <http:// www.nytimes.com/2009/07/07/arts/design/07capsule.html> [accessed 6 March 2017].

CASE 2.0 THE SILK PAVILION

CASE 2.0 THE SILK PAVILION

T

he earth as we know it today has undergone very rigorous urban expansion in the past century. War and modernism gave us the excuse and opportunity for large scale expansion.

This expansion however, in the contemporary view point, is detrimental to the planet’s ecosystem and if continued would be highly unsustainable.

Therefore, in today’s architectural industry, there’s more and more groups such as the MIT Media Lab’s Mediated Matter Group, pushing the boundary of technological advancement in the field of architecture. Their 2013 project THE SILK PAVILION is the perfect example of interdisciplinary corporative innovation.

“Our research integrates computational form-finding strategies with biologically inspired fabrication”, as suggested on their website, the project, though un-

doubtedly architectural, was created largely with biology. The pavilion was created using silk threads laid down by a CNC (Computer-Numerically Controlled) machine, to form 26 polygonal panels.

On top of this primary structures the team them let loose 6500 live silkworms, guided by their instinctive preference for darker areas on the surface, the insects then complete the gaps on the surface with their strings.1 Though only a small scale project, the Silk Pavilion opens countless possibilities of combining biological technology with architecture. By showing the possibility of the nature can do, this project encourages the industry not to just stick with the conventional materials, but also to the possibilities of sustainable and biodegradable material.

1. MIT Media Lab, 2013 CNC Deposited Silk Fiber & Silkworm Construction (2013) <http://matter.media.mit.edu/environments/details/ silk-pavillion> [accessed 7 March 2017].

A.2

COMP

DESIGN PUTATION

CASE 1.0 CCTV BEIJING HEADQUATER

CASE 1.0 CCTV BEIJING HEADQUATER

C

omputers since its start, has always been a tool for designing. Regardless of being a modeling tool or a digital drawing board, computers have since revolutionised how architects realise their wildest dreams. In recent years, computers are being applied to more areas in the industry, one of such application is structural optimisation. Using computer programmes, enginneers are now be able to find a much more complex and efficient solution to their structural problems.

One of such application is the CCTV Headquater in Beijing, China. Compeleted in 2012, the 234m tall building comprises two leaning towers and 75m cantilever section that connects them. 1The primary structural support is achieved through a series of leaning columns, horizontal edge beams and triangulated bracing on the external skin 2,forming an irregular grid on the facade.

The building’s physical form, being three dimensional continuous cranked loop, posed great strucural challenges. This

is only possible by using computational method to optimise the pattern and organised them in the way that they are efficient and cost-saving. This primary structural system is then formed a bold expression on the facade, visually represents the pattern of the force, subsequently strengthened the dialogue between its structure and architecture.3 Comparing to Mies van der Rohe’s Seagram Building in the analogue era, for which the I-beams on the facade is a mere symbolic representation of the structure , the CCTV Tower ‘s facade expression is the demonstration of the endless possiblity in the computation era.

In the case of the CCTV headquarters, computational design is applied to designing process in the form of structural optimisation. Computational design in that sense has produced something that would require meticulous calculation and resource. The exposed structural grid on the facade of the headquarter not only provided support, but also impacted the building visually.

1. Arup, China Central Television (CCTV) Headquarters (2017) <http://www.arup.com/projects/china_central_television_headquarters> [accessed 14 March 2017].

2, 3. Carroll, C., et. al. (2006). “China central television headquarters Structural design.” Steel Structures, 6, pp. 387 ~ 391.

CASE 2.0 AL BAHAR TOWER

CASE 2.0 AL BAHAR TOWER

I

n the previous case study, the CCTV tower demonstrated how design computation can be implemented for structural optimization. While it was the structural stability the main focus of computational design, in the case of Al Barha Tower it was the building environmental performance that is optimised. The Al Barha Tower features active responsive facade, which means the patterns on the facade senses the changes of light condition, and adjust the openings accordingly. 1In this way the amount of sunlight penetrate through the facade is monitored and automatically controlled, subsequently regulating the room temperature and eliminating glaring issues.

This feature is projected to reduce solar gain by 50% and CO2 emissions by 1750 tonnes per year.2

Computational design, in this case, is responsible for the pattern of the opening, laying them out, and deisgining the algorith that runs the openings. This has effectively reduced the building operating cost, and saved the energy needed for the buildingâ&#x20AC;&#x2122;s cooling system.

The active sunshade, similar to the CCTV Tower project, has became the defining expression of the building. In this case computational design has achieved this expression with the original intention of providing a functional feature to the building. Due to the fact that the sunshades are active and responsive, it would change throughout the day according to the solar movement, thus creating a dynamic scene on the facade, in a sense gave the building, a static object, life-like movements.

1, 2. Boake, Terri.M, â&#x20AC;&#x2DC;Architectural Designâ&#x20AC;&#x2122;, The Evolution of Tall Building in the Gulf: From the Sensational to the Sensitive, 85.1, (2015), 54 - 71.

A.3

COMP TION/ GENE

PUTA/ ERATION

CASE 1.0 SAGRADA FAMÍLIA

CASE 1.0 SAGRADA FAMÍLIA

W

hen speaking of parametric design algorithmic scripting in architectural context, immediately springs to mind are the gravity-bending futuristic spaceships of buildings. Indeed, since Patrik Schumacher popularised the term “Parametricism” in 2008, the world has seen the dominating trend of parametric design. In the comtemporary sense, parametric design involves employing variable parameters or algorithms to generate geometries or objects, and largly relied on digitally manipulating the data. 1In the era of Antoni Gaudi, architectural form-finding wasn’t done in computers, but with analogue physical models. In the case of his Colonia Guell Chaple, a physical upside down hanging model was constructed to utilise gravity, described by Mark Burry, as “one o fnature’s ultimate parametric design inputs”, to generate the physical form.

In the case of his famous Bacilica Sagrada Familia, which is still under construction since 1882, is an example of

the combination of analogue and computational parametric designing.

When Gaudi passed away 1926, he left the bacilica unfinished. In today’s context, parametric modeling is being applied to interpret and generate part of a relitively small designs by the architect.2 For instance, when the tower of Jesus, the central tower above the crossing was being constructed, the design team realised the originally parametrically designed base of the tower, “frontons”, which are a matchings et of 17 metre high arches, has been converted into explicit geometry, and has lost their parametric properties over the subsequent revisions.3 The team then parametrically remodled the arches and corrected the distortions.

In this instance parametric modeling was not applied to generating skyscrapers or new airports, but used to preserve and continously finishing project of historical significance.

1. Castle, Helen, ‘Architectural Design’, EDITORIAL, 86.2, (2016), 5.

2. Burry, Mark, ‘Architectural Research Quarterly ‘, Parametric design and the Sagrada Familia, 1.4, (1996), 70- 81.

3. Hernandez, Barrios and Carlos Roberto , ‘Thinking parametric design: introducing parametric Gaudi’, Digital Design, 27.3, (2006), 309- 324.

A.4

CONC This chapter is the first stage in the journey to understand computational design, after 3 weeks of research this chapter has shown a glimps of future, where structural optimisation of geometrically complex form could be realised, and historical buildings could be completed and preserved using algorithms and scripts. These case studies represents the radical and cutting-edge design of their respective time period, it is a demonstration of forward thinking in architecture, continuing to push the limit of possibilities.

CLUSION

A.5

LEARN OU

NING UTCOME Over the past three weeks, this chapter has helped me to gain a much deeper understanding of design computation and parametric designing in general. From past understanding to me architecture has always been designed using intuation, experience and personal appreciation of beauty. Algorithmic design has shown me the possibilities of having design generated instead of being an abstract representation of the architect, and realising the level of complexity that is considered impossible in the analogue world.

For me now generative design has gone beyond the mere surface of form generation, but also benefits the industry in terms of structural optimisation and historical preservation. For the next stage of this subject I wish to delve deeper into the field and hopefully benefit more from algorithmic design.

A.6

APPE Points in rhino are generated using populate geometry component.

Using metaball(t) compo nent, contour - like lines are generated.

ENDIX

oe

Surfaces are from the lines.

generated

Surfaces are then turned into curves using mesh edge component.

Curves are divided into points.

B. CRITERIA DESIGN

B.1 RESEARCH FIELD STRIP & FOLD

The technique of Strip&Fold has the implication of reducing a possible surface, or a solid, into strands. By making them into individualised elements, it certainly increases the possibility of further control and manipulation of the overall form. The idea of folding then gives it a three dimentional profile, and the opportunity for patterning on the surface. Taking the ICD/ITKE Research Pavilion on the right for example, the design consists of two kinds of shape as individual planar surface, while with various degrees of bending, the result of having these two panels rotate along an axis create a wave- like pat-

tern on the surface. By having control of each panel, the degrees of bending could be manipulated, thus further contribute to the overall form.

Due to the increasing involvement of computatioal design, stirp&fold helps to simplify the form and systemise the construction process. By employing the technique, complex geometries could be reduced to simpler ones, and giving greater control to designers in terms of form manipulation and structural design.

B.2 CASE STUDY SEROUSSI PAVILION

Seroussi Pavilion was designed as a self-grown, self modifying patterns of vectors based on the eletcro-magnetic fields(EMF). Designed by Alisa Andrasek, the script-based pavilion was aimed to be adaptable and modify itself according to the site that it is based on (pavilion was originally implemented into a steep hill).1 The architectural plan for the pavilion was different from the conventional ones in the sense that the vector lines were generated instead of designed. The plan is then lifted via microarchiing sections through frequencies of the sine function. 2 Additional features incorporated into the script offers the opportunities for local adaption to the site. As the result the team describe the architectrual plan as â&#x20AC;&#x153;a dynamic blueprint closer to musical notation.â&#x20AC;?

The project itself portrays the image of being dynamic and free-flowing. The naturalistic form reminiscents of marine lifeform. The individual semi-enclosed caccon-like units poses the possibilities for habitation

ITERATION

1.1

1.2

1.

2.1

2.2

2.

3.1

3.2

3.

4.1

4.2

4.

5.1

5.2

5.

6.1

6.2

6.

.3

1.4

1.5

.3

2.4

2.5

.3

3.4

3.5

.3

4.4

4.5

.3

5.4

5.5

.3

6.4

6.5

1.2, increased strength applied 1.3, large radius applied, type of graph mapper changed 1.4, large radius + large strength 1.5, radius of the circle increased.

Spicies 2. Changing the graph mapper 2.1, Gaussian 1.2, Inverted Conic 1.3, Elevated Bezier 1.4, Inverted Bezier 1.5, Power

Spicies 3.Experimenting with graph mapper 3.1, Inverted Bezier populated with spheres 3.2, Sine Summation 3.3, Sine 3.4, New curves, Bezier with increased field lines 3.5, Elevated Power

Spicies 4 Changing the diameter of the circle 4.1, Increased diameter with spin force 4.2, Increased diameter, shortened field lines 4.3, 4.2 with Gausian 4.4, 4.2 with Power graph 4.5, 4.2 with Conic

Spicies 5 Adding Component Tube 5.1, Replacing lines from the original with Tube 5.2, inverted Gausian with tube 5.3, inverted Bezier with tube and spin force 5.4, 5.2 with spin force 5.5, flattened 5.1

Spicies 6 Experimenting with tube 5.1, Spin force with tube 5.2, Original pavilion shortened field line with tube 5.3, Narrow curve in Gaussian 5.4, Narrow curve in Gaussian 2 5.5, Narrow curve in Bezier

SUCCESSFUL SPECIES

Spicies 1. Adding spin force component.

1.1, little strength applied

This particular iteration was chosen because of it’s aesthetic quality and practicality. It is in the formal aspect a reminiscent of some kind skeletal animal, which I found really interesting. Each spikes on the back poses possibility for inhabitation, while the overarching plan offers some degrees of circulation. The swirl created by the force field forms a semi-enclosed space, which adds to the complexity of its spatial quality.

What is successful about this iteration is the pavilion-like formal quality. Different from the previous iteration, this attempt yields a more architectural, and a more realistic result. Each of the “pods” forms a semi private space, with a central area defined by each tip of the pod. This provids possibilities of space sharing, regardless of whether it’s between humans or cross-species.

Spin force was applied to this iteration after I’ve generated the field lines. The spin force is responsible for the central “nest” created by the swirl. I found this iteration rather interesting because of its “natural form”. Aesthetically it certainly looks artificial, however it is an artificial attempt to immitate what usually is a natural phenomenon. This creation of an artificial nest has the possibility of providing ready-made home to some of the local inhabitant in Merri Creek.

What I enjoyed about this iteration is that it took an organic-like definition, and turned it into an cage-like structure. I found this rather special as it provides an alternative to the usual shelter-providing environmental friendly approach.

Instead of co-habitation, this iteration explores more on exploitation of the local inhabitants.

Therefore opens more possibilities of the project.

B.3 CASE STUDY ICD/ITKE RESEARCH PAVILION 2010 UNIVERSITY OF STUTTGART, GERMANY

The ICD/ITKE PAVILION 2010 is a very good example of incorperating the material-based computational design with its fabrication process. The team was able to produce a structure with thin plywood, that could be under compressional pressure and result in the existing form.

It is fair to say that the pavilion has achieved successful outcome in terms of design realisation. Due to the rather unconventional design process, incorperating material consideration in early stages fo design, the pavilion was able to demostrates an alternative approach to computational deisgn. The computational generation of form is directly driven and informed by physical behavior of material characteristics.

B.3 CASE STUDY REVERSE ENGINEERING

TRACING THE LINE +LOFT

USING REPETITIVE ALGORITH, REPEAT MOVEMENT ALONG Y AXIS AND ROTATE ALONG Z AXIS

MOVE ADDE

EMENT ALONG Z AXIS ED WITH POSITIVE VALUE

MOVE ALONG Z AXIS WITH THE SAME NUMBER BUT NEGATIVE

COMPLETE ROTATION WITH A CIRCILE

B.3 CASE STUDY FINAL OUTCOME

B.4 TECHNIQUE DEVELOPMENT

SUCCESSFUL SPE

I like this iteration in particular because of its spatialality. Taken the arches from the original form yet fo each rotaion it would scale down, reaching a deminishing point. This effect create a shell-like tower structure that could imply possible habitation by small animals the spiral movement upward could potentially disorient the inhabitant.

Muiltiplication component was applied to this iterations after the line has been generated.

The muiltiplication is linked to the x axis movement, creating a handle-like structure. This form given its overall shape resembles a cup or a mug of some sort. It is visually pleasing, at the same time providing potential possibilities for a DEVICE.

ECIES

What is successful about this iteration is the clear identification of the entrace. If intended for animals, subtle entrances could very possibly to be ignored given not many animals would have the sharp cognitive functions like humans. It gives a possible habitable space and provided shelteres to the ones that needed it.

What I enjoyed about this iteration is the natural-like blob shape. it resembles the organic shape that a bird could generate from building its nest. The entrance into the device is small, therefore not giving much opportunities for occupants of fairly big size. However it does imply possible habitation by small animals or insects.

B.5 TECHNIQUE PROTOTYPES

B.5.1PROCESS “MERRI LIFE 2017: A NEW EGG PLEASURE” CAMPAIGN CAMERA TRACKS

1

2

3

4

PROCESS OF MAKING

B.5.1 STORYBOA

“MERRI LIFE 2017: A NEW EGG PLEASURE

ARD

E” CAMPAIGN

B.6 TECHNIQUE PROPOSAL

APART FROM THE BURROW CREATED FOR RAISING YOUNG ECHIDNA, THEY HAVE NO FIXED SHELTER OR NEST SITE. DO NOT HAVE A HOME TERRITORY THEY DEFEND AGAINST OTHER ECHIDNAS, BUT THE RANGE IS CONSIDERABLIY WIDE

REPRODUCTION ALONG WITH THE PLATYPUS, THE ECHIDNA IS THE ONLY AUSTRALIAN MAMMAL TO LAY EGGS, WHICH MAKES THEM ONE O FTHE LAST SURVIVING MONOTREMES. BREED FROM THE END OF JUNE TO EARLY SEPTEMBER. SECUALLY ACTIVE MALES HAVE BEEN KNOWN TO SEARCH OUT FEMAILS AND FORM TRAINS (2-10) FOLLOWING EACH OTHER. FEMALES LAY SINGLE EGG, WHICH INCUBATE FOR ABOUT 10 DAYS IN HER POUCH.

B.6.1 SCENARIO “MERRI LIFE 2017: A NEW EGG PLEASURE” - A SPECULATIVE SOCIAL COMMENTARY

COMIC: ONE AUGUST AFTERNOON

one august afternoon...

one september afternoon...

B.6.2 MATERIAL ORGANIC ECHIDNA EGG RETRIEVING DEVICE

WE

AV INT ED ER BY EC IOR LO HID S CA P FO NA EC LLY RM â&#x20AC;&#x2122;S E IFIC BR GG AL EAS HIG ED L SIL LAY Y T H Y , CO LY KW ING ALO A S OR T-S DAP NE YRE M AVI TA ED D F NG BLE S. OR A T

ND O T ENV HE C IRO HO NM SEN ENT EN FRI VIRO END NM LY F ENT ABR ICA TI

ON

B.7 LEARNING OUTCOME What I enjoyed the most about this particular module is the opportunity for experimentation. Before this subject my design modelling has mainly composed of using sketchup and texturing in photoshop. Before this, Rhino and grasshopper, let alone Unity, was never in my consideration. After weeks of having the opportunity to experiment with writing algorithms, building up worlds in Unity, I have grown a bigger interest in the field of computational design.

The repeating experimenting with iterations, and putting them in the world where you could experience them in the real scale, has made me change of my perception of doing presentation in the future.

The building of the virtual prototype was a challenging experience. Though having experimented with the definitions quite vigoriously, it was mainly form-finding. Therefore in the later experimentation, I tried to incorperate the narrative into the form-finding, then I realised how powerful computational design is when given an agenda.

With the beginner level of skills in grasshopper and Unity, Iâ&#x20AC;&#x2122;m looking forward to taking the project into a new stage in Part C, with the addition of teamwork the limit of the project could be pushed even further.

B.7 APPENDIX

C.DETAILED DESIGN

C.1 DESIGN CONCEPT C1.1 PART B FEEDBACK & NEW DIRECTION

1. By the tutor’s instruction, we moved away from virtual reality production to physical production, and Part C will be done in the team of 2-3 members.

2. Due to the speculative nature of Merri Life “ A New Egg Pleasure” 2017, and the potential challenge for physically produce a model that will go well with the narrative, as a team (me and Amos) we decided to proceed Part C with his narrative, the “Incubee”.

3. Merri Life “ A New Egg Pleasure” 2017 had a good narrative and speculation behind the project, however formally it was challenging to produce and not very physically feasible for fabrication.

From Merri Life to Incubees

C1.2 THE INCUBEES & THE ABBOTSFORD CONVENT The Narrative Blue Banded Bees Don’t Fly During Winter In April and May, at the natural nest sites, all the adult bees die as the gold weather starts.

In the nest burrorws, though, immature bees (called prepupae) are curled up inside their sealed cells. These prepupae become dormant during witer and stay inside their cells until the weather warms up in spring. Then they complete their development into adults and emerge into the wild to begin the new flying season.

Research shows that if surrounding temperature could be maintained to above 20 degrees, the dormant phase of the prepupae could be reduced drastically by 2-3 months, thus make the blue banded bees ready for wild much sooner than usual. This would extend their active season and increase their population subsequently.

WINTER HIBERNATION PHASE

CROWD’S HEATFUME INCREASES TEMP. BY 2-3 °C.

GROWTH ACCELERATED BY 2-3MONTHS

Human body exert heat over different emotions, as the diagram on the left shows, body temperature rises the most over happiness. With the combination of large group physical activities, significant ambient temperature rise could be expected.

We speculated to facilitate this phenomenon architecturally, by hosting Dance Parties under a parametrically designed canopy, which will host the prepupae.

ENT

ONV RD C

AN TSFO ABBOECT PROJ

E .0 H T N I 2 E G Z N REE I C N DANTERDANBCE AELEOSNG I& 90’s DISCTOHE INCUB W - 80’ NDER il’ bee DJs: lyung beeunk p HIVE

TU

NIGH

ABBOTSFORD CONVENT’S ANTICIPATED ANNUAL EVENT IS BACK! COME AND JOIN THE PARTY UNDER THE INCUBEE CANOPY, DIVE INTO THE NOSTALGIC DANCE POOL OF THE 80S AND HELP WITH THE BLUE BANDED BEES WINTER HYBERNATION ACCELERATION! Free Admission 1 ST HELIERS STREET, ABBOTSFORD VIC 3067 13th JULY 10PM Dress Code (Strictly Enforced) 80s and 90s Disco attire (see poster) Limitted spots available: 200 people

ABBOTSFORD CONVENT SITE MAP

20~30km/h

NW-W-SW in winter

SACRED HEART COURTYARD

MERRI CREEKâ&#x20AC;&#x2122;S GRASSLANDS

THE ABBOTSFORD CONVENT The Abbotsford Convent, located at 1 St Heleirs St, close to the Merri Creek, used to be the Convent of the Good Shepherd which holds significant historical importance in Victoria. The buildingâ&#x20AC;&#x2122;s heritage value also lies in the architectural building qualities which includes the medieval French ecclesiastic architectural character, historical importance of Magdalen Asylum and its scale and grandeur.

end of the courtyard,the Oratory, was restored in 2013 as a space for music,theatre ,installations , projections and immersive experiences which generally attracts large crowds to the courtyard itself.

For that reason itself, the site would suit the idea of accelerating the growth of the Blue Banded Bees pupae with the large amount of heat generated by the crowd congregated at the courtyard. Nevertheless The site chosen for the project is the sacred heart , the design will also seek to reach an bridging courtyard , which is enclosed by the buildings making response between the historical heritage value of the it not visible beyond the surrounding large gates. From building and the modern aesthetic interpretation whilst 1863 till 1975, the Sacred Heart building was known as being able to attract Blue-banded bees to the nest Magdalen Aslyum , operated by the Good Sheperd design.

Sisters for many young women in their adolescence.

Currently the management frequently hosts events throughout the year at the courtyard including the popular Summer festival , Shadow Electric outdoor Film Festival. On top of that , the building at the southern

C1.3 DESIGN ITERATIONS

C1.3.1 ITERATION: UV MESH & KANGAROO

C1.4 DESIGN RESPONSE

90% COVERAGE

MAXIMISE HEAT TRAPPING

10% VENTILATION OPENINGS AT THE BACK AND BEGINNING FOR AIR FLOW

DANCING IN THE WINTER BREEZE 2017

DANCING IN THE WINTER BREEZE 2017

Individual incubee pods

<30O

THE FLAT SURFACES WERE GIVEN LARGER BASE SURFACE TO ENSURE MAXIMUM CONTACT

>30O

THE STEEP ANGLE SURFACES WERE GIVEN SMALLER BASE AREA BUT LENGTHIER BODY TO ENSURE MAXIMUM CONTACT

Dispatch Pattern

C1.5 FABRICATION PROCESS

FABRICATION FOLDING PANELS Layout the lasercut panels in proper nesting

Numbering the cut files accordingly

PANEL’S FRAME Layout the lasercut frame in proper nesting

Numbering the cut files accordingly

BAR JOINTS 3D print the joints

Cut the steel rod to fit the panel’s frame size

ASSEMBLY

FOLDING PANELS + PANELâ&#x20AC;&#x2122;S FRAME Connecting folding panels to the frame with rivets/bolts/screw

Connecting bar joints to bar as the overall frame BAR + BAR JOINTS

COMPLETE Connect the folding panel frame to overall bar joints

C.2 PROTOTYPES 4 TYPES OF PROTOTYPES

Before commencing on the fabrication of the final presentation model, 4 types of prototypes were made to test the feasibility of joints, materiality, shapes and possible types of connection. Due to the lack of knowledge in digital to physical fabrication, we encountered numerous difficulties, and subsequently had to reject many failed prototypes as the final means of fabrication method. Ultimately we resolved the problems encountered and gathered enough techniques for the final fabrication.

Panel Frame

Folding Panel

Bar - Joint

Connections

C2.1 PROTOTYPE 1 PANEL FRAME/ MDF One of the issues we needed to resolve was the angled surface of the folding panel. To resolve that we decided to place 3 layers of frames hidden behind the panel, to secure the ideal angle.

We firstly decided to test the joint on the most accessible material, that is laser cut mdf board. However as we attempted to fit the panel to the frame, we realised that, due to laser cutter only cuts in straight edge, the panels was not be able to fit the surface edge of the frame, therefore does not provide a secure connection. Another problem of the frame connection, due to the narrow nature of the shape, it made it very fragile and easily broken. As a result we had to look for alternatives to provide the framing.

LASER CUT MDF FRAME

BROKEN MDF FRAME

l ne Pa

Frame

gap

C2.1 PROTOTYPE 1 PANEL FRAME/ 3D PRINT As the MDF board failed to meet the required angle, we moved to other alternatives to provide support for the folding panel, 3D printing the panels became one of the potential solutions.

We started with having a skeletal structure angled in the way of the folding panel, given 3 parts just like the mdf board.

However due to the thinness of the frame and the scale of the overall model, it was particularly tricky to print, and eventually we needed to split the parts. Though it could be glued together as a whole piece, it does not guarantee the structural integrity of the overal frame.

3D PRINT FRAME ATTEMP 1

We quickly reallised that we needed a surface for the the frame to successfully be printed and have the structural integrity required to support the joints and panels.

Therefore we came up with another form of frame that would achieve the ideal result.

Due to the panel being too thin, the end product (printed with PLA) resulted in severe bending, which caused the frame to fail as a functional part. However once we increased the thickness of the frame, the bending disapears.

3D PRINT FRAME ATTEMP 2

C2.2 PROTOTYPE 2 FOLDING PANEL/ ETCHED POLYPROPYLENE When we tested the mdf board, we managed to cut and etched clear polypropylene panels to test the foldability of the material. Polypropylene is light and flexible, therefore could have been an ideal candidate for folding.

FOLDING PANEL

When we prepared the file for etching, we did not realise that folding such complex shape would require etching on both sides of the panel. However the one we made only etched all the lines on one sides of the panel, making it difficult to fold. Although we managed to etch the other side ourselves, we realised that folding, at least with polypropylene is a very inaccurate method to attach the panels onto the frame.

FOLDING PANEL CONNECTION

As we realised folding polypropylene was not an ideal solution, we decided to try cut polypropylene as individual pieces.

However, the problem with laser cut polypropylene is that it loses the regidity it had when it was a whole piece, some of the pieces, especially the thin ones, were incredibly prone to bending.

FOLDING PANEL INDIVIDUAL

C2.2 PROTOTYPE 2 FOLDING PANEL/ TIMBER VENEER FOLDING PANEL Due to the failure of folding polypropylene and the distorted individually cut pieces, we decided to experiment on different materials, and timber venner came to our mind.

Timber veneer share similar thickness as the polypropylene, however as long as it goes along with the grain, it would hold structural regidity reasonably well. Different from the polypropylene, which shows minimum materiality, timber veneer panel shows rich materiality and has a nicer touch to the finish.

However, it does have the problem of being extremely fragile, and need sepcial care when handling it. It was rather difficult to cut neatly by hand if cut against the grain.

BROKEN TIMBER VENEER

To address the problem of it being too fragile, we switched to paper back black timber veneer panel. With the extra layer of paper behind the panel also a layer of paint coating over it, it increases the strength of the panel in comparison to the previous venner panel

Due to the materialâ&#x20AC;&#x2122;s fine texture and strutural rigidity, we decided to use timber veneer as the final material for the detailed model.

BLACK TIMBER VENEER

C2.3 PROTOTYPE 3 ALUMINUM BAR & OVERALL FRAME JOINT We were initially going to use Carbon Fibre Rod as joints for this part of the connection.

However it only arrived after the final presentation has finished, therefore we had to find alternatives. Instead we used the 3 x 10 mm aluminum rod, which shares the rigidity and strength with the carbon fibire rod, just not the lightness and small size. In terms of connection, it would be easier to do as the rectangular surface will be able to hold the rivet and thus secure the connection.

Aluminum bar to panel connection

We used rhino to model the joint so that it would fit the aluminum rod perfectly. Different from the panel frame, which used PLA as the material for printing, for the joints we used ABS (Acrylonitrile Butadiene Styrene) plastic, which provides much stronger joints and thus hold the steel bars better.

As mentioned earlier the the dimension for the steel rod is 3 x 10mm, therefore, being first time doing 3D printing for joints, we printed the opening to the exact dimension (3mm), and did not taken into account the accuracy limitation of the printed, the result is that the opening was not big enough to host the rod, therefore we needed to reprint the joints.

3mm 4mm

3D printed joints to rod connection.

C2.4 PROTOTYPE 4 CONNECTIONS We tested 3 kinds of joints for this part of the prototype. We firstly used the failed 3d printed parts to test if the angle on the edge would achieve the ideal result. To fasten them together we used both bolt and nut system and rivet, to see which would have the ideal result. Rivet would definitely have a cleaner look to the surface, however applying it is a rather labour intensive work, and require us to hold the model quite tightly, however in order to achieve the look we decided to use rivet for the final form connection

Panel to frame connection

As later on we switched to using a flat piece of panel as frame, therefore it would be really hard to bolt the panel straight to the panel. We decided to employ a L plate system, where a piece of aluminum panel is used to secure the panel to the frame using both bolt and rivet joints. The flexible nature of the aluminum panel gave rooms for how panels could be connected. For panel to L plate connection we used rivet, mainly for the aesthetic quality of the joint to the panel. For the L plate to panel frame connection, we used bolt and nut mainly for the ease of connecting it, it does not require as much trouble to put them together. In addition to that, as the middle panel frame is the thickest, which exceed most of the rivetâ&#x20AC;&#x2122;s limit, therefore we need to use bolt and nut for this part of the connection.

C2.4 PROTOTYPE 4 CONNECTIONS As mentioned before, this part of the connection used 3D printed joints to connect the aluminum rod together. In terms of the rod to panel connection, we used rivet, again largely due to its aesthetic quality, but also because of its secure connection.

While doing the above prototype, we accidently fastened the rivet the wrong way, as we were meaning to show the black cap on the timber surface. However as we were doing the model, we fixed the rivet with the other way, that resulted in the rivet could not hold on to the hole on the veneer, as the cap was on the other side. Therefore having seen this, we quickly changed our strategy, fastened the rest of the rivet the other way.

Panel to frame connection

C.3 DETAILED MODEL

C3.1 EXPLOADED DIAGRAM

C.4 LEARNING OUTCOME When I just started Studio Air, I thought I have expected what to come: generating elaborate forms, and somehow through the magic of digital fabrication, the model will simply emerge out of thin air. After having going through the experience, Iâ&#x20AC;&#x2122;ve reflected that, this studio had been both the least and most practical studio Iâ&#x20AC;&#x2122;ve done so far in my career as an architectural student. Being the least, due to its lack of focus on building planning. However the subject alone was focusing on the idea of computational design and digital fabrication, rather than building planning, I did gain a brand new perspective. Being the most practical, itâ&#x20AC;&#x2122;s coming from the digital fabrication experince. Before commencing Studio Air, I always had a vague idea of digital fabrication. Having experienced the work flow of digital fabrication, it made me appreciate more of grounded architectural design. ones that would have very feasible constructability. Initially i thought making physical model would be easy: just laser cut lines, then assemble. However in reality it is a lengthy and complicated process. However looking back now I could safely say the model-making experience is by far the most useful and interesting aspect of the subject, as it forced me and Amos to tackel real-life problems, to produce functional joints, and working with real life materials. I believe that this would definitely benefite me for the future studying.