Jade 752875 journal air

STUDIO AIR 2017, SEMESTER 2, FINN WARNOCK JADE TAN 752875

2

Studio Air_Part A

3

4

A.0: Introduction My name is Jade Tan and I am a third year architecture student. I am from Singapore and my interest in architecture developed from drawing and painting at a young age. I find that the most interesting thing about architecture is how interdisciplinary it is, and that unexpected conditions can lead to the best designs.

Studio Water Boathouse in section

Studio Water Boathouse in plan

Conceptual models, Studio Earth 4

CONCEPTUALISATION

Throughout my previous studies I have used both computational (Autocad, Rhino) and handdrawing/physical modelling to illustrate my work.

However, I find that computational means have a lot of potential I have yet to harness, beyond communicating my ideas.Prior to the start of Studio Air, my impression of digital architecture largely revolves around curvilinear, expressionistic form, most notably those by Zaha Hadid, or Frank Gehry, who also engage with cutting-edge technology, such as using unconventional material as building skins.

Through this course I hope to understand and explore the process of getting to such an outcome.

To me architecture represents ideas and offering solutions to problems. It functions at the most fundamental level, as shelter and comfort, but at its best it also serves to make people think/feel in a certain way. In this sense I find that architecture continues to generate impacts on society and the environment, and is a process that never truly ends.

Through the learning of generative design tools, we can perhaps carry out these ideas and design intents with greater accuracy and certainty that they can have their desired effect.

5

A.1: Design Futuring Necessity is the mother of invention.

Throughout history, advancement of human civilization has been dependent on new technologies arising in response to new needs. However, the focus has always been on human needs and resulted in so much environmental damage that our way of life is no longer sustainable. Ironically now technology is also the answer, according to Tony Fry, to redirecting our future and prolonging human existence1. However, designers today cannot simply innovate, that is find alternative solutions to the kind at present, but have to do so in a way that opens discourse and brings design intelligence to other people. It has to make people think about how best to create new things, at lowest cost. With increasing exposure to what makes good, environmentally responsible design, can ‘defuturing’ be stopped and mindsets be radically changed.

Dunne and Raby add on to Fry’s point that design should be thought-provoking, by highlighting how the discourse for design should have a plurality of ‘ideology and values’2 and not just style. Society is no longer preoccupied with modern architecture’s search for a universal language, but more with the practical and very pressing issue of how to secure a good future, which is subjective to various groups and their own sets of ethics and values. To be able to reconcile all of this is an added layer of thinking and paradigm-setting, not just challenging current mindsets but also speculating seemingly improbable futures and utopias. The human imagination and the ability to prefigure how one can create new things is the biggest asset our generation has, but it will be ineffectual without a constant cycle of questioning and evaluation about the value of what we design.

Ultimately, design today is not just a means to a temporary end, of stalling our rate of defuturing.

Instead, it has to be some form of social or political critique in order to truly have a lasting impact and mobilize people to participate in the cause for sustainability.

The first part of this journal will focus on how design has the potential to provoke thought and open discussion. It is only in this way that technology can be harnessed to its full potential, to not just prolong our current state but revolutionise and direct us towards designing differently. The following precedents have thus been chosen for their radical ideas and processes that challenged the norm, and also examine how they have continued to impact architecture today.

“Redirection requires an ontological shift in the mode of being of the actor. The value of what one knows and does may have to be fundamentally altered.”

Tony Fry

1 Tony Fry, Design Futuring, Sustainability Ethics and New Practice (Oxford: Oxford International Publishers, 2009), p. 6.

2 Anthony Dunne, Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Massachusetts: MIT Press, 2013) p9 CONCEPTUALISATION 5

6

1.1_Shukhov Tower Location: Moscow, Russia Architect: Vladimir Shukhov Year: 1920 Function: Broadcasting Tower

Shukhov Tower is a radical project in steel structure engineering. Designed as a free-standing diagrid structure, it uses minimal steel so that it remains lightweight yet highly tensile. Subsequently, this technology has been reapplied in many highrise buildings, notably the Gherkin by Norman Foster and the CCTV Tower by OMA. Vladimir Shukhov contributed the ideas and the mathematical system of the hyperboloid, which refers to the geometric principle of a doubly ruled surface, where a hyperbola is rotated around its axis. The project can be compared to other Constructivists’ work at the time, hence in exterior form it may not be new, but the mathematical process was a vital innovation.

Shukhov’s calculations reflect the beginning of a parametric approach, where each rod unit is part of a mathematical formula, or algorithm, and considering other parameters such as wind loads, construction assembly time and height of the tower, generated an overall homogeneous building shape. Each unit is thus interdependent on each other. However, the method is secondary. More importantly, the reason he had to make sure the design parameters were so closely interwoven was due to sheer necessity1; there simply was not enough steel to build a tower of its intended height if one were to place any elements that were not necessary, giving rise to its minimalist form.

3 The Shukhov Foundation, ‘Tower’, The Shukhov Tower(revised 2017) < http://shukhov.org/tower.html > [09 August 2017]

7

8 The tower is organized by discrete triangulated elements that confer structural stability.

Yet the skeletal frame reduces material cost and total mass. Consequently, diagrids have become an image of sustainability, reflecting an optimal use of materials with high embodied energy whilst becoming a design feature, such as allowing wind and light to permeate. Necessity thus created a more innovative and long-lasting approach to design.

Shukhov experimented with his lattice structure form in several ways. With the aim of optimising its performance, soon after he deconstructed the standardised elements of the structure into a table format, and with this system quickly designed a new water tower, according to a client’s requirements in 25 minutes1. This aligns with today’s parametric approach of adding new parameters and generating new form. Thus, even though Shukhov was using standard, easyto-assemble units, each tower had a different appearance, as his method was not focused on the stylistic but on optimal structural performance.

The tower remains a landmark for technological achievement in Russia. The way that it informed parametric design represents a step forward for architecture and vitally questions the conventional way of designing at that time, which would have been more occupied with the final form of buildings than the process. It is perhaps why it remains relevant today, with many architects petitioning to keep it preserved.

4 Ian Volner, ‘Dissecting Diagrid’, Architect Magazine(revised October 25 2011) <http://www.architectmagazine.com/technology/dissectingdiagrid_o > [09 August 2017]

The Swiss Re Building, or Gherkin also uses a diagrid pattern 8

CONCEPTUALISATION

9

CONCEPTUALISATION 9

10

1.2_Sky House Location: Tokyo, Japan Architect: Kiyonori Kikutake Year: 1958 Function: Residential Architecture

Kikutake was a key member of the Metabolists in the 1960s. Their movement was centred upon the idea that cities and buildings were not static, and can be compared to biological organisms that grow and evolve. In response to exponential population growth and urban problems in the post-war years, their movement became an experiment in prefabricated, modular architecture. Kikutake’s Sky House, was a prototype presented at the 1960 World Design Conference as proof of this concept.

The Sky House was innovative and opened discourse about the conventional notion of a house. It was a small-scale approach, looking at how residential architecture can grow and change alongside changes in family size.

It started a trend of buildings with a core of infrastructure and replaceable parts, giving the owners freedom to transform their spaces at will.

The way that Kikutake approached the problems of urban density, subverting the norm of planning from a top-down to a unitary approach, truly takes a more insightful look at the way we live and embodies the complexity of society. It is a prime example of changing people’s mindsets by understanding their real needs and not assuming the homogeneity of modern life.

10

CONCEPTUALISATION

A single open plan living space is elevated above ground on four huge concrete piers, to resist seismic forces. The kitchen and bathroom units could be changed, and additional rooms like a children’s bedroom, called a “move-net”1 could be directly fixed onto the underside of the house. The house has undergone seven changes to accommodate changes in the size of the family.

Despite the technological advancement, it was not as radical in form. Much of traditional Japanese architectural elements were retained, like the pitched roof and the engawa tradition, a verandah space acting as an intermediary space between exterior and interior. The singular open plan is entirely flexible and still can be reorganized using typical Japanese screens/shoji. The Sky House is an innovation not in form-finding but in programme. This perhaps shows a more effective way of challenging the status quo, of retaining some sense of familiarity alongside innovations in how the space could be used.

5 Mark Mulligan, ‘Kiyonori Kikutake: Structuring the Future’ Places Journal (revised November 2015) < https://placesjournal.org/article/kiyonorikikutake-structuring-the-future/> [09 August 2017]

11

In pink: new additions to the house at different years. The topmost shows the movenet protruding from under, eventually becoming bigger and covering up the entire open corridor at the base of the house

CONCEPTUALISATION 11

12

The Sky House epitomizes the fundamentals of flexibility and plug-in modules. The shift away from compositional imagery to technological innovation and programmatic adaptability has subsequently informed other Metabolists like Kurokawa (Nagakin Capsule Tower) and more recently, in contemporary architects like SANAA and Sou Fujimoto who are reviving unit-based design strategies. Nishizawa and Sejima’s Moriyama House1 utilizes units for domestic purposes and units which are more generic in their function to allow for spatial flexibility, placing the emphasis on the empty space between units. This reflects the long-lasting impact of Sky House and metabolism in Japanese contemporary architecture, to provoke thought about alternative ways of designing to better suit changes in urban life.

‘Unlike the architecture of the past, contemporary architecture must be...capable of meeting the changing requirements of the contemporary age...’

Kiyonori Kikutake 12

CONCEPTUALISATION

6 ArchintoJapan, ‘Moriyama House’ ArchintoJapan (revised November 24 2014) < https://archintojapan.wordpress.com/2014/11/24/moriyamahouse/ > [09 August 2017]

13

On right: modular units are employed in the Moriyama House Below: The same boxy geometry, and articulation of clean lines between the Sky House and Moriyama House. Both are experimental in examining spatial flexibility.

CONCEPTUALISATION 13

14

A.2: Design Computation This next part focuses on the potential of parametric modelling. Parametric modelling refers to the design of associative relationships between components, essentially creating rules that can be freely changed to derive differentiated iterations. It is a computational system, which supplements human creativity through immense recalling and processing capacity. As such, the stages of design as outlined by Kalay, analysis, synthesis, evaluation and communication can occur simultaneously and outcomes simulated in real time.

The benefits of this for architecture are seemingly endless. Computation gives us more time to experiment and more flexibility to adapt our ideas. This usually means more freedom to explore the range of solutions generated by parameters which too can be adjusted. Asides from flexibility, there is more time freed up from this process which can be spent on optimizing the final outcome and reducing human error.

Additionally, computation is infinitely more precise in calculations, and can derive methods of fabrication that are more efficient and in itself elegant.

However, there can be exceptions to this rule-based system. According to Kalay, there are two methods of solution synthesis, puzzle-making and problem-solving1. The former refers to trial and error to generate new combinations in response to an unclear design goal that evolves along with the design process. The latter refers to having known and well-defined design goals and generating a solution in a predictive manner, having already had some idea of the characteristics of a satisficing solution. Parametric modelling by nature means that the initial goals/constraints are already set.

This could end up being a limitation. How do we know we are not eliminating outcomes that could be better in the long run? Ultimately the designer must be conscious of the kind of parameters he is establishing and the consequences of his decisions.

14

7 Yehuda E., KalayArchitectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p16 CONCEPTUALISATION

In addition, computation has sparked a shift towards developing the performative capacity and material tectonics of buildings rather than their composition. This links to the previous section, where it was discussed that designs are expected to have environmental sensitivity. Computation as a tool has helped to refine this process of climate responsiveness through intense material optimization. According to Oxman, the â&#x20AC;&#x2DC;symbioticâ&#x20AC;&#x2122; processes of computation, such as integrated simulation software like Grasshopper directly mirrors the evolutional process of nature, which is an immense pool of knowledge that can be translated to architecture1. Computation thus provides more opportunity to explore material and brings it back to the forefront of architecture, in ways that better respond to volatile environmental conditions and may be the answer to building resilience.

The following precedents examine the climate responsiveness of outcomes generated by computational means. They discuss the benefits of using parametrics and how they have affected the design process. They exemplify how computation to a large extent allows for a great deal of creativity and spatial expression, through the convergence of well-set parameters and an intricate balance of controlling the extent of computation used, so as to not completely give up control over the design process.

8 Rivka Oxman, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p1-6

15

On right: modular units are employed in the Moriyama House Below: Kalay states there is a constant negotiation between puzzle making and problem solving. With computation we get to the intersection much faster and easier.

The usual way that design solutions are generated, by going through different breadth and depth options. In generative design software, these outcomes can all be simulated and observed instantly, and individual outcomes modified.

CONCEPTUALISATION 15

16

2.1_Phases Shift Park Location: Taichung, Taiwan Architect: Philippe Rahm Year: 1958 Function: Urban Park

Philippe Rahm’s approach to design inverts the paradigm for most architecture, which is solid form. Instead, Rahm is primarily concerned with the design of climate itself, manipulating ‘air’ and its constituents, creating what he calls ‘meteorological architecture’. In this way, his work can be said to be more sustainable than most, because he embraces the conditions of the natural environment, and frames the whole project around these circumstances right from the beginning1.

Computational fluid dynamic (CFD) systems were essential for the preliminary design stage of this project, which is the use of software to visualize how a gas or liquid flows and how it affects objects as it flows past.

in heat, the second variation in humidity and the last in the intensity of air pollution. They are then overlaid, and the random overlaps create a diverse range of experiences1 that give the user freedom to explore, depending on the time of the year.

Computation is used to derive three climatic maps. From these maps differences between areas in terms of humidity, temperature and pollution can be observed and augmented in subsequent design. For instance, areas that are already naturally cold and dry will become even cooler.

Each map corresponds to a specific atmospheric parameter and its variation of intensity throughout the park. The first map corresponds to variation

10 Jillian Walliss, Heike Rahmann, Landscape Architecture and Digital Technologies (New York: Routledge, 2016), p. 51

9 Rajagopal Avinesh, ‘Philippe Rahm: Climate as Architecture’, Metropolis Magazine (revised November 2014) < http://www.metropolismag.com/cities/landscape/philippe-rahm-climate-as-architecture/ > [09 August 2017]

17

Using CFD to map based on humidity (above) and temperature (below).

CONCEPTUALISATION 17

18

In this precedent, computation is extensively used to generate randomness. The randomness is a precursor to interesting ways of organizing space.

In addition, computation helps to visualize what is not visible to the human eye, conditions that should be designed well to fulfill the basic purpose of architecture, which is to provide comfort for human activity and interaction. Computation, through the combination of several parameters, has managed to design experience, which goes beyond typical two-dimensional drawings and static models. A major shortcoming of previous landscape design strategies, was that predominantly using diagrams and planning maps often assumes what happens to the site resulting from the design, and may not consider actual results which have closer ties to dynamic performance.

This project also shows how computing can be used not just for form-finding or form-making, but also govern the programme. Instead of how ‘form follows function’, here the different functions depend on the conditions on these climatic maps. Sport is placed in areas of low pollution and indoor activities reserved for hotter areas.

As such, it emphasizes actual performative capability and responsiveness to the environment1.

The concept of designing climate is not new, as Rahm explicitly mentions that he used Olmsted’s Central Park in New York as a precedent, of a green land that helps to filter the air2. However, the introduction of computers has enabled tighter engagement with precise parameters, like humidity, temperature, pressure, and not just arbitrary considerations, such as where to plant trees to create shade and cooling. Consequently, Rahm has been able to use artificial machines, like his Antycyclone devices that blow cool air, to control these parameters, which arguably are more effective in increasing the performative potential of open space, to provide a clean filter for urban settings. This is because the machines themselves can also be computationally programmed in their installation.

11 Wahliss, Rahmann, Landscape Architecture, p.52 12 Avinesh, ‘Philippe Rahm’ 18

CONCEPTUALISATION

19

Climatic cooling devices that are modelled and regulated computationally.

CONCEPTUALISATION 19

20

2.2_Hygroskin Pavilion Location: France Architect: Achim Menges Year: 2013 Function: Pavilion

The Hygroskin Pavilion is a biomimetic design, employing nature’s mechanism of responding to climate, which is ingrained in the material of the biological organisms. The project thus requires no extraneous controls and responds automatically along with environmental changes. The project draws inspiration from the moisture-driven movement in spruce cones, which has a bilayer structure of tissue. The outer layer expands when moisture levels increase, while the inner layer remains stable, causing the cone’s scales to open or close1.

The apertures respond to humidity levels ranging from 30 to 95 percent.

20

CONCEPTUALISATION

In this project the design process has changed from basic form-finding, to deriving the maximal utility of materials. Computing enabled manipulation of material behaviour and not just geometric shape to allow for stretching of performative capacities of known materials like timber. The project is a simple box with a skin embedded with climate responsive perforations. The wood envelope absorbs moisture and this changes the distance between the microfibrils of the cell tissue to cause the shape change in the openings. This envelope is computationally derived from the elastic bending behaviour of thin plywood sheets, followed by a 7-axis robotic manufacturing process following the coded configurations of each panel. The idea that such computation brings out is how traditional materials like timber can be explored in alternative ways. But importantly, the whole project is computationally derived and manufactured.

13 Daniel Hudson, ‘achim menges developes hygroskin and hygroscope’, Desgin Boom Magazine (revised April 2014) < https://www.designboom.com/ architecture/achim-menges-developes-hygroskin-and-hygroscope-biomimetic-meteorosensitive-pavilions-4-14-2014/ > [09 August 2017]

21

CONCEPTUALISATION 21

22 Computation in this case also helps to make it easier to form precise geometry of the individual panels as well as customized joints. The accuracy of this system was verified by comprehensive laser scans which revealed an average deviation of less than 0.5mm between the computationally designed model and the actual geometry of the final built form. The project shows how it is feasible to integrate computationally derived algorithms into material itself, which could mean a shift in industry towards developing similar materials instead of employing several other control strategies for ventilation and daylighting, such as machine-controlled louvres, which could lead to more cost savings1. At the same time, the box remains both lightweight and rigid showing how computers help to ensure optimal usage of limited resources.

14

Hudson, ‘achim menges’

The openings respond to relative humidity changes within a range from 30% to 90%, regulating the rate of light coming through. As a result, the internal space varies constantly in terms of illumination and openness, creating different experiences that are generated from the delicate and subtle differences in the air1. The outcome of the project is perpetually changing, but the algorithm remains the same. The rulemaking process may seem formulaic, in this case fixed parameters leading to fixed outcomes. It is possible that the experience of being in this space over time could become quite predictable.

However, Menges by not controlling too many parameters allows for some degree of freedom.

For instance, the way that the sun shifts throughout the day varies alongside the changes in humidity, and the temperature outside the box also varies.

These allow for more unexpected experiences within the box. Beyond merely fulfilling parameters of an adaptive skin, the passive opening and closing of the apertures interacts with other onsite conditions to create a variety of experiences, which shows how ‘design keeps on designing’.

15 Achim Menges, ‘HygroSkin: Meteorosensitive Pavilion’, achimmenges. net (revised 2013) < http://www.achimmenges.net/?p=5612 > [09 August 2017]

22

CONCEPTUALISATION

23

The panels are irregularly configured, sent to a robotic arm to be manufactured in a sandwich panel form.

The robotic arm fabricates highly precise finger joints, not possible to be done by hand.

CONCEPTUALISATION 23

24

A.3: Composition/Generation Thus far we have discussed the increasing role of algorithmic thinking and its transformative impact on design practice, shifting the emphasis towards process rather than outcome. Designers have increasingly adapted to new technology which explicitly states each step of the design that enables the easy modification of the steps/ rules back and forth in their sequence. This is an important feature of generative design. While parametric modelling codes a response to a given constraint, generative design takes it further and helps to order each of these responses to form a feedback loop. Generative design is recursive, each output becomes anotherâ&#x20AC;&#x2122;s input and this generates more unexpected design outcomes.

In this way it is an evolutionary approach, by deriving several outcomes and picking the most optimal.

According to Peters, a benefit of generative design is how it enables us to deal with more complex problems by setting up more relationships between the constituents of a design1. It is a highly evaluative process, as each iteration, or combination of responses between parameters is tested and analysed for their performative capacity. The predictive capacity of generative design simulates real world interaction between architecture and humans, allowing architects to better create meaning in the space. Peters elaborates that this sophistication of 3D simulation is best applied in large scale projects, thus providing a means by which architects can speculate more ambitious designs and continually push limits of structure and performative capability.

However, there are also some drawbacks of relying on generative design. The design is largely dependent on definable parameters, but in architecture, some of the less tangible aspects of light, circulation, or interactivity cannot be easily engineered or defined. In the process of trying to formulate algorithms into a manner that can be communicated to the computer might distort the view of the problem itself, as designers might be tempted to only consider aspects that can be encoded, which can be the most irrelevant elements.

Sometimes, designers need to select parameters such that they do not conflict.

Various parameters and constraints are always interacting in an algorithm, and designers must be able to prioritize. To do so they must have sufficient knowledge in manipulating the software and being able to design the software such that it can evaluate which outcomes are best. As Peters states, at present where architecture is beginning to shift from paper to computers, the use of generative design is still not completely integrated into design practice, which could present a limitation for the system1.

Generative design has vast potential but only if it is used in the correct way. Often such design and its resultant curvilinear and organic forms have been lauded for their futuristic, stylistic qualities. However, using it only as a new kind of aesthetic defeats the purpose of using such a system, which is to solve problems and break down their complexity.

17

16 Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thought, Architectural Design, 83 (2013), 2 (p. 10) 24

CONCEPTUALISATION

Peters, (p.15)

25

CONCEPTUALISATION 25

26

3.1_The Elbphilharmonie Location: Hamburg, Germany Architect: Herzog & de Meuron Year: 2017 Function: Concert Hall

The Great Concert Hall of the Elbphilharmonie seats more than 2,000 visitors in a sculpted, organic space. The walls seem to be carved out, giving the impression of a rocky cave. They are in fact 10,000 individual acoustic panels, made of gypsum CNC cut plates, each one containing millions of “cells” of varying dimensions, created to reflect and absorb soundwaves within the space. Each cell ranges in diameter and is curved to scatter sound in balanced reverberations across the entire auditorium. The method has roots in traditional concert halls, where elaborate, neoclassical detailing too creates uneven surfaces that has the same diffusing effect, reflecting a new take on conventional acoustic treatment techniques through the superimposition of algorithmic modelling. Herzog & de Meuron collaborated with acoustician Yasuhisa Toyota to create the algorithm for the panels1.

Toyota first created an optimal sound map based on the room’s layout and geometry. Panels lining the back wall would logically need deeper and bigger grooves to absorb echoes, while ceiling surfaces could use shallower cells. Herzog & de Meuron also contributed their design preferences, requiring the carved skin to be consistent throughout the room to maintain their aesthetic appeal. Comfort was also a consideration, such as the tactile quality of the panels, so panels within arm’s reach had to have softer grooves. The acoustic and aesthetic considerations made up parameters that could then be input for an algorithm, alongside other dimensions such as sound data.

18 Elizabeth Stinson, ‘What happens when algorithms design a concert hall’, Wired Magazine (revised December 2017) < https://www.wired. com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/?mbid=social_fb > [09 August 2017] 26

CONCEPTUALISATION

27

CONCEPTUALISATION 27

28

Foam cut model

The use of parametric modelling was instrumental in generating the countless design variations for each panel. This was not possible to do by hand drawing. The control over the design stops at the algorithm, after which the computer is responsible for generating billions of outcomes. This not only saves time, but also generates outcomes that are more original and intricate.

However, there is a limitation to parametric generation that Herzog and de Meuron have been conscious of. They were not overtly reliant on the computer for their designs, but also created large scale cardboard study models and sculpted and carved voids manually1, using a combination of different methods. The underlying motivation was a keen understanding of the intricacy and complexity to designing a building, where spaces must be designed from inside out, sensitive to the experience of travelling through the spaces. In this way, the architects do not completely give up control over the design process.

19 Oliver Wainwright, ‘We thought it was going to destroy us’ … Herzog and De Meuron’s Hamburg miracle, The Guardian (revised November 2016) < https://www.theguardian.com/artanddesign/2016/nov/04/hamburgelbphilhamonie-herzog-de-meuron-a-cathedral-for-our-time > [09 August 2017] 28

CONCEPTUALISATION

Parametric design is merely a tool. After all, the computer can maximise efficiency and precision of construction techniques but parameters must be definable. The key aspect of human sociability and experience in architecture would still be intuitive and such a sensibility would take years of training and practice, not simply replaced by algorithms.

29

CONCEPTUALISATION 29

30

3.2_Fibrous Tower & House The following experimental projects is another example of biomimicry, based on skeletons. It uses an algorithmic design method, by considering ornamental, structural and spatial qualities of skeletal structures as parameters. The variety of ways in which the same idea can be applied according to different situations and contexts reflects the versatility of using generative design. Furthermore, this example shows how generative design has been exploited to explore structural performance.

In Fibrous Tower, the shell itself is load bearing, so each floor can be column free. The eventual form is carefully tested out, modelled and refined through generative design modelling to maximise the structural capacity of a thin concrete shell like this.

With a hollowed out form, it is inevitable that the nodes should be larger at some points to accommodate more loads. These parameters feedback into the generative model. Several iterations were made, and with more added parameters, Kokkugia came up with a shell that is detached from the inner core to give a stronger external expression as well1. For instance, over the length of the tower, the shell thickens to create small spaces for vertical gardens, and varies the amounts of light passing through. Therefore, generative design can enhance both structural and ornamental aspects of a high-rise building like this.

Another benefit of generative design is that it can be directly integrated with fabrication and manufacturing, so that designers have a stronger case for their designs to be built, if they can use the software to explore how exactly to build it. Despite the complexity of its form, the manufacturing process for this precedent is designed for the conventional framework technique of pouring concrete into molds.

This ensures that the design is still buildable with current technology. However, generative design allows designers to configure codes that can be sent to robotic arms that accurately laser cut foams to form the concrete molds for the intricate exoskeletal structure.

20 Roland Snooks, â&#x20AC;&#x2DC;Speculative Project 2008, Fibrous Tower 2â&#x20AC;&#x2122;, kokkugia, (revised 2012) < http://www.kokkugia.com/fibrous-tower-2 > [09 August 2017]

30

CONCEPTUALISATION

Location: China Architect:Kokkugia Year: Function: Tower

31

CONCEPTUALISATION 31

32 Fibrous House Various iterations yield thread like structures, that also resemble human tissue.

32

CONCEPTUALISATION

33

However, a possible limitation is that not every designer is capable of this delicate negotiation between structural, aesthetic and performative parameters. In this case, the same form elegantly targets each parameter as a homogeneous whole.

These qualities are ingrained in the very exoskeletal frame. Yet in most projects, such parameters can be conflicting and not easily unified in a single form, requiring other controls or even having to forgo some parameters.

The flexibility of generative design is shown through the same exoskeleton idea applied in a different typology of the house. This time the strands follow the same logic, but are not as organized in form, becoming instead a dense mass, using the intertwining network to provide structural strength1.

The strands accommodate multiple parameters in an organic, homogeneous way. According to Kokkugia’s principal architect, Roland Snooks, ‘what is redundant for one is optimal for another’, thus one output becomes another’s input. The disorderly strands are redundant for form and geometry but in turn give it structure, so that the generative design successfully negotiates competing factors.

21 Roland Snooks, ‘Fibrous Hous’, kokkugia, (revised 2012) <http://www. kokkugia.com/fibrous-house > [09 August 2017]

CONCEPTUALISATION 33

34

A.4: Conclusion These precedents have reflected how algorithmic design has become increasingly indispensable in the design proccss. This is especially so in projects that aim to increase performative or material capabilities, and are significant for their attempt to address issues of climate and sustainability. Unlike conventionally, where one would need to design plans, elevations and sections to show relationships, a Grasshopper model shows all of these in real time, immensely reducing the time and human error of these projects.

However, the precedents are also highly specific, and suited for particular contexts. It is counter productive to use too much parametric modelling, because that could upset the balance between the parameters. In this way, such systems cannot truly replace human creativity, because it is still the architectâ&#x20AC;&#x2122;s role to decide how best to use them, what kind of parameters to select, and the components to organize them with. It merely makes the prefiguration of how the outcome would be like far more explicit, so that architects can freely make modifications at any time.

As such, an appropriate design approach would be to create a site responsive work using simple, quantifiable parameters. To address the non-quantifiable, one would first have to break it down into potential factors that can be defined as input. Alternatively the element of randomness could provide more freedom for the work to evolve alongside changes in its surroundings, and potentially lead to new discoveries. Either way, algorithmic design is a powerful tool to creating organic solutions that are more integrated into their environment, as well as generating beneficial side effects for non-humans, which would help alleviate the destructive side of architecture.

34

CONCEPTUALISATION

A.5: Learning Outcomes

35

This studio has made me more aware of the potential advantages of using algorithmic design.

It is not just learning to use a software, but having a new mindset when it comes to design process, to be more critical of the â&#x20AC;&#x153;briefâ&#x20AC;? or parameters set and their relationships. It also forms the basis for computational forms to be translated into the real world, and expands the possibilities of the imagination. The techniques in generative design could have been applied to my project for a pavilion in Herring Island, where specific conditions of the site such as the level of sunlight received can inform the intersection of moveable surfaces to allow for the change in the spaces that are hidden and the way that light interacts with the underground. Further experimentation with geometry beyond simple planes can also be explored in Grasshopper, and potentially increase the interactivity between spaces.

Studio Earth Pavilion for Secrets

CONCEPTUALISATION 35

36

A.6: Algorithmic Sketches

Grid Shell, interior view

Box Morph + Attractor Points

36

CONCEPTUALISATION

37

Attractor Points

Voronoi

Loft + State Capture

CONCEPTUALISATION 37

38

References Fry, Tony, Design Futuring, Sustainability Ethics and New Practice (Oxford: Oxford International Publishers, 2009).

Dunne, Anthony, Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Massachusetts: MIT Press, 2013) The Shukhov Foundation, ‘Tower’, The Shukhov Tower(revised 2017) < http://shukhov. org/tower.html > [09 August 2017] Volner, Ian, ‘Dissecting Diagrid’, Architect Magazine(revised October 25 2011) <http:// www.architectmagazine.com/technology/dissecting-diagrid_o > [09 August 2017] Mulligan, Mark, ‘Kiyonori Kikutake: Structuring the Future’ Places Journal (revised November 2015) < https://placesjournal.org/article/kiyonori-kikutake-structuring-thefuture/> [09 August 2017] ArchintoJapan, ‘Moriyama House’ ArchintoJapan (revised November 24 2014) < https://archintojapan.wordpress.com/2014/11/24/moriyama-house/ > [09 August 2017] Oxman, Rivka, Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) Kalay, Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) Walliss, Jillian, Heike Rahmann, Landscape Architecture and Digital Technologies (New York: Routledge, 2016) Avinesh, Rajagopal ‘Philippe Rahm: Climate as Architecture’, Metropolis Magazine (revised November 2014) < http://www.metropolismag.com/cities/landscape/philipperahm-climate-as-architecture/ > [09 August 2017] Hudson, Daniel ‘achim menges developes hygroskin and hygroscope’, Design Boom Magazine (revised April 2014) < https://www.designboom.com/architecture/achimmenges-developes-hygroskin-and-hygroscope-biomimetic-meteorosensitive-pavilions-4-14-2014/ > [09 August 2017] Menges, Achim, ‘HygroSkin: Meteorosensitive Pavilion’, achimmenges.net (revised 2013) < http://www.achimmenges.net/?p=5612 > [09 August 2017] Peters, Brady ‘Computation Works: The Building of Algorithmic Thought, Architectural Design, 83 (2013), 2 38

CONCEPTUALISATION

39

Stinson, Elizabeth ‘What happens when algorithms design a concert hall’, Wired Magazine (revised December 2017) < https://www.wired.com/2017/01/happens-algorithmsdesign-concert-hall-stunning-elbphilharmonie/?mbid=social_fb > [09 August 2017]

Wainwright, Oliver ‘We thought it was going to destroy us’ … Herzog and De Meuron’s Hamburg miracle, The Guardian (revised November 2016) < https://www.theguardian. com/artanddesign/2016/nov/04/hamburg-elbphilhamonie-herzog-de-meuron-a-cathedral-for-our-time > [09 August 2017] Snooks, Roland ‘Speculative Project 2008, Fibrous Tower 2’, kokkugia, (revised 2012) < http://www.kokkugia.com/fibrous-tower-2 > [09 August 2017] Snooks, Roland ‘Fibrous Hous’, kokkugia, (revised 2012) <http://www.kokkugia.com/ fibrous-house > [09 August 2017]

CONCEPTUALISATION 39

40

40

CONCEPTUALISATION

41

Studio Air_Part B

CONCEPTUALISATION 41

42

B.1: Biomimicry Biomimicry is about observing nature and using naturally occurring principles and systems to solve problems. It has been widely used as a design approach to seek out more sustainable solutions in architecture, such as in the Eden Project. The aims of biomimicry are simple, emulating nature’s own principles of self-generation and responsiveness to changes in the environment. Biomimetic design thus encompasses using technology to improve material performance and goes beyond just emulating the form of nature, incorporating natural mechanisms within itself.

Much of architecture today alludes to biomimicry, such as high performing buildings built with the same ventilation principles as termite mounds. Without a doubt using nature as inspiration has helped to generate a wide variety of interesting and unexpected forms, such as the Elytra Pavilion, but it is important to note that the aesthetic quality is simply an outcome and not the starting point for biomimetic design. However, it is more practical issues that often prevent a more in depth exploration of biomimetic principles, including time and money. Insufficient research tends to prevent biomimetic design from expanding to a larger scale1. As such, biomimicry tends not to be employed in design as a type of form generation, but rather merely as models for building efficiency and performance. This shows that there is still vast potential for architects to truly understand how biomimicry can be used as a design tool.

With the Elytra Pavilion by Achim Menges, we see how responsiveness and performance can be integrated alongside an inspiring and provocative design. The Elytra Pavilion consists of 40 unique hexagonal components, robotically fabricated from glass and carbon fibre--nature’s own composite materials The web-like design of each component is based on the fibrous structure of beetle’s forewings – named elytra.

In addition, the Pavilion will grow and change its configuration over time in response to how visitors inhabit the spaces. Tiny thermal imaging cameras and motion sensors are embedded into the optic fibres that are interwoven with the glass fibres, collecting data over a period of time. Over the course of one or two days, visitors can witness a robot on-site rebuilding the pavilion with new components algorithmatically generated by the new data. This case study thus mimics not just the form of beetlewings but mimics some form of natural responsiveness to changes in the microclimate.

1 Katie Scott, ‘Biomimicry in architecture and the start of the Ecological Age’, Wired Magazine (revised 2002) <http://www.wired.co.uk/article/biomimicry-in-architecture>[14 September 2017] 42

CONCEPTUALISATION

43

CONCEPTUALISATION 43

44

44

CONCEPTUALISATION

45

CONCEPTUALISATION 45

46

B.2: Case Study 1 The first case study is the Spanish Pavilion by Foreign Office Architects. It uses a repeated irregular hexagonal cell pattern to create openings. This project is not as digitally fabricated as many other generative designs, but still requires the fabrication technology of custom pressed clay to form the screen tiles. Each hexagon is formed with a separate front and back piece which conceal and are supported by interior metal supports2.

The Spanish Pavilion is designed as a lattice envelope enclosing a series of interconnected vaulted chapels, each constructed as a vaulted bubble, reflecting soap bubbles which are also naturally occurring. The lattice on the outside using differently shaped and colour-coded tiles create variation on its façade.

The use of hexagonal cells is common in biomimicry, as it is present in many biological organisms. For example, it was common knowledge to ancient Greeks that modular hexagonal honeycombs make the most storage possible with least amount of material3. Architects are now using this for other applications, such as buildings with hexagonal shaped windows.that passively regulate light and heat. .

2 Manufacture Architecture NC, ‘World Exposition: Spanish Pavilion’, Manufacture Architecture NC (revised 2017) <https://design.ncsu.edu/manufacturearchitecturenc/case-studies/spanish-pavilion/> [13 September 2017] 3 Tamsin Woolley-Barker, ‘What can the honeybee teach a designer?’, Inhabitat (revised 2017) < http:// inhabitat.com/the-biomimicry-manual-what-can-the-honeybee-teach-designers-about-insulation-elasticity-andflight/> [14 September 2017]

46

CONCEPTUALISATION

47

CONCEPTUALISATION 47

48

Iterations

as a surface

ATTRACTOR POINTS

points at different locations

input: offset curves

EXTRUDE USING NORMALS

change input params

scale Brep vertices 0.4

solid trim scaled geomet

rotate 3D 60 deg., move and rotate 3D 240 deg.

rotate 3D 90deg , rotate 3

extruded

EXTRUDE AND ROTATE

rotate 3D 45 deg.

48

CONCEPTUALISATION

try

3D 144 deg without YZ plane

49

input: culled curves and geometry

solid trim without scaling

rotate 3D 60 deg., roate 3D 240 deg., XZ plane

input: offset and culled curves

scaling of scaled geometry

rotate YZ plane, rotate XZ plane

CONCEPTUALISATION 49

50

superimposed with other geometry

MAP TO SURFACE + RANDOM SPLIT+ROTATE AXIS

angle of rotation 353 deg. + kaleidoscopic array

angle of rotatio

REL-ITEM PATTERNING

{0;0;0;0} {1;1;2;0} {2;3;1;1} + image sampler LUNCHBOX MATH GEOMETRY

enneper surface + lofted lines roatetd at 270 deg.

50

move target surface, no array

CONCEPTUALISATION

{0;0;0;0} {1;1;2;0} {2;3;1;1} + image sampler +changing U, V of eval. curve U=7.480 V=-1.683

enneper surface + lofted lines at 60 deg.,

+ change offset fro

klein surface, lo

on 310 degrees

om .32 to .5

ofted lines rotated at 180 deg.

51

changing input lists + angle of rotation 330 deg.

project culled pattern to srf overlap patterning using RelItem {0;0;0;0} {3;1;2;0} {1;0;2;0} {0;1;2;0}

klein surface, lofted lines rotated at 76 deg.

rotate 3D

project culled pattern to srf overlap patterning using RelItem {0;0;0;0} {3;1;2;0} {1;0;2;1} {0;2;2;0}

moving target surface

CONCEPTUALISATION 51

52

successful iterations DIMENSIONALITY AND CURVATURE This iteration was chosen because of its undulation. As a surface it could potentially be used acoustically and can be engineered to respond to its environment as it was designed with attractor points. The curves appear to consist of chain links suspended.

These catenary curves are also a form of biomimicry as they follow the natural law of gravity. Alternatively they could be used as a surface covering with each hexagonal cell at a different angle to deflect sound.

SURFACE ROUGHNESS

Many naturally occuring organisms have a skin that has microscopic protrusions for a biological purpose/response. For example, the skin of sharks have tiny scales to allow water to flow over more quickly and also to prevent parasitic growth. In this context, I find that a surface that embodies a similar principle could perform similarly, perhaps allowing sound waves to travel in a particular way. The small extrusions can be designed with variation as a priority, such as with differing heights, which can be easily parametrized and fabricated.

52

CONCEPTUALISATION

53

IRREGULARITY AND DISTORTION This iteration is a result of overlaying a klein surface with the original hexagonal cells and extruding some of the triangular holes. The intention behind its species is to distort the originally regular form of the Spanish Pavilion, and use the surface to wrap around a space. The enclosure appears to be semi-permeable, and highly irregular, but the underlying logic of the hexagonal cells is still evident, which could allow the structure to shrink or expand due to its flexible configuration. The subsequent potential for this iteration is to use the overall form as the enclosure for the acoustic pod and vary the size and angle of each cell, and the height of extrusions, which provide additional privacy.

SELF SUPPORTING SKIN AND FRAME This iteration opens up the potential to use a material that can serve as both the frame and the skin. the extrusion resemble folds that add structural rigidity, so the form supports itself. furthermore, it doubles as an surface that can be acoustically optimised. this is a more efficient system, and is often found in nature as well, such as in insect exoskeletons. More array of each mapped and extruded surface creates a tighter enclosure of space, but remains semi permeable.

CONCEPTUALISATION 53

54

B.3: Case Study 2 In the ZA 11 Pavilion, we see the same concept of hexagonal cells being used but in an extruded form. The aim of the pavilion is to activate the space for interaction, and attract people to the multitude of events unfolding within it. In effect, it informs the next part of the project where the design of an acoustic pod should also be aesthetically interesting, although its function is reversed, to keep out sound rather than amplify it.

It is an interesting precedent for its stretching of parametric design to work within the constraints of budget, limited material, a tight site, and few available tools. The approach was thus a modular one, so that it could be easily scalable in terms of fabrication. The final design consists of 746 unique pieces, that when assembled creates an organic, free from ring subdivided into deep hexagons. The configuration, computationally derived, allows for sheltering different events but through its undulation generates visual interest. The project heavily relies on assembly logic as well, through CNC milling and exact panel labelling4. Its intricate detailing, such as varied material thickness also incorporates an idea common in biomimicry, to adapt to certain structural needs. In reptilian skin for example, hexagonal cells have varying radii so as to allow ease of stretching and bending. In this project, the varied thickness reduces joint stiffness, allow the plywood to perform better acoustically in sound deflection and absorption, as well as gives the structure overall flexibility in loading. In a more general sense, this project reflects an experimental attitude towards biomimicry in architectural design, which is often lacking.

4 Megan Jett, ‘ZA 11 Pavilion’, Archdaily (revised 2011)http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan [13 September 2017]

honeycomb versus snake’s skin

54

CONCEPTUALISATION

55

CONCEPTUALISATION 55

56

Reverse Engineering

1. LOFT CURVES

2. PROJECT HEXAGONAL CELLS

3. SCALE

SE

MOVE

SCALE

HEX (INNER) LOFT

LOFT CURVES

DECONSTRUCT

EXPLODE

HEX (OUTER)

VE

56

CONCEPTUALISATION

57

4. LOFT SCALED GEOMETRY

5. PATTERNING USING LIST ITEM

FINAL OUTCOME

EXTRUDE

EGMENTS

LIST ITEM (1)

LIST ITEM (2) JOIN

SCALE

EXTRUDE

CAP HOLES

SOLID DIFF

LIST ITEM (3)

LIST ITEM (4)

ERTICES

LIST ITEM (1)

LIST ITEM (2) CONCEPTUALISATION 57

58

B.4: Technique Development CHANGING PARAMS

u: 5, v: 15, t: 0.4

u: 3, v: 20, t: 0.2

scale triangle h

REPLACING LUNCHBOX

triangle cells

diamond cells

outer staggered q inner triangle (B

list item and rotate

scale triangular

SUBDIVISION AND ROTATION

subdivide triangle

58

CONCEPTUALISATION

59

holes 0.3

quad B)

holes 0.9

scale inner curve. 0.8

outer skewed quad inner triangle (C)

subdivide hex cells

thickness of panel-->0.8

outer skewed quad inner diamond

scale triangular holes 0.8, list item, rotate

CONCEPTUALISATION 59

60 EXTRUSIONS FROM NORMALS

u:5, v:3, t: 0.3 extrude hex cells

u:7, v: 3, t: 0.3, extrude hex

move scale 4, o

GRAPH MAPPER

bezier curves, list item 0,1,5

bezier, list item 1,2,3

perlin and conic

CHANGING BASE GEOMETRY

scale and move 2 base curves 60

CONCEPTUALISATION

scale and move 3 base curves

mobius strip

61

opening size 0.2

opening size 0.8

move scale 5, opening size 0.4

c, list 1,2 3,

perlin, list 0,1,2,4

sinus cardinalis and parabolic

p base

torus base

conoid base CONCEPTUALISATION 61

62

ROTATE AND SCALE

rotate 3D 154 deg scale of triangles 0.6

cull pattern, rotate 54 deg. scale triangles 0.3

scale 0.5, s rotate 3D t

smooth mesh I: 5

map to srf

SMOOTH MESH + MAP TO SURFACE

mesh weld vertices 0.8 62

CONCEPTUALISATION

63

scale NU 1,5 triangles 157 deg.

made of arcs

rotate 3D 227 deg. rotate 3D triangles 230 deg.

map to srf made of spiral 4.78 pi, rad. 80 deg.

rotate 3D 54 degs. rotate 3D triangles 230 deg

map to srf made of spiral 5.76 pi, rad. 50 deg.

CONCEPTUALISATION 63

64

LUNCHBOX STRUCTURAL GRID

grid structure u:5, v:2, t: 0.8

diagrid structure u:5, v:2, t: 0.8

braced u:4, v

POINT ON CURVE

list item 0, 2 point on curve 0.25, 0.5 move factor 10

64

CONCEPTUALISATION

list item 1, 3 point on curve 0.25, 0.5 move factor 10

list item 0, point on cu move facto

d frame structure v:3 t: 0.4

,3 urve 0.5, 0.5 or 10

65

space frame grid structure u:5, v:2, t: 0.8

list item 1, 2 point on curve 0.5, 0.75 move factor 5

hexagonal grid structure u:5, v:2, t: 0.8

list item 2,3 point on curve 0.25, 0.75 move factor 5

CONCEPTUALISATION 65

66

successful iterations and criteria INHERENT BIOMIMETIC PRINCIPLE

Continuing with the criteria set in case study 1, this iteration was selected due to its surface extrusion. Through rotation the form resembles a lotus flower. The lotus flower has leaves that have microscopic rough scales to provide self-cleaning.

In this iteration, he general look is biophilic and could potentially have acoustic properties as well. It is also easily scalable, and some of the smaller extrusions resemble joints that could give some idea of how to connect each panel.

FLEXIBILITY OF STRUCTURE This iteration was chosen with the site in mind. Given that the floor area is quite small and the space might not be inhabited all the time, a flexible structure could potentially be more useful and space-efficient. Furthermore the numeours folds has potential in creating more dimensionality for sound deflection. A design in this direction would require the use of a lightweight and stretchable material, which could be a challenge for sound insulation, but through further material study, we might be able to optimise this.

66

CONCEPTUALISATION

67

RESPONSIVENESS This iteration could be useful for designing a structure that is inherently responsive to changes in the environment. The opening and closing of panels could allow for greater sound and light permeability, and also respond to the users through warmth or movement. This is related to criteria 1 on inherent biomimetic principle, as much of nature is programmed to do this without external mechanism.

Panelling is often done in many biomimetic pavilions, such as those by Achim Menges, so perhaps an improvement could be to go beyond just opening and closing the panels, but also rotating and bending them to create more dynamic form.

ORGANIC FORM This iteration reminds me of a skeleton, a structure that is strong and rigid, and continually growing. The use of weld vertices and smooth mesh creates the base geometry, which can be easily twisted and warped into other biophilic forms.

This design could likely require 3D printing as a fabrication tool. It is interesting as it completely distorts the original geometry, which is very regular, and it could potentially be used as a structural frame for the acoustic pod. Furthermore, the structure could be parametrically improved, through testing with forces, to find out how to compose the polymer fibres so that maximum strength is achieved.

CONCEPTUALISATION 67

68

B.5 Prototyping

1. EXPANSION ON THE ICD/I

At the prototyping stage, the outcomes of the ZA 11 Pavilion iterations were combined with that of another, the ICD/ITKE Research Pavilion of 2011. The key takeaway from each is the commonality of hexagonal cells as a biomimetic motif, performing some sort of structural stability. Also, both use plywood as both frame and skin, thus we explored the acoustic possibilties of the material (See B.6).

Three prototypes were produced. The first was inspired by conch shells due to their inherent reverberation qualities, the second was inspired by minimal surfaces and the third was a material study.

Fabrication of the prototypes was possible through panelling and modularity. The panels were laid out for laser cutting in Grasshopper, and panel tabs and a curvilinear waffle grid were two ways we experimented with as joint connections.

2. EXPANSION OF THE ZA 11 P

patterning to be project ICD/ITKE Pavilion 2011

68

CONCEPTUALISATION

69

ITKE PAVILION

PAVILION

ted for perforations

CONCEPTUALISATION 69

70

COM

3. MATERIAL STUDY

felt

aluminium mesh

wire

The first prototype is intended to be made of plywood, though at this scale and thickness, polypropolene was used as a substitute for ease of folding and assembly. The prototype is to be covered in the same felt as prototype 3 to absorb and diffuse sound waves. With this prototype the key takeaway was finding a suitable jointing system, such as riveting so that the overall structure would still be flexible, without each panel pulling away from each other during assembly.

The second prototype using a waffle grid as the base frame was successful, although the modular elements that would be covering the frame encounters the same problem of flexibility. Nonetheless, the grid itself already provides an undulating surface that could potentially be good enough for deflecting sound waves without the modular elements. A more flexible module could be used, such as prototype 3.

The third prototype as a material study is interesting because the way that the frames are positioned allows the otherwise rather soft material of felt to gain some structural rigidity and generate form.

The angles at which the modules turn create some form of enclosure independent of parametric design from the outset. This composite of aluminium frame and acoustic felt will be further explored to see how it can be applied parametrically.

70

CONCEPTUALISATION

sh joi str inf of

71

MPARISON OF FABRICATION TECHNIQUES

The ZA 11 Pavilion originally uses a pentagonal haped waffle joint, and the ICD/ITKE Pavilion uses finger ints fabricated by a robot. Due to the curvature of our ructure, we needed more flexible joints. However, these form our fabrication process and the resulting modularity our prototypes.

CONCEPTUALISATION 71

72

B.6 Proposal In addition to the design brief for an indoor acoustic pod, we intend to shape the spatial experience of a design office through defining space for private meeting, We conducted research on how materials should be arranged and designed to optimize sound, specifically by increasing the number of surfaces/ protrusions to deflect sound and using sound absorbent materials such as felt lining.

We choose to use plywood for its high stability and impact resistance and high strength to weight ratio.

Plywood thus provides an excellent structural frame on which we drape acoustic felt designed by breaking and distorting hexagonal cells.

Our design criteria are: acoustic performance, potential interaction between public and private and ease of assembly. We use modules throughout all our prototypes for ease of fabrication and through curving form, generate spatial separation. Lastly, we hope that the extruded spiked surfaces generate visual interest and through the felt lining also achieve comfort, inviting people to inhabit it and activate the space.

FURTHER PRECEDENT STUDY

other precedents: the Elbphilharmonie (Herzog and de Meuron), Clouds Divina (Studio Bouroullec) and XSSS (Hodgetts+ Fung) 72

CONCEPTUALISATION

73

CONCEPTUALISATION 73

74

Our design seeks to be unlike other acoustic pods which tend to be regular in form and uninspired, only having acoustical properties. We aim to create a pod that has a character distinct from the external environment, whilst maintaining connection. However, the drawback is the lack of material tactility that would help us achieve this goal in our more parametrically designed prototypes whilst our material study, has great potential in creating an interesting surface, yet is not parametrically designed, hence not optimised. However, the softness of a handmade module is worth pursuing further, as long as the way that it performs in reality, in accordance to the bending angles of the structural frame, can be turned into inputs for us to test sound optimization in Grasshopper. The curvature of the overall form can then be generated from this data.

Lastly, we aim to achieve a stronger conceptual understanding to underpin the final project.

For instance, not just following the shape of conch shells but mimicking the way that it draws sound inwards and echoes it outwards. The departure away from form-finding towards material performativity could result in a more organic and asymmetrical appearance that is more biomimetic.

-

74

CONCEPTUALISATION

75

CONCEPTUALISATION 75

76

B.7 Outcomes This part of the journal concludes precedent research into parametric design and the research field of biomimicry, and informs the subsequent stages of fabrication and further modelling. Through repeated iterations and matrice-making I have gained a great amount of knowledge about Grasshopper and its components, although there is still room for more progress, especially in learning how to use simulation plug-ins like Kangaroo. Ultimately, the aim of the studio is to stretch the limits of parametric design. Initially I had reservations that biomimetic design ultimately falls short of natureâ&#x20AC;&#x2122;s solutions, as one can never truly model the natural world. However, through the past few weeks of research I have found that the process of mimicry yields more unexpected solutions that go beyond just superficial form. The next part of the studio will be a challenge to bring out these principles of using nature as inspiration.

Conceptually, we have come up with 3-4 criteria to suit the brief of the final project. However, there is still more to be done in developing the idea, of the experience and the intention of the project, as well as combining that with our research fields. Material study evidently is a good place to start, and perhaps we would be able to revisit initial ideas of inventing our own acoustic material through experimentation, such as using organic fibre to replace felt.

76

CONCEPTUALISATION

77

Algorithmic Sketches

CONCEPTUALISATION 77

78

References Scott, Katie ‘Biomimicry in architecture and the start of the Ecological Age’, Wired Magazine (revised 2002) <http://www.wired.co.uk/article/biomimicry-in-architecture>[14 September 2017] Manufacture Architecture NC, ‘World Exposition: Spanish Pavilion’, Manufacture Architecture NC (revised 2017) <https://design.ncsu.edu/manufacturearchitecturenc/case-studies/spanish-pavilion/> [13 September 2017] Woolley-Barker, Tamsin ‘What can the honeybee teach a designer?’, Inhabitat (revised 2017) < http:// inhabitat.com/the-biomimicry-manual-what-can-the-honeybee-teach-designers-about-insulation-elasticity-and-flight/> [14 September 2017] Jett, Megan ‘ZA 11 Pavilion’, Archdaily (revised 2011)http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan [13 September 2017]

78

CONCEPTUALISATION

79

CONCEPTUALISATION 79

80

Studio Air_Part C

80

CONCEPTUALISATION

81

CONCEPTUALISATION 81

82

C.1 Design Concept Our refined concept was to mimic the form of a cocoon. A butterflyâ&#x20AC;&#x2122;s cocoon represents the crystallization of ideas, a place where one feels safe to share their opinions and progressively becomes more open to the surrounding environment as the ideas mature. In this sense we no longer use the shell as inspiration, but still keep the same idea of rebounding sound internally and diffusing it externally, but in the undulating shape of a cocoon. Our design mission remains the same: a design intervention that provides the necessary privacy, acoustic conditions and comfort needed for a meeting space whilst simultaneously interacting with and activating the siteâ&#x20AC;&#x2122;s public and private areas.

We conducted a brief site analysis based on photographs of a design office to highlight how our form would sit within the public area and create a small separate area for two to three people at a time.

In our interim presentation we received the feedback that our third prototype, which was hand made with felt and wire had greatest potential due to its visual interest and tactile quality. In pursuit of this direction there was an opportunity to reverse engineer something hand made and potentially achieve some form of finesse.

This would effectively involve the use of Grasshopper to create something with digital precision but retaining the qualities and detailing of one-off products rather than mass production. The simple framework could easily be designed parametrically, and we would then use the parameters to precisely alter the bending angles of each module so as to create more irregularity throughout the form. The soft folds of the felt also helped to balance out the hard edges of laser cut products and would create a comfortable and pleasing environment for our design concept to flourish, which is to provide a good space for people to share ideas and reflect on their projects.

The direction we had was to 1) make more modules at different scales and refine the joint detailing 2) optimise the cocoon form in Grasshopper 3) investigate other materials to optimise structural stability and acoustic properties. Subsequently we generated a set of criteria against which to judge and compare our different prototypes.

82

CONCEPTUALISATION

83

score 3.4

Our chosen prototype

Our inspiration the Urodus Moth Cocoon

CONCEPTUALISATION 83

84

site shows a small space to install an aoucstic pod

84

CONCEPTUALISATION

85 In our site analysis we identified potential challenges with the site, particularly the limited space to place an acoustic pod, and needing space for assembly. This affirms our strategy of using modular assembly, as it is space and cost efficient, can be assembled off site in parts and put together later. It is also situated close to a corridor and individual work areas and has to be sound optimized so as to not disturb the surrounding occupants but still provide some form of connection to the outside.

Unlike traditional acoustic pods that are extremely enclosed, we wanted to create a semi-open space to allow ideas to flow freely. The form of the cocoon itself and the use of acoustic felt will help to disperse sound to allow for some form of privacy but to a large extent there is more potential to create a semi public/private space to encourage meeting and social activity.

Our method to allow for semi privacy as well as potentially letting light through to create more visual interest is to use perforations to create an interesting pattern on the panels. This will be explored alongside form generation in the subsequent stages of the design process.

From the site as well as our interim feedback, we came up with the following selection criteria to evaluate our prototypes:

1. Tactile Quality: how one feels sitting inside the pod and how it feels on the outside 2. Digital Precision: how well controlled by Grasshopper and parametrically designed the form is 3. Connection Detail: stability and flexibility of the structure, and visibility of connection 4. Fabricability: this refers to how easily the modules are made 5. Acoustics: how well it could potentially perform acoustically, dampening or diffusing sound

CONCEPTUALISATION 85

86

C1.1 Reverse Engineering The process of reverse engineeering of the felt modules starts with making base arcs, followed by using lunchbox to create hexagonal cells on the lofted surface.

Due to the curvature of the arcs, the hexagonal cells achieve some degree of irregularity. We experimented with the parameters for the hexagonal cells as well as replacing them with diamond cells instead. The variations in the u and v coordinates of the hexagonal cells contribute to the curvature of the form as well.

After the cells are generated, we simulated the folding of each cell by translating new points along the normal of each cell. The points are found by evaluating the diagonal length of each cell. With the translated points, we then connect them to the vertices of each hex cell to make new lines. The lines are converted to surfaces, thus forming individual triangular panels.

STEP ONE: CREATE ARCS

86

CONCEPTUALISATION

STEP TWO: LOFT ARCS

STEP THREE: CREATE HEXAGONAL CELLS

87 change base geometry using different curves and arcs

LOFT

ARCS

HEX CELLS

EVALUATE SURFACE

the length of the normals define the height of the modules and dimensionality

STEP FOUR: FIND NEW POINTS ALONG THE SURFACE DIAGONAL

NORMALS & POINTS

find diagonal lines

MOVE POINTS ALONG NORMALS

NEW LINES

BOUNDARY SURFACE

the distance between the new points is the angle that each module “opens” or “closes”

STEP FIVE: FIND NORMALS

STEP SIX: MOVE POINTS ALONG NORMALS, DRAW NEW LINES

CONCEPTUALISATION 87

88

other variations of the same definition, changing hex cell parameters and using lunchbox diamonds

To add to the irregularity of the modules, due to the different diagonal lengths, by controlling the distance between the new points, we create varying degrees of how each module “opens” or “closes”. We also change the length of the normals to control how much the new points move outwards, hence controlling the height and dimensionality of the modules.

manipulating the distance between points to simulate a folding effect

88

CONCEPTUALISATION

89

CONCEPTUALISATION 89

90

C1.2 Joints and Structural Stability

90

CONCEPTUALISATION

91

the finger joints may not be rigid enough and need an additional tie

central finger joint

Our subsequent prototypes were made of laser cut plywood. Just as the hand made modules were made of felt wrapped around a wire frame, we made a plywood frame. The material taken out from the centre of each panel also makes it more lightweight and potentially self-supporting as well as cost-effective.

score 5.4

In this prototype we investigated the use of finger joints as connections. This only works if the connections are rigid, hence the angles of each panel would have to be predetermined before they are glued down. Furthermore, to ensure the rigidity of the structure, we will also have to add a clip in the interior of the modules to hold the panels together.

In this prototype the finger joints are covered by felt that wraps over the frame and conceals the fixing on the inside.

CONCEPTUALISATION 91

92

92

CONCEPTUALISATION

93

Our next prototype involves more finger joints and also a solid panel system. This gives the structure more mass and rigidity. Using more finger joints allows the structure to hold together more firmly and eliminates the use of the clip on the interior side.

The panels are to be covered in felt as well to soften the hard edges.

CONCEPTUALISATION 93

94

94

CONCEPTUALISATION

95

increased finger joints

other possible connections, a sliding clip

score 6.2

CONCEPTUALISATION 95

96

C1.3 Assessment of Prototype 2 At this point our prototype has achieved a reasonable degree of visual finesse with the expression of the finger joints. However, the connection is still not strong as the finger joints can easily come apart when the glue wears out.

Evidently simply relying on the friction between panels is not enough to allow the modules to bend freely without exerting too much stress on the joints.

Formwise, the plywood offers a strong tactile quality and is easy to cut and fabricate. The use of a solid plywood frame rather than a hollow one in the previous prototype gives us more room to experiment, such as having perforations in the centre whilst also feels more structurally stable.

construction process

96

CONCEPTUALISATION

97

VISUAL Prototype 2 -FINESSE Visual Finesse Felt Relocation Finger Joints Detail Materiality

CONNECTION DETAILS Prototype 2 - Connection Detail Finger Joints Glue Friction

STRUCTURAL STABILITY

Prototype 2 - Structural Stability Material Performance Connection Strength Suspension Detail

CONCEPTUALISATION 97

98

C.2 Tectonic Elements This section focuses on refining our prototypes from part C.1. On top of that we also examined making the form more cocoon-like by suspending the structure and also changing the overall geometry. Perforations were added at this point to achieve the effect of having light and limited noise pass through, as well as add to the patterning common in naturally occuring cocoons.

Key to the tectonics of this system is the joint detailing, which is seen in our subsequent prototypes. Through experimentation in the Grasshopper definition to alter the form in real time and practical experience building the prototypes, we arrived at the conclusion that we needed two systems of joints: one rigid and one flexible. The rigid joints holding each moduleâ&#x20AC;&#x2122;s panels together keep the angles of each module in place. On the other hand, the flexible joint system between each module allows the whole structure to act like a tensile membrane, which can be draped or laid flat before being pulled into place. This is crucial as the curvature of the form eventually means that we need a flexible structure to accomodate the gaps between each rigid module.

We first set out to create the most cocoon-like form through changing the base curves and lofting several versions. It was found that the curves have to be more or less aligned along the same spine and not taper too much at the sides to reduce the size of gaps between the modules.

This will subsequently allow for a smaller margin for error during assembly, as long as the panel lengths are the same in Grasshopper and Rhino.

98

CONCEPTUALISATION

99

impression of how the final cocoon form will suspend from the ceiling as well as be perforated.

CONCEPTUALISATION 99

100

C.2.1 Refining the Process

100

CONCEPTUALISATION

101

In our refined reverse engineering process, we have made a few key changes. Most notably, converting the hexagonal cells into planar surfaces. This is important as during the design stage it is difficult to parametrically control the individual modules so that they can bend and accomodate the undulating curves of the organic, cocoon form. Therefore, each hexagonal cell is made planar and a module mapped onto each planar surface and in doing so we can be certain that during the construction and assembly phase the modules can be made out of panels. Otherwise, it would be impossible to have each plywood panel bend and warp according to a model without planar surfaces without first treating the plywood for increased flexibility.

In addition, perforations were added at this stage, but it was important that we do this with some form of design intent in mind, such as forming a pattern that would be visible looking at the form as a whole. We used various cocoon patterns as image samples and projected them onto the form before extruding the pattern and the cocoon form to conduct a Brep intersection.

Arcs

Loft

List Item

Hex Cells

Patch

Evaluate Surface

Normals

Planarize + Deconstruct

Move Point

List Item

Valley Fold Lines

Project Perforations

New Lines

Bound Srf

Extrude

Brep Intersection

Evaluate Curve Group & Unroll

Extrude

CONCEPTUALISATION 101

102

C2.2 Matrix Our selected species is with the most visible variations in perforations and perceptible modular form. The matrix starts from our initial form-finidng process in Part B, followed by looking for more cocoonlike forms and changing their orientation to a suspended structure.

102

CONCEPTUALISATION

103

CONCEPTUALISATION 103

104

C2.3 Further Prototyping

3D PRINT HINGE JOIN

POPLAR PLYWOO MODULE PAN

3D PRINT HINGE JOIN

FE

Based on this diagram, our refined prototype is now a double skin system with the felt on the interior rather than the exterior, giving a different internal feel as the felt emphasizes the edges on the inside in a much softer way.

104

CONCEPTUALISATION

NT

105

We decided to place the felt on the inside instead to provide interior comfort and better absorb sound from the inside. The external surface would only be responsible for diffusing sound through the hard plywood and through the variations on the surface. Furthermore, some finger joints were replaced with 3D printed hinge joints because these provided greater flexibility during assembly.

In the following prototype, we demonstrate how only the adjoining edges between each module had 3D printed hinge joints, but within each module we still use finger joints to ensure rigidity.

OD NEL

NT

ELT

CONCEPTUALISATION 105

106

The 3D printed joints in this prototype add to the external expression of the form and remain visible since the felt is now on the inside.

score 7.6

106

CONCEPTUALISATION

107

CONCEPTUALISATION 107

108 It was crucial that the felt could also be laser cut to fit the perforations.

108

CONCEPTUALISATION

109

exposed joint, with perforations

The 3D print joints are all regular and standardized, so it is possible to mass produce them and fit them onto any module. The joints are a simple hinge held together by a small pin to allow individual modules to bend up to more than 270 °which will facilitate assembly.

CONCEPTUALISATION 109

110

C2.4 Assessment of Prototype 3 VISUAL FINESSE Prototype 3 - Visual Finesse

Prototype 3DETAILS - Connection Detail CONNECTION

Felt Relocation

Finger Joints (Fixed) 3D Joints (Flexible) Glue

Finger Joints Detail 3D Joints Materiality Perforations

Friction

STRUCTURAL STABILITY Prototype 3 - Structural Stability Material Performance Connection Strength Suspension Detail

110

CONCEPTUALISATION

111

This prototype compared to Prototype 2 is a significant improvement in terms of visual and tactile quality and connections/ stability. The cocoon form comes through more clearly with the perforations and the 3D printed joint adds to the aesthetic and provides much needed flexibility. During the fabrication process, the time needed was also reduced as we simply needed to place the joint and not constantly have to glue and keep the panels in place. The felt was overlaid in the panels after they were all assembled and the contrast between the plywood and felt added to the tactile quality of the model.

CONCEPTUALISATION 111

112

C2.5 Material Study In the process of looking for laser cutters we encountered other types of timber and wood veneer products that could replace plywood. Plywood was most commonly used in a lot of acoustic products, particularly dealing with bouncing sounds of high frequency and resonating better sound quality. It tends to be backed by a layer of felt which absorbs and diffuses sound. In our prototypes however, we found that it would be more suitable to use a material that was lighter in weight, could be easily cut by the laser cutter and could also offer some form of acoustic property.

We found that poplar, which is a light coloured wood, gives a polished and refined look on top of being a lightweight material. Its reduced density makes it as light as styrofoam, and could potentially be more sound absorptive than plywood. This would make it easier to suspend the structure by reducing its self weight.

Steel mesh was another option we looked into as what we initially used as the structural frame of our first prototype. However, apart from its lightweight quality and ease of bending, it offers not much acoustic nor aesthetic quality.

STEEL MESH LIGHT WEIGHT VERSATILITY

From a fabrication point of view, a deciding factor for us to use poplar is that poplar can be cut at greater thicknesses, of up to 6mm, without splintering, which plywood is not capable of. The additional thickness would be good to accomodate the minimum thickness needed for 3D printed joints.

EASE OF WORK AESTHETIC COST

LIGHT WEIGHT VERSATILITY EASE OF WORK AESTHETIC COST

112

CONCEPTUALISATION

LIGHT WEIGHT

113

LIGHT WEIGHT VERSATILITY EASE OF WORK AESTHETIC COST

LIGHT WEIGHT

LIGHT WEIGHT

VERSATILITY

VERSATILITY

EASE OF WORK

EASE OF WORK

AESTHETIC

AESTHETIC

LUAN

COST

COST

LIGHT WEIGHT

LIGHT WEIGHT

VERSATILITY

VERSATILITY

EASE OF WORK

EASE OF WORK

AESTHETIC

AESTHETIC

COST

COST

POPLAR

LIGHT WEIGHT VERSATILITY EASE OF WORK AESTHETIC COST

CONCEPTUALISATION 113

114

C.3 Final Detail Model

114

CONCEPTUALISATION

115

This is our first model to emphasize the general geometry of the pod and demonstrate it is a suspended structure, tied to the ceiling and tensioned at its base to the floor. The final model shows how it is semienclosed but still offers interaction with the surrounding environment.

The slight upturns at each end provides an entrance. The structure can accomodate about 2-3 people and fit a table and a few chairs at a time.

CONCEPTUALISATION 115

116

116

CONCEPTUALISATION

117

CONCEPTUALISATION 117

118

118

CONCEPTUALISATION

119

The folding of the modules also has an internal expression as the middle edge bends in and the rest point out. The photo below shows the contrast between the two sides of the surface, so that the internal space does not lack dimensionality. It will also be covered in monochrome felt to soften the edges and conceal joints.

CONCEPTUALISATION 119

120

C.3.1 Example Module_1:1 Scale

With this model we aim to show the variations in perforation size and the external look of the structure, which is emphasized by the finger joints and the folding of the modules. Now the 3D printed joint is no longer visible on the outside to give a clean finish expected of digitally designed products.

120

CONCEPTUALISATION

121

The perforations for each panel vary slightly and together form a pattern that is only visible when looking at the whole form. The perforations let light through and also allow some noise to pass through so the whole structure is not entirely enclosed.

score 8.5

CONCEPTUALISATION 121

122

It is visible how the panels are each consisting of two layers, but only the inner layer is cut out to place the 3D printed joint. This allows the joint to be concealed on the outside. The middle dovetail shaped part of the module still has finger joints to ensure rigidity as that section bends the most.

122

CONCEPTUALISATION

123

The assembly process was fast, but needed accurate labelling of each panel so that they could easily be referenced back into the Rhino model which would be tagged as well. We used a simple alphabetical to number referencing system, i.e. B denoting the module and B1 joins to the first edge of another module.

CONCEPTUALISATION 123

124

124

CONCEPTUALISATION

125

The felt is not just acoustical, but also helps to conceal the joints on the inside as well.

Here we see the progression from a single finger joint to multiple finger joints, and from the visible 3D printed joint to a concealed one. Perforations were added, and the felt was shifted from the outside to the inside.

CONCEPTUALISATION 125

126 LAYOUT OF 126 MODULES IN TOTAL

3

3

7

3

7

7

3

7

3

7

3 7

3

2

2

6

1

1

5

2

6

6

1

5

2

5

6

1

2

5

6

1

6

2

0

0

4

MOD 0

3

0

4

MOD 1

4

0

MOD 2

4

0

MOD 3

MOD 4

7 3

2

7

3

7

3

7

2

6

2

6

3

6 2

1

6

0

5

1

5

1

6

1

5

0

4

0

4

MOD 6

2

6

0

4

MOD 7 3

7

0

0

4

1

5

0

2

6

MOD 8 3

4

7

2

1

MOD 21 3

7

2

6

1

5

0

4

MOD 22

3

7

2

6

1

5

0

7

2

6

1

5

0

4

7

2

6

1

5

MOD 12

0

MOD 23

7

3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 24 7

3

1

5

0

4

MOD 29

2

4

MOD 13

5

1

5

1

5

0

4

0

4

0

4

MOD 45

MOD 46

MOD 47

3

7

3

7

3

7

2

6

2

6

2

6

1

5

1

5

1

5

0

4

0

4

0

4

MOD 50

MOD 51

3

7

3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 52

1

5

0

4

0

4

6

1

5

0

4

5

0

4

MOD 55

MOD 33

7

2

6

1

5

3

7

6

1

MOD 32

6

1

7

2

6

4

MOD 31

MOD 28

6

3

7

2

4

2

3

7

6

MOD 56

MOD 34

MOD 57

3

3

7

2

6

1

5

0

4

3

4

MOD 11

4

MOD 30

5

0

4

3

0

4

3

MOD 27

3

2

5

3

MOD 26

7

6

6

1

5

0

4

2

6

6

1

5

5 0

4

MOD 10

4

3

MOD 9

6 1

1

0

2

5

0

3

3

2

5

2

4

MOD 5

2

MOD 25

6

1

5

7

7

2

5 1

3

6

1 5

0

MOD 20

4

2

3

2

3

3

6

1

4

0

3

7

7

2

5

1

5

3

MOD 14

3

3

7

3

2

6

2

6

2

6

1

5

1

5

1

5

0

4

0

4

0

4

7

3

7

2

6

2

6

1

0

5

1

0

2

3

4

1

5

0

4

2

6 7

1

5

0

4

6

5

4

MOD 60

MOD 61

MOD 62 3

3

2

7

6

3

7

2

6

1

5

1

5

0

4

0

4

MOD 15

MOD 16

7

3

7

6

MOD 35

3

7

2

6

2

6

2

3

7

1

5

1

5

1

5

2

6

0

4

0

4

0

4

1

5

0

4

MOD 17

3

MOD 18

MOD 19

MOD 36 3

7

2

6

1

5

0

4

MOD 37 3

MOD 38 3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 39 3

7

2

6

1

5

0

4

3

7

3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 65 3

MOD 40

MOD 41

MOD 42

MOD 43

MOD 44

2

6

1

5

0

4

MOD 70

REF. BREP OF MODEL

126

CONCEPTUALISATION

ORIENT, TAG

REF. BREP OF MODULE

ORIENT, TAG

MOD 66 3

7

2

6

1

5

0

4

MOD 71

LAYOUT

2

6

1

5

0

4

MOD 67 3

2

6

1

5

0

4

MOD 72

127

3 3

7

3

7

2

6

1

5

0

4

3

7

3

3

7

3

3

7

2

6

1

5

0

4

3

7

2

2

6

1

5

0

4

2

6

1

5

0

4

2

6

2

6

1

5

0

4

2

6

2

1

5

0

4

1

5

0

4

3

7

3

7

6

2

6

2

6

1

5

1

5

1

1

5

0

4

0

4

0

4

5

5

0

0

4

MOD 48

MOD 75

MOD 49

MOD 76

MOD 77

MOD 78

MOD 105

MOD 79

3

3

7

6

2

6

1

5

1

5

0

4

0

4

3

7

2

6

1

MOD 54

0

3

7

2

6

1

5

MOD 58

3

7

3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 80

MOD 81

4

MOD 59 3

7

2

6

1

5

3

3

7

2

6

2

6

1

5

1

5

0

4

0

4

3

2

6

1

5

0 0

3

7

2

6

1

5

0

4

3 3

MOD 82

2

6

1

5

0

4

MOD 83

MOD 85

MOD 86

MOD 64

6

1

5

0

4

3

7

MOD 68

3

7

2

6

1

5

0

4

MOD 69

7

2

6

1

5

0

4

MOD 90 3

7

2

6

1

5

0

4

MOD 87

3

7

2

6

1

0

5

4

MOD 91

2

6

1

5

3

5

0

4

MOD 73

0

4

7

3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 88 3

3

7

0

2

6

1

5

0

4

2

6

2

6

1

5

1

5

0

4

0

4

MOD 110 3

7

2

6

1

5

0

4

MOD 115

MOD 89

3

2

6

2

3

7

2

6

1

5

0

4

MOD 108

MOD 109

3

3

MOD 111

MOD 112

3

7

3

2

6

2

6

1

5

1

5

0

4

0

4

2

6

2

6

1

5

1

5

0

4

0

4

MOD 113 3

7

2

6

MOD 114 3

7

2

1

MOD 74

0

4

MOD 95 3

7

2

6

1

0

5

4

MOD 100

6 7

5

4

MOD 96 3

2

1

0

7

6

5

4

MOD 101

2

6

1

5

6

1

5

0

0

3

7

2

6

1

5

0

0

4

3

2

1

MOD 93

0

3

6

1

5

0

4

2

MOD 98 3

6

2

4

MOD 102

0

4

1

0

3

MOD 94

7

7

5

5

MOD 120

4

4

MOD 97

1

MOD 117

4

5

0

4

MOD 118

MOD 119

3

7

3

7

3

2

6

2

6

2

6

1

5

1

5

1

5

0

4

0

4

0

4

3

2

6 7

1

5

0

4

5

4

MOD 92

6

MOD 116

1

7

5

0

2

6

1 1

7

7

2 2

3 6

1

5

3

3

2

1

3

7

2

6

4

3

3

2

MOD 84

4

MOD 63

7

5

0

4

3

7

2

MOD 53

4

MOD 106 MOD 107

3

3

7

2 6

6

1

3 7

7

MOD 121 3

7

2

6

2

6

1

5

1

5

0

4

0

4

MOD 122

MOD 123

MOD 124

7

6

1

5

0

4

MOD 125

MOD 126

MOD 99 3

7

2

6

1

5

0

4

6

5

4

MOD 103

MOD 104

CONCEPTUALISATION 127

128

C.3.2 Assessment of Final Prototype VISUAL FINESSE

CONNECTION DETAILS

Prototype 4 - Visual Finesse Felt Location Finger Joints Detail Concealed 3D Joint Materiality Perforation Pattern

The final 1:1 module has the highest structural capability and visual finish. The joints are now completely concealed by the felt and is not as visually distracting. The laser cut felt and poplar timber panels also add to the machine-made aesthetic and shows digital precision of our fabrication methods.

The addition of perforations is also done with more intent in this prototype, attempting to create a more regular patterning. Some panels have generally larger perforations and others smaller unlike the previous prototypes where perforations were added haphazardly.

Assembly is the same process of glueing the panels together and glueing felt later. An improvement would be to mass produce panels and felt together as a composite material which can then be more quickly assembled. However, keeping the felt intact and not on separate panels helps to keep the panels together to a certain extent as well.

128

CONCEPTUALISATION

Finger Joints (Fixed) 3D Joints (Flexible) Glue Friction

STRUCTUR

129

RAL STABILITY

Material Performance Connection Strength Suspension Detail

CONCEPTUALISATION 129

130

C.3.3 Suspension

We

130

CONCEPTUALISATION

131

This model shows one section of the final structure, at 1:5 scale. The modules are pulled back and tensioned at the top to produce the desired curvature. We find that the felt also contributes to keeping the finger joints intact.

CONCEPTUALISATION 131

132

132

CONCEPTUALISATION

133

CONCEPTUALISATION 133

134

F

6

The choice to suspend the structure enhances its look as a cocoon and better fits our concept, to provide an open space for ideas to be shared. The structure looks more lightweight and allows more light through to create this sense of openness. The diagram on the right summarizes all the hardware needed in the assembly process, including the CRH Con-Lock suspension system which is a readily available store-bought product that can be easily installed to ceilings. In the model we created small holes at the top for string and wire loops to be installed, and in reality the panels will also have small holes to allow the lock suspension cables to loop through, or for lighting to be hung from within and let light through the perforations.

134

CONCEPTUALISATION

H J

3

135

FINGER JOINT

6mm x 6mm x 6mm

SUSPENSION SYSTEM

CRH Con-lock suspension

HIDDEN HINGE JOINT

3d printed hinge joint

SUSPENDED LIGHTING

CONCEPTUALISATION 135

136

136

CONCEPTUALISATION

137

C.3.4 Cost Analysis

PROJECTED COST

CALCULATED WEIGHT TOTAL: 61 KG

TOTAL: $7,447

ESTIMATED TIME TOTAL: 220 HRS

*excluded from this is the total man-hours that went into design and fabrication of the prototypes CONCEPTUALISATION 137

138

C.3.5 Ease of Assembly

138

CONCEPTUALISATION

139

CONCEPTUALISATION 139

140

140

CONCEPTUALISATION

141

C.3.6 Resolution and Final Assessment Overall, in the final presentation, we achieved a much greater level of digital precision and understanding of modular assembly than with our earliest prototypes. There are still a few areas for improvement, such as modifying the 3D print joint further, to control the degree of flexibility and also finding a method to optimize the fabrication process and speed it up.

One big challenge with modular construction is that there can be far too many modules to assemble by hand, and given the resources it might be possible to use robotic assembly in future. We have greatly reduced the reliance on glue by using the finger joints to add friction and also the 3D print joints, but there might be better ways to keep the module intact.

Acoustically, the irregularity and undulations of the surface and the use of felt could help to dampen noise to a certain extent. However, perhaps we could use thicker felt, assuming it can be laser cut to have a greater effect. Nonetheless, we have attempted to unify what we have learnt from the precedents and successfully reverse engineered something completely hand-made, which opens up a process of parametric design with more avenues to explore.

CONCEPTUALISATION 141

142

C.4 Learning Objectives and Outcomes Much of the digital design process relies on a good understanding on the relationships between parameters and being able to envision how a digitally designed product could look like. From this subject I realised that they can take various forms, and often they do not necessarily have to fulfill a fixed criteria or an established set of rules. It is merely a very useful tool especially in form-finding to create several improved versions of the same idea. I had the preconceived notion that digitally designed structures, products and buildings tend to have the same aesthetic of the machine-made and can sometimes lack character.

However, the process of experimenting and prototyping has changed this perception. Getting to understand the limits and potentials of Grasshopper influenced the final geometry of the acoustic pod and also helped us to test out several design ideas, thus making the final process much more efficient.

My biggest takeaway from a broader design perspective is that the process of making is much more important. At each stage and prototype we discovered new opportunities and it was crucial to get feedback at every point and be willing to modify our prototypes. Being able to do it in a computer sped up the process but to a large extent much of the ideation and also problem solving came from a sketchbook and several group discussions, thus showing how both digital and analog methods depend on each other in the design process.

142

CONCEPTUALISATION

143

CONCEPTUALISATION 143

144

144

CONCEPTUALISATION

145

CONCEPTUALISATION 145

146

Algorithmic Sketches

surface morph

curve box intersections

146

CONCEPTUALISATION

147

weaving pattern

spiral + extruding hexagons

sorting data

CONCEPTUALISATION 147

148

voronoi and weaverbird

148

CONCEPTUALISATION

149

octtree

evaluating field charges

CONCEPTUALISATION 149