AirJournal_Final_Stranded Entities

STUDIO

AIR JOURNAL

2017, SEMESTER 2

JASON LEUNG

@ MATT DWYER STUDIO DIVERTING ATTENTION

INTRODUCTION Hi, my name is Jason. I am currently a second year Architecture student in the Bachelor of Environment program. Before having the university study in Melbourne, I grew up and was educated in Hong Kong, one of the international metropolis. Living in this city with the highest density of population in the world, I have deeply influenced by lots of amazing high-rise buildings and skyscrapers since I was a kid. These buildings are not just masterpieces of art, but also wonderful living examples of how buildings perform as different capacitors in our daily life. I admire how architecture has shaped a place, and our life as well. This is my original belief and reasons to get interested in Architecture.

Studio Air is my second design studio in my Bachelor of Environment. In last semester, I was doing Studio Earth and Digital Design Fabrication as my design subjects. These subjects have trained me to develop the technique in computer-aided design and fabrication, which are very helpful in design process.

For this subject, I believe algorithmic design will be extremely useful for designing some complicated but parametric structure after I learn Grasshopper in this design studio.

“We shape our buildings; thereafter they shape us.�

WINSTON CHURCHILL

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Final design project from Studio Earth

Final product from Digital Design Fabrication

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A

CONCEPTUALIZATION

[A.1] DESIGN FUTURING [A.2] DESIGN COMPUTATION [A.3] COMPOSITION/GENERATION [A.4] CONCLUSION [A.5] LEARNING OUTCOME [A.6] APPENDIX

Fig.1: Future City 6

[A.1] DESIGN FUTURING

Background

Design as an act of futuring

Nowadays, different kinds of natural disasters have become more frequently happen at everywhere in the world. Scientists have investigated and proved what we are now suffering is caused by the climate change due to unduly consumption by human being.1 After the era of industrial revolution, human beings started to apply advanced technology wisely into every part of daily life with the innovation of mechanism and electricity. From that moment, human keep pursuing their endless desires to facilitate a better living standard. However, the natural resources are limited and can never satisfy all human need. Such self-centered behavior has not only over-consumed existing resources, but also interrupted the cycle of eco-system. This creates a potential risk in future human development with the problem of resource shortage.

With the power of design, we are definitely capable to shape our future as what we want in the manner of sustainable development. The rapid innovation of technology is a two-edged sword. It was the catalyst for over-spending our nature, but it has become our tool of design intelligence. With the aid of computerization, we can analysis and clarify our actual needs, kind of big data, as a design belief.

Digital design can not only speed up the progress of futuring, but also help us to specifically tackle the social need.

At this critical moment, no one is an island. People seem to be awaken by the existing declining and dangerous situation.1 The idea of sustainability was introduced as a proposed vision in our environmental development. By a pattern of good resource use, human can still meets their needs without compromising their future needs. This concept is widely adopted in every part of the society as a remedy for our built environment.

As a building designer, architects plays important role in designing future and city. By using different design approaches and critiques, the most preferable design for futuring could be picked out from various possible design. That’s the magnificence of design. 2 To manipulate into a better environment in futuring.

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Design is a journey of exploration, to critique countless uncertainties with our imagination and innovation. 2 Throughout such natural selection process, evolution occurs and generates what we desire for. That’s how we future our future.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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CASE STUDY 01 CRYSTAL ISLAND TOWER

Architect: Foster + Partners Location: Moscow, Russia Status: Postponed in construction

This stunning architecture is designed as ‘A city within a Building’. It consists of 3000 hotel rooms, 900 serviced apartments, offices and shops, which totally provides living space for around 30,000 people. It was supposed to be finished in 2014, but unfortunately is still under delay in construction due to the global financial crisis in 2008. 3 This 450m tall building was designed as a selfoperating system. It has a ‘breathable smart skin’ and thermal buffer as its superstructure of glass panels, which can effectively moderate the building temperature by elimination of heat loss in winter and enhancement of natural cooling in summer.

Besides, solar panels and wind turbines will also be installed to generate electricity for the building.4 As it is located on the Nagatino Peninsula, edged by the Moscow River, natural water resources can be easily obtained from the river. Thus, a food self-supply chain can possibly formed within this building.

Fig.2: Conical Tower At Sunset

As a design for futuring our living pattern, this will be definitely a revolutionary project if it is really built.

In terms of sustainability, this intelligent building can achieve zero carbon footprint (even negative) by reproducing natural and conserved resources into its self-supply. Furthermore, it also compressed the existing city size into a single building without compromising the living standard. It could be one of the solution addressing the housing problem with rapid population growth in the world. Most importantly, the innovative energy strategy can still be workable under any climate extremes.

Fig.3: Facilities Allocation Yergaliyev, K. and Yergaliyev, K. (2007). World’s Biggest Building Coming to Moscow: Crystal Island. [online] Inhabitat.com. Available at: http://inhabitat.com/tallest-skyscraper-in-the-world-coming-to-moscow/ [Accessed 1 Aug. 2017].

4 Tabb, P. and Deviren, A. (2013). The greening of architecture. London: Routledge, pp.133-135.

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Fig.4: Preliminary View of Crystal Island Tower 9

CASE STUDY 02 SLUISHUIS HOUSING DEVELOPMENT

Architect: BIG, Barcode Architects Location: Steigereiland, The Netherlands Status: Proposed design

Fig.5: Interior of the public courtyard space

Fig.6: Exterior of the building

This project is a winning urban development proposal for a multi-function building in Steigereiland, an emerging district in Amsterdam. Providing 380 zeroenergy residences and around 4,000 square meters of commercial and public area, Sluishuis is conceived as a ‘floating city block’ in the IJ lake. To achieve the goal of sustainability, this green building is designed in a sloping form that can enhance sunlight going through. As a vertical green community, pollutant emissions will be reduced during construction and renewable energy will be used throughout this complex. 5 Sluishuis has demonstrated a thought on how we alternately form our city when most of the land is flood. The rise of sea level due to greenhouse effect is an uncontroversial problem we are now facing.

Holland, as a country located at low sea level, has a foreseeable emergency to transform themselves into such floating community as a future pattern of living. Furthermore, the self-sustaining model will be a trend for architecture. When the idea of ‘floating cities’ is expanded into a large network, future residents can conveniently travel inter-city with houseboat.6 This proposal seems to be a salute to Ark of Noah, both use idea of floating object to overcome the flooding issue. This is also an obvious evidence proving we are worth to have a look back on how our ancient had designed their futuring when we are design our futuring.

Fig.7: Public Paths Diagram Designboom(2016). bjarke ingels group to build floating sluishuis in amsterdam. [online] Available at: https://www.designboom.com/ architecture/bjarke-ingels-group-sluishuis-barcode-architects-floating-development-amsterdam-11-29-2016/ [Accessed 1 Aug. 2017].

6 ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http://www.archdaily.com/800457 [Accessed 1 Aug. 2017].

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Fig.8: Preliminary View of Sluishuis 11

Fig.9: Matter Design Computation 12

[A.2] DESIGN COMPUTATION

Background

Computaion as a continuum of design

Before the time of invention of computer, pen and paper was the only design medium for people to document their idea and be used as the communication platform to let people understand their concept. At that age, design process was inefficient and limited by many physical constraints, thus people could just relies on some mathematics techniques for assisting their design. Anything that can go wrong will go wrong, it also happens in design. Because of the heart resisting any failure may happen during design, most of the design preserved in some simple and regular geometry, rather than intricate composition.

The reason why man is the intelligent soul of the universe is because human are capable to create some new tools to help us addressing the unprecedented situations. That’s the way of how human tackle their limitation throughout history. With aid of digital computation, designer can innovate their thoughts and develop as a design for future.

A revolutionary breakthrough happened when computer was transformed for multi-use. The design strategy was paradigmatically shifted, computer replaces our human brain for the commutation of design geometry. Ideas with certain abstraction and complexity were liberated by computation.

Furthermore, computation has also enhanced the fabrication technology, which plays a crucial role in design to convert a virtual concept into physical presentation.

Computation is a system of communication. A logic of algorithm could be evaluated by computing.

By understanding the theory and principle of computation, designers are able to create new things by imitation and integration. The advantage of evaluating massive data by computing facilitates the efficiency and effectiveness of analysis, synthesis and evaluation throughout the design process.

The most feasible outcome can be sorted out by setting up design rules and bounding restrictions. 7 Moreover, the digital technology has promoted our way of design representation. Parametric design and performative materiality for new age architecture can be generated infinite variability digitally. Evidenceand performance-oriented designs are more achievable in both design and fabrication practice by differentiating their specific parametric principal. 8

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 7

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CASE STUDY 01 ZA11 PAVILION

Designer: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania Status: Finished in 2011

Fig.10: Process Diagram

Fig.11: Assembly Scheme

This parametric-designed pavilion was assembled by 746 unique pieces. By using a particular geometrical configuration, an organic ring is formed and subdivided into deep hexagons. After the computation of final design outcome, pieces with exact shape were exported for CNC milling fabrication and assembled into a single model with corresponding labelling by logic of notching.9 This project is a showcase for computational architecture. The computing technique dominates not only the design process, but also the fabrication.

Throughout the entire computational design process, geometric pattern was generated and varied into multiple options. These outcome were finalized by evaluating specific criteria to determine the best solution eventually. Furthermore, computation can effectively reduce the necessity of repetitive and difficult tasks. In this case, the interlocking angles for every hexagonal plates are impossible to be figured out by our naked brain. Computation has also presented its powerful feature for determining an optimized geometrical pattern for shading the internal space of pavilion and facilitating visitors to enjoy activities there.10 Besides, the actual assembly process wouldn’t have been possible to trim the raw material into the designed shapes by using traditional method, rather than computation.

Fig.12: Details of Assembly Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http://designplaygrounds.com/deviants/ clj02-za11-pavilion/ [Accessed 7 Aug. 2017].

10 ArchDaily. (2016). 5 Ways Computational Design Will Change the Way You Work. [online] Available at: http://www. archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work [Accessed 7 Aug. 2017].

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Fig.13: Perspective View of ZA11 15

CASE STUDY 02 ICD-ITKE RESEARCH PAVILION 2015-16

Architect: ICD-ITKE University of Stuttgart Location: Stuttgart, Germany Status: Finished in 2016

Fig.14: Structural Diagram

Designed based on the anatomy of a sea urchin, this laminated plywood pavilion was molded and stitched segmented timber shells together with robotic textile fabrication techniques . This research project involved multi-disciplinary knowledge from architecture, engineering, biology and palaeontology. In terms of tectonics, it comprises 151 wooden components in varying dimensions with double-layered structure, which were made of sheets of custom-laminated beech plywood.11 This is another good example presenting the potential of computational design, simulation and fabrication processes in architectural design with initial foundation from other professional disciplines.12 With referring to the synthesis of biological principles and the complex reciprocities between material, form and robotic fabrication, researchers figured out the way to alternate the material performance of timber with an innovative timber jointing and bending techniques after lots of material stiffness trials.11 Therefore, computation can make our design and construction to be more concise and precise in practice. It has slightly loosened the restriction of material properties in some way that we had before, and also boarded our design possibilities. Furthermore, the application of computation converts some complicated design into a comprehensive presentation nowadays.12

Fig.15: Material Differentiation Diagram

Mairs, J. (2016). Robotically fabricated pavilion by University of Stuttgart students. [online] Dezeen. Available at: https://www.dezeen. com/2016/05/05/robotically-fabricated-pavilion-university-of-stuttgart-students-plywood-icd-itke/ [Accessed 7 Aug. 2017].

12 Menges, A. and Ahlquist, S. (2011). Computational design thinking. Chichester, UK: John Wiley & Sons.

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Fig.16: Perspective View of Pavilion 17

Fig.17: Fractal 18

[A.3] COMPOSITION/ GENERATION

From Micro-composition To Macro-generation

Generation as an approach of design

Composition and generation are two main approaches that we adopt in our design process.

After the popularization of computational design, the architectural design paradigm has significantly shifted from analogue composition to digital generation by computing. Although computing provides a more efficient performance in generating designs, two ways of approaches are still having their respective functions and advantage. Composition dominates how an elementary component is formed from a root point, whilst generation determines how elementary components are networked in a large scale. The shift between composition and generation establishes an interdependent relationship, but not a hierarchy over another. This gives designers a certain degree of flexibility and freedom to utilize their design under changeable circumstance. By scripting different algorithmic logic with various parameters, designer can explore a range of possibilities in breadth and depth from generative modelling. From different variations in this approach, the optimized result could be found out.

After the popularization of digital computation, the use of generative approach becomes more common implied in architectural design process.

One of the obvious advantage is architect don’t have to process some repetitive but complicated task when they just intend to design some similar element in their design. If we consider architecture is a system of communication, autopoiesis, refers to self-production, can perform an overarching, allencompassing function by analyzing some social data and converting them into the parameters of the design. The outcome generated from this parametric model can really satisfy our actual social need in practice.13

Fractal is one of the physical phenomenon embodies the idea of self-generation. Once a small component is formed somehow, it will undergo a process of cell division, to regenerate and accumulate into a huge network. This evolution in nature is difficult to be under control, as it is self-motivated composition.

But for generation, human can program a language for the system to learn for its self development. That is the principle of computational design.

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However, there is no needle with both ends pointed.

Generative design is only valid to create what we desire when its algorithmic logic is clearly defined.

However, algorithmic design requires certain level of understanding about mathematical representation in geometry and space. As it is not a common knowledge for everyone, designer may not fully control and interfere its automation. Occasionally, geometrical constraints will cause some unexpected outcome from generative process.14

Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

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CASE STUDY 01 NINETY NINE FAILURES

Architect: The University of Tokyo Digital Fabrication Lab Location: Tokyo, Japan Status: Finished in 2013

Fig.18: Design Flow Diagram

Fig.19: Curvature Analysis Diagram

‘99 failures for 1 pavilion’ not only concludes how this research project was done, but also summaries how the pavilion is developed from composition to generation. The object of this project is to explore possibilities in geometry to design a stable pavilion structure that could be unfold into a flat, twodimensional surface from its target shape. An inflated metal ‘pillow’ component in Ninja StarShape, composed of three layers of very thin stainless steel sheets, was fabricated as the final prototype after tested by an algorithmic-programed simulation tests on roughly 50 variations of geometries. With referring to the structure and curvature analysis, the global composition was generated from multiple set of complex parametric coordinates. Eventually, a coherent, integrated structural system was formed from the network of 255 unique metal pillows.15 As a precedent of using generation in architectural design, this pavilion has showcased the magnificence of generating a structure from algorithmic scripting by computation. Parametric modeling is a process of autopoiesis, means self-production. It can logically generate a design from sets of algorithm, which replaces a complex and complicated job done by our naked brain. Although digital generation presents its benefits throughout the design process, it still has its restrictions that bother our innovation. Errors in generation are often occurs during the algorithmic scripting. In this project, some undesirable overlap and conflicts between component coordinates happened in the global composition trial due to their geometrical constraints.16 The problem was solved by refining its parameters in script.

Fig.20: Prototype Fabrication Wang, L. (2014). Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows. [online] Inhabitat.com. Available at: http:// inhabitat.com/ninety-nine-failures-pavilion-is-built-from-ninja-star-shaped-steel-pillows/ [Accessed 9 Aug. 2017].

16 ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www. archdaily.com/469193/ninety-nine-failures-the-university-of-tokyo-digital-fabrication-lab [Accessed 9 Aug. 2017].

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Fig.21: Perspective View of Pavilion 21

CASE STUDY 02 FIBERWAVE PAVILION

Architect: Carbon_Lab @ IIT Location: Illinois, USA Status: Finished in 2014

Fig.22: Bi-valve shell structure form diagram

Fig.23: Connection and Assembly Diagram

This student-led project is a practice of study in performative and adaptive physical fabrication.

Influenced from bi-valve shell structures, the shape of carbon fiber panels were developed from various iterations aided by parametric modeling as its elementary component. 86 panels were fabricated from 6 molds. By using Rhino and Grasshopper as their parametric design software, they explored possibilities of tessellations of the single shell form.

A wave-like canopy form was generated and finalized as the final outcome.17 Although this project doesn’t have a visually complex structure, which is normally expected as parametric design, it is still a relevant precedent showing the inter-relationship between composition and generation in architectural design. After decided the shape of component panel, the use of digital generation facilitated the designer to sort out some details about the global composition, such as the curvature of optimized arch, and number of panels required. Furthermore, algorithmic scripting helped to figure out the way and position of connections which fits the design. Even through the design was basically generated by digital parametric modelling, student had also simulated various small-scale prototype to examine the workability of such algorithmic generation.18 That's one of the loophole for using generative design, that some physical failure could not be realized digitally, but for handon fabrication can test it out.

Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom.com/ architecture/iit-carbon-lab-fiberwave-pavilion-07-21-2014/ [Accessed 9 Aug. 2017].

18 Archpaper.com. (2014). IIT Students Explore the Potential of Carbon Fiber. [online] Available at: https:// archpaper.com/2014/07/iit-students-explore-the-potential-of-carbon-fiber/ [Accessed 9 Aug. 2017].

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Fig.24: Perspective View of Pavilion 23

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[A.4] CONCLUSION In general, Part A study gives me a brief understanding on how computational design becomes the mainstream of architectural design. Through the case study researches, the most important insight for me is not just on what innovative invention is to be created for our futuring, but is how design is to be created sustainably for our futuring. The presence of computation is the life-saving cable that keeps human being to survive from the edge of species existence.

With the assistance of computation in present design workflow, probably algorithmic design and parametric modelling are the best choice, among all design approaches, that we all should closely follow. Computational design revolutionarily shifts the design paradigm from analogue to digital. This change enables designers to explore potentials and possibilities by establishing a complex algorithmic system. Inter-disciplinary collaboration has been boosted after the emergence of parametric design.

The participation of professions from different fields can enhance the performance of the design from multiple perspectives. Massive innovative ideas could be generated from such design approach, with the aid

of digital computation. Furthermore, algorithmic modelling allow a high liberty in modifying the design by varying the parameter input in the system.

After trials and testing, the most feasible outcome could be sorted out from iterations and satisfy our actual demands.

In the coming design tasks, computational design is undoubtedly my design approach, because it enables me to generate innovative geometrical concept by scripting some complex but parametric models in algorithm. Some data collected from analysis may be converted as the algorithm of design. It definitely strengthens the bonding between the design and concept. Moreover, the parametric characteristic allows reproducing various iterations by different inputs. By the comparison between variations, the most suitable design could be sorted out from such selection.

Fig.25: Shi-An | Katagiri Architecture+Design 25

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[A.5] LEARNING OUTCOME After learning about the theory and practice of architectural computing in these three weeks, I feel especially impressed and amazed by the implication in my chosen six case studies, which completely open my mind on the algorithmic design. Each of them has their particular outstanding features integrated by computational design. These precedents not only persuade me on its crucial function of algorithmic modeling on modern architectural design, but also guide me to appreciate more on some renowned modern architectural masterpieces. The weekly readings have offered me a firm theocratic foundation to understand ideas in academic perspective, and let me have a better comprehension on those precedent study. In the aspect of learning Grasshopper, it definitely is a bitter journey to get familiar in scripting

my algorithmic design process, but it is worth to spend time in learning this powerful plug-in. Fortunately, I am now quite getting used to these command keys and understand how it works. Once I can rectify the error and complete the whole algorithmic script, the variations generated by different sets of parameters brings me satisfaction. I feel interested in varying those parameters to obtain some surprising results.

Furthermore, the experience of learning grasshopper has also developed my algorithmic mindset to think issue in logic, which facilities a better sequence on design generation. If there were a time machine that can take me back to refine my past design, I would definitely use the Grasshopper techniques to build a parametric modelling, and it would save me lots of time for going back and forth in revising the design.

Fig.26: “Out Of The Box� | Nudes 27

[A.6] APPENDIX ALGORITHMIC SKETCHES

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IMAGE LIST 1/ TheFutureOfEuropes Wiki. (n.d.). Future-cityamazing-hd-desktop-wallpaper-for-backgroundin-high-resolution.jpg. [online] Available at: h t t p : // t h e f u t u r e o f e u r o p e s .w i k i a . c o m / w i k i / File:Future-city-amazing-hd-desktop-wallpaper-forbackground-in-high-resolution.jpg [Accessed 1 Aug. 2017].

2/ Alchetron.com. (n.d.). Crystal Island - Alchetron, The Free Social Encyclopedia. [online] Available at: https://alchetron.com/Crystal-Island-2298016-W [Accessed 1 Aug. 2017].

3/ Welch, A., Welch, A., Lomholt, I. and Welch, A. (2008). Crystal Island Tower - Moscow Building, Russia - e-architect. [online] e-architect. Available at: https://www.e-architect.co.uk/moscow/crystalisland-tower [Accessed 1 Aug. 2017].

14-16/ ArchDaily. (2016). ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart. [online] Available at: http://www.archdaily.com/786874/icditke-research-pavilion-2015-16-icd-itke-universityof-stuttgart?ad_medium=widget&ad_name=morefrom-office-article-show [Accessed 7 Aug. 2017].

17/ Tophdimgs.com. (2015). 3662x2400px 8307.17 KB Fractal #380498. [online] Available at: http:// tophdimgs.com/380498-fractal.html [Accessed 9 Aug. 2017].

18-21/ ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www.archdaily.com/469193/ n i net y-n i ne-fa i lu re s-t he-u n iversit y- of-tok yo digital-fabrication-lab [Accessed 9 Aug. 2017].

4/ Megapolis Wiki. (n.d.). Crystal-Island-Russia-6. jpg. [online] Available at: http://sqmegapolis.wikia. com/wiki/File:Crystal-Island-Russia-6.jpg [Accessed 1 Aug. 2017].

22-24/ Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom. c o m /a r c h i t e c t u r e /i i t- c a r b o n - l a b -f i b e r w a v e pavilion-07-21-2014/ [Accessed 9 Aug. 2017].

5-8/ ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http:// w w w.a rchd a i ly.com /8 0 0 457/ big-a nd-ba rcodew i n- c o mp e t i t i o n-f o r-t h e - s lu i s hu i s -h o u s i n gdevelopment-in-amsterdam [Accessed 1 Aug. 2017].

25-26/ Rethinking The Future - RTF. (n.d.).

Rethinking The Future Awards 2017 – Results Rethinking The Future - RTF. [online] Available at: http://www.re-thinkingthefuture.com/rethinkingthe-future-awards-2017-results/ [Accessed 10 Aug. 2017].

9/ Matter Design Computation. (n.d.). Home. [online] Available at: https://www.matterdesigncomputationaap.com/#intro [Accessed 7 Aug. 2017].

10-13/ Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http://designplaygrounds.com/deviants/clj02za11-pavilion/ [Accessed 7 Aug. 2017].

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BIBLIOGRAPHY ArchDaily. (2014). Ninety Nine Failures / The University of Tokyo Digital Fabrication Lab. [online] Available at: http://www.archdaily.com/469193[Accessed 9 Aug. 2017].

ArchDaily. (2016). BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam. [online] Available at: http://www. archdaily.com/800457 [Accessed 1 Aug. 2017].

ArchDaily. (2016). 5 Ways Computational Design Will Change the Way You Work. [online] Available at: http:// www.archdaily.com/785602[Accessed 7 Aug. 2017].

Archpaper.com. (2014). IIT Students Explore the Potential of Carbon Fiber. [online] Available at: https:// archpaper.com/2014/07/iit-students-explore-thepotential-of-carbon-fiber/ [Accessed 9 Aug. 2017].

Designboom(2016). bjarke ingels group to build floating sluishuis in amsterdam. [online] Available at: https://www.designboom.com/architecture/bjarkeingels-group-sluishuis-barcode-architects-f loatingdevelopment-amsterdam/ [Accessed 1 Aug. 2017].

Designboom. (2014). IIT design studio fabricates pavilion of carbon fiber panels. [online] Available at: https://www.designboom.com/architecture/iit-carbonlab-fiberwave-pavilion/ [Accessed 9 Aug. 2017].

Designplaygrounds. (n.d.). CLJ02: ZA11 PAVILION - Designplaygrounds. [online] Available at: http:// designplaygrounds.com/deviants/clj02-za11-pavilion/ [Accessed 7 Aug. 2017].

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Mairs, J. (2016). Robotically fabricated pavilion by University of Stuttgart students. [online] Dezeen.

Available at: https://www.dezeen.com/2016/05/05/ robotically-fabricated-pavilion-university-of-stuttgartstudents-plywood-icd-itke/ [Accessed 7 Aug. 2017].

Menges, A. and Ahlquist, S. (2011). Computational design thinking. Chichester, UK: John Wiley & Sons.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Tabb, P. and Deviren, A. (2013). The greening of architecture. London: Routledge, pp.133-135.

Wang, L. (2014). Ninety-Nine Failures Pavilion is Built from Ninja Star-Shaped Steel Pillows. [online] Inhabitat.com. Available at: http://inhabitat.com/ ninety-nine-failures-pavilion-is-built-from-ninjastar-shaped-steel-pillows/ [Accessed 9 Aug. 2017].

Yergaliyev, K. and Yergaliyev, K. (2007). World’s Biggest Building Coming to Moscow: Crystal Island. [online] Inhabitat.com. Available at: http://inhabitat. com/tallest-skyscraper-in-the-world-coming-tomoscow/ [Accessed 1 Aug. 2017].

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B

CRITERIA DESIGN

[B.1] RESEARCH FIELD [B.2] CASE STUDY 1.0 [B.3] CASE STUDY 2.0 [B.4] TECHNIQUE: DEVELOPMENT [B.5] TECHNIQUE: PROTOTYPE [B.6] TECHNIQUE: PROPOSAL [B.7] LEARNING OBJECTIVES & OUTCOMES [B.8] APPENDIX

BIOMIMICRY Design Inspiration From Nature.

Fig.1: Hexagonal Water 34

[B.1] RESEARCH FIELD

About Biomimicry

Potentials of Biomimicry

Nature is forever an experienced mentor for human.

Under the theory of natural selection, every species have to undergo different genetic evolutions, in order to keep their offspring survived and fitted in the changing environment. This idea is similar to the logic of design process, to eliminate those unsuitable and let the most feasible one stand till the end.

Therefore, human began to develop a field of design approach by understanding the nature, named biomimicry. By investigating the natural features, we tried to learn its logic by emulating its time-tested patterns and strategies, and later represent these wonders as our design in the medium of algorithm.

Located at the intersection of Merri Creek and Yarra River, Dight Falls, a place assigned as the site of this design project, is a natural environment with aboriginal historical background and artificial weir built in recent year. With the presence of biodiversity in river environment, there are lots of ecological elements could be potentially emulated as the inspiration of my further design development.

Furthermore, the evidence of indigenous culture could probably be compiled into design as ingredients.

In order to promote the program of swimming and inhabiting the creek, the wide range of opportunities around the site facilitates conceptual design with the manner of biomimicry.

Biomimicry is now commonly adopted in many project. The yearly ICD-ITKE Research Pavilion program is one of the well-renowned examples using biomimicry as their foundation of computational design. The 2015-2016 design was also taken as one of my case study in the previous section. What I have learned and inspired from these projects is, biomimicry is not just a method of generating patterns, but also a reference point for developing structures and transforming materials’ characteristics. Thus, its infiniteness of design possibilities initiates my interest to choose it as my research field in the coming project.

In the aspect of fabrication, the logic of composition in nature can be also be analyzed and integrated as the technique of tectonic, which definitely facilitates the model making process in a more practical way.

By understanding how things were form in nature, material performance could be altered with similar concept as well. Furthermore, the biomimetic idea are potential to be visualized by other research fields.

For instance, geometries interpreted from the site can be taken as the base to develop into panels or tessellation network.

35

Fig.2:Aranda Lasch - The Morning Line 36

[B.2] CASE STUDY 1.0 THE MORNING LINE

Architect: Aranda Lasch Location: Seville, Spain; Istanbul, Turkey; Vienna, Austria; Karlsruhe, Germany Status: Project finished in 2013

Brief Analysis

Experimental Intention

The Morning Line is generated from a recursive network of intertwining figures and narratives varied by different transformation in its scales and orientation. The no-end movement of looping form is connected by lines and embodies their interpretation on space and history of the universe. ‘The bit’, the center of truncated tetrahedral module, is mapped to Matthew Ritchie’s works. The growth and scales change of this fractal structure are derived from those bits in three dimensions. As it is interchangeable, demountable, portable and recyclable, this provides countless opportunities to create different outcome by varying its way of composition and generation of those bits.1 There are mainly three aspects that dominate such parametric model, namely

Base on the grasshopper definition given, the first matrix will explore the potentials in manipulating the geometrical composition of a module, which aims to push the limitation of fractal structure in different parametric setting. The second matrix will subsequently investigate the possibilities of different ways of form generation and attempt to establish a language for developing fractal system in the additional definitions.

1. Modular Composition 2. Modular Generation 3. Surface Patterning This part will only focus on the first two, as such patterning is subject to the design intent.

In order to evaluate the design potential for producing a change room, here are the objective and selection criteria to be considered among different iterations.

Aesthetic: To speculate its possibility to generate other interesting form with such approach.

Structure: To assess its capability to be designed as a freestanding and lightweight structure.

Flexibility: To see how it can manipulate the spatial qualities with certain degree of visual privacy.

Relevancy: To extrapolate its opportunities to be converted into something relates to biomimicry.

Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/the-morning-line/ [Accessed 21 Aug. 2017].

1

Fig.3: General Coposition

37

MATRIX 1 MODULAR COMPOSITION

1. GEOMETRY OF PYRAMID

SPECIES

Variable: Number of Segment

n=3

2. SCALE Variable: Scale factor of fractals

x=0.1

3. COMPLEXITY Variable: Number of Cluster

C=1

4. HEIGHT OF PYRAMID Variable: Coefficient of original height 38

h=0.5

ITERATIONS

No results Pyramid can't be formed. n=4

n=5

n>6

x=0.25

x=0.5

x=0.6

C=2

C=3

C=4

h=0.75

h=1.5

h=3 39

MATRIX 2 MODULAR GENERATION

5. LOOPING FORM

SPECIES

Variable: Shift of list item (brep)

s=0

6. TYPES OF POLYHEDRON Variable: Types of platonic polyhedron

Platonic Cube

Platoni

7. SCALE LOOPING Variable: Scale factor for looping modules

f=0.5

8. LOOPING FOLLOWED WITH CURVE Variable: Looping system of equations 40

(x,y,z)=(t,sin(t),cos(t))

(x,y,z)=(

ITERATIONS

s=3

ic Dodecahedron

f=0.75

(t,t*sin(t),t*cos(t))

s=4

s=5

Platonic Icosahedron

Platonic Octahedron

f=0.9

f=1.1

(x,y,z)=(t,(1/t)*sin(t),(1/t)*cos(t))

(x,y,z)=(t,0.1*sin(t),0.1*cos(t)) 41

SUCCESSFUL OUTCOME AND ANALYSIS

[S3,I3]

[S6,I2]

Aesthetic: Structure: Flexibility: Relevancy:

Aesthetic: Structure: Flexibility: Relevancy:

This iteration is the best outcome from testing out the limitation of fractal complexity, which minimizes the cumbersomeness caused by the fractal structure. By generating a structure with such module, it will create a geometrical form with broken edges and triangular openings. These features can be manipulated to create different spatial qualities and degree of privacy in designing the change room. The truncated tetrahedron preforms well as module and joint, which allows to be designed as any structure.

Furthermore, its fractal structure can be interpreted as the cell division or something similar, which may related to the ecosystem in Dight Falls.

By playing with different types of platonic polyhedron, dodecahedron seems to be a good alternative for generating a modular structure. It has a high flexibility to link modules into network without overlapping because of its multiple faces. In addition, it creates a certain degree of curvature with some gaps between modules. This may relate to the control of privacy and lighting in designing change room. However, dodecahedral element is visual bulky and not easy to be found in natural, which is a significant drawback for applying it into the design.

42

[S7,I4]

[S8,I1]

Aesthetic: Structure: Flexibility: Relevancy:

Aesthetic: Structure: Flexibility: Relevancy:

This iteration is chosen from the specie for experimenting scaling module in related to its general form with different growing factor as the parameters. The outcome is quite impressive as it is somehow symbolizing the idea of genetic growth in nature and relates to biomimicry in vegetation. It can also be used for a structure member for holding up a freestanding canopy on the site. Moreover, the scaling in module size may cause different light and shadow effects, to create an organic form with different degree of privacy.

This is the best iteration among all of them. Its looping structure is quite close to the real project of the Morning Line. The organic form is similar to those vines in nature. It is potential to be developed into a warping structure or arches for the changing room by converting some natural phenomenon into algorithmic expression. However, one of its shortcomings is looping form is difficult to create some enclosed space with certain degree of privacy.

It only allows to form some open or semi-open environment with this approach.

43

Fig.4: LEAD - Dragon Skin Pavilion 44

[B.3] CASE STUDY 2.0 DRAGON SKIN PAVILION

Architect: Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD) Location: Hong Kong Status: Project finished in 2012

Brief Analysis

Assumption & Limitation

The Dragon Skin Pavilion is an architectural art installation using emerging patterns and digital fabrication technology to challenge the opposing perception between structure and structurally define ornament. The objective of this project is to explore some new possibilities in spatial quality and material performance. Benefited from the mature technique in contemporary digital design and fabrication methods, the design team create a computational model for simulating their design before real fabrication.

Material properties, such as the elasticity, stiffness and weight, are inputted into the algorithmic model for data analysis. These facilitate the design team to sort out the irregular interconnections of repetitive panel network into the overall shape configuration.

The parametric data is collected for manufacturing those plywood components and deforming them into certain shapes. 2

Based on the observation and researches on the project images available, the algorithmic definition will be focus on recreating the interconnected panel network. The curvatures and size of each panel are assumed uniform. All structural concerns will be neglected in the process due to insufficient information about the material characteristics.

Furthermore, an uniform curved surface will be used for reverse-engineering this project for a better control on its overall shape.

Fig.5: Percepetive View

Fig.6: Section Diagram

ArchDaily. (2012). Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD). [online] Available at: http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead [Accessed 21 Aug. 2017].

2

45

DESIGN INTENT DIAGRAM DESIGN INTENT

Fig.7: Dragon Scale

Fig.8: Digital Modelling

Fig.9: Bending Plywood

Concept & Inspiration

Parametric Modelling

Dragon Scale

Material Properties

Stiffness

Fig.12: Components Files 46

Fig.13: Grids to Curves

Strength

Fabrication

CNC Cutting

Elasticity

Post-formable Grada

Fig.14: Component production line

REALISATION

Fig.10: Assembly

n

Bending Into Shape

Assembly At Site

Transportation & Delievery

a Plywood

Fig.11: Interior

The design team take the dragon scale as their concept to develop a design. In order to create some curved panels that symbolize the dragon scale, they test the material under different requirement and obtain a set of data regarding its physical properties. By analyzing its capability constraints, the data will be converted into some parameters in the algorithmic modelling. After trails on different parametric settings of the panel network, CNC cutting files for each component are generated from precise calculation on their slots for the sliding joints. Subsequently, the pre-heated panels are bent in a mold to deform them with certain curvature. All components are uniquely labelled and numbered for assembling or dismantling the structure.

Fig.15: Building Order Scheme 47

REVERSE ENGINEERING DIAGRAM

Base Curve

Extrusion Curve

Extrude Surface

Quadrangular Panals

End Points Of Edge

Polyline Base (Edge 1)

Rotate

Polyline Base (Edge 2)

Mid Point Of Edge

A

STEP 1: SURFACE FORMATION

STEP 2: PANELLING

STEP 3: BASE LINE FORMATION

STEP 4: SECTION LINE GENERATION

Create two curves as base and section.

Extrude those into a surface.

Divide the surface into small quadrangular panels.

Identify the edges order of the small panels.

Join the ends of base edge and mid-point of its opposite edge into a polyline as the first edge.

Rotate the polyline with desirable angle as the second edge.

Create the axis line by using the vertexs of two edge and the ends of panals' base edge.

Fillet the axis line into natural bending curvature.

48

Loft Suface

Axis Line

Scale Up

Rotate For Overlapping

Rotate For Interlocking

Fillet Edge

STEP 5: PANEL FORMATION

STEP 6: PANEL ENLARGEMENT

STEP 7: EDGES OVERLAPPING

STEP 8: EDGES INTERLOCKING

Loft the first edge, the second edge and the filleted axis into a single surface.

Enlarge the panels to ensure there is room for overlapping.

Flip down the edges to make panels overlapping.

Rotate the panels to make edges intersecting with the adjacent edges for interconnection.

49

FINAL OUTCOME AND ANALYSIS

50

The Final Outcome is produced and attempts to imitate the original project as similar as possible. The most successful aspect of this reverse-engineering is the logic of form generation on how the curved panels are interconnected to each other and formed as a single structure. The gaps between the panels can also achieve the functions for filtering the light and view going into the pavilion. However, there are still some significant differences in details between this outcome and the original one. For instance, the slots for sliding joints are not under well control, as the size and orientation of panels is manually adjusted in our grasshopper definition.

Undoubtedly, this outcome provides us a strong foundation to design our change room with basically two reasons. First is the technique of manipulating panels is helpful for designing an enclosed structure with certain degree of privacy, whilst the panel shapes can be changed and is subject to our design intent on something inspired form biomimicry. Second is the interlocking technique provides us a solution of a freestanding structure. The self-supporting and lightweight requirement can also be achieved as it doesn’t required further supporting members to hold up its structure.

Fig.16: Exterior 51

52

[B.4] TECHNIQUE DEVELOPMENT

Area of Interest

Development Intention

Based on the definition developed in Case Study 2.0, we have developed a certain degree of capabilities in manipulating a surface into a panel network. This definitely has high potential to be further developed as the cladding or facade of our change room design.

However, we have also realized that the interlocking technique restricts our possibilities to use alternative panel shape, as well as its networking logic. Therefore, we have decided to explore further variations in the panel geometry, as well as the network geometry in our first development field.

As we are now intended to use such panel network as our kinetic facade, panels are no longer performing structural function as an assumption in our technique development. However, we also assume a gridshell structure will be designed as the structure afterwards, to make our design freestanding. Panels will also attach to that gridshell and be controlled by a mechanism. These issue will be deeply investigated in prototyping.

Furthermore, we are also aiming to design our panel network as a responsive skin system, which allows certain degree of adaptability and flexibility on the privacy requirement. Thus, another field is to investigate how the panel transformation influences on the overall structure. The iteration produced will be considered as the panel movement in such responsive skin design.

Combining the results from first two development field, the parametric setting will be employed to the form finding development. This part aims to produce some structures can be used in the change room design.

Because of the above reason, the selection criteria is slightly modified, and shift the focus on how the panels perform as an overall form.

Aesthetic: To speculate its overall feeling and emotional effect to visitor.

Kinetic Potential: To assess its potential to be developed as a responsive skin system.

Flexibility: To see how it can facilitate the spatial qualities with certain degree of visual privacy.

Relevancy: To extrapolate its opportunities to be related to something with biomimicry symbolism.

53

MATRIX 1 NETWORK FORMATION

1. CHORD GEOMETRY

SPECIES

Variable: Base Chords of Panel (Top/Bottom)

Arc/Arc

Polyline/Arc

Quad Panels

Straggered Panels

6:1

3:1

2. PANEL GRID Variable: Types of Panels

3. SURFACE GRID RATIO Variable: Number of Panels in UV Direction (u:y)

54

ITERATIONS

Arc/Polyline

Semi-Hexagon/Semi-Hexagon

Concave Curve/Concave Curve

Skewed Panels

Diamond Panels

Random Quad Panels

2:1

3:2

1:3

55

MATRIX 2 PANEL TRANSFORMATION

4. DEGREE OF FOLD

SPECIES

Variable: Panel Width (Remapped to Grid Width)

w=0.33

w=0.5

α=+2.0

α=+1.5

β=-1.2

β=-0.6

5. ORIENTIATION OF PANELS Variable: Rotation Along Panel Normal

6. FLIP OF VERTEX Variable: Rotation At Panel Vertex

56

ITERATIONS

w=0.6

w=0.7

w=0.8

α=+1.0

α=+0.5

α=0.0

β=-0.1

β=+0.4

β=+0.8

57

MATRIX 3 FORM FINDING

7. VERTICAL SURFACE APPROACH

SPECIES

Variable: Horizantial Dynamic of Base Curve

8. CANOPY APPROACH Variable: Curvature Profile of Curves

v1={-14,-40,23}, v2={20,1,0}

v1={21,-32

9. RIB STRUCTURE APPROACH Variable: Section Profile of Ribs

58

s=(0.35,0.33,0.25,0.00)

s=(0.00

ITERATIONS

2,54}, v2={-7,-32-26}

0,0.25,0.33,0.00)

v1={13,-52,35}, v2={24,-32,0}

v1={17,-100,35}, v2={16,0,0}

s=(0.00,0.44,0.22,0.00)

s=(0.53,0.42,0.09,0.00)

59

SUCCESSFUL OUTCOMES AND ANALYSIS

AA

[S7,I1]

AA

Eleevation

60

AA

Aesthetic: Kinetic Potential: Flexibility: Relevancy:

AA

Plan

This iteration is produced by manipulating the base curve and its vertical extrusion by two sets of graph mapper. The parametric setting makes the concaved wall provide a dynamic feeling, which visualizes the fish movement as its form, whilst the size of panels varies according to the curvature. An enclosed space is created and potential to be designed as changing room. In terms of visual privacy, panel network generally performs well in blocking light and view, although some of them are not large enough to cover those area. This also affects the synchronization of the responsive skin in general.

Section AA

61

BB

BB

[S8,I3]

Eleevation

62

BB

Aesthetic: Kinetic Potential: Flexibility: Relevancy:

BB

Plan

This canopy structure is generated by varying the curvature of the surface edges. This is a potential form to be design as the entrance of the change room. The gradient change in space underneath and lighting promote the idea of visual privacy.

Furthermore, the panel allocation is general evenly distributed, which allows the panels having certain degree of kinetic movement.

Section BB

63

CC

CC

CC

[S9,I1]

CC

Eleevation

64

CC

Aesthetic: Kinetic Potential: Flexibility: Relevancy: Plan

This species is designed to imitate the fish shape by manipulating its skeleton as the sections of a ribbed structure. The form of this iteration showcases the middle part of a fish body, which has potential to be designed as a covered passageway, leading people to the change room. Furthermore, the orientation of the panels are well arranged in a genetic way and provide different degree of privacy for the interior space.

However, the kinetic panel may not function well at the ribbed edge, as some of them are overlapped.

Section CC

65

DD DD

DD DD

[S9,I4]

Eleevation

66

DD

Aesthetic: Kinetic Potential: Flexibility: Relevancy: Plan

This dynamic form integrates the behaviors of previous two iterations. The form of this outcome seems to be the fishtail part, which has a smaller opening in one side and a bigger opening in another side. This structure can be the threshold in our design, to block outsider looking inside and maintain the privacy for the change room. Similar to the last iteration, the panels at the edge are all overlapped, which is a design issue for installing kinetic panels there.

Section DD

67

68

[B.5] TECHNIQUE: PROTOTYPE

Fabrication Concerns

Prototyping Strategies

The purpose of prototype is for testing out the materialization in relationship to our developed technique in a concise but precise scale. Upon what we learnt and developed at this stage, there are three main fields that relate to our design methodology.

In order to tackle and address our fabrication concerns one by one, here is our testing objectives for making our prototype.

1. Panels As we are going to design a responsive skin system for the change room, the materiality of panel must allow certain degree of bending, which is interactive to be triggered by other external condition. Secondly, the panel should be digitally fabricated, based on the parametric data collected from the algorithmic modelling.

2. Structure Referring to the brief of designing the change room, a lightweight and freestanding structure is required to be built for support on site. The structure has to be stiff enough for enabling the panel network attachment as external cladding. Moreover, the composition of the structure should be in grid form, where the grid size can be modified, subject to the panel network.

This facilitates the fabrication and assembly process as every panel is understood as modular component.

The assembly of structure should also offer some flexibility for having some curvy surface as its form.

3. Joints The joints are not only the connections of the structure, but it is also the methodology to attach the panel into the structure. The presence of kinetic trigger has to be taken in account for the joint design.

The ultimate goal is making it rigid in structure, but flexible in panel movement.

1. Materiality In terms of material choice, we are looking for something that has high elasticity and tensile strength for material bending. In additional, we will investigate the techniques of pattern curving, to see how different types of patterning and fabrication detail can improve the material bending allowances before cracking.

2. Gridshell Structure Based on our specification requirements, illustrated in the fabrication concerns, gridshell structure seems to be the most suitable approach for us. Therefore, we eliminate other possibilities and narrow down to focus on gridshell as our prototyping study. Different material choices, fabrication logic, as well as the assembly methodology will be tested out to see their performance in general.

3. Joint Connection Joints are small, but function critically in our responsive skin structure. Different combinations of joints and materials will be tested to see their potential and constraint in different situation.

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PROTOTYPE 1 MATERIALITY

1. DASHING LINE

PATTERNS

Straight Lattice, Varying Density

2. DASHING GAPS Rectangular & Straight Lattice, Varying Density

3. CONTINUOUS LINES Straight Etch, Varying Area 70

4. CIRCULAR HOLLOWS Circular Lattice, Varying Density

5. DROPLET HOLLOWS Water Droplet Lattice, Varying Density

6. PATTERN DENSITY Straight Lattice, Varying Area 71

Lessons From Patterning In our first laser cut job, the bamboo veneer samplers are all impossible to be bent. We thought that, the patterns are etched too shallow, and can’t curve the veneer in a proper way. Therefore, we modified our laser cut file with replacement of cut line for several patterns. Deep etching was specified in our resubmitted job.

For the second job, the bending performance is obviously improved. Those with straight lines etching and dash lines cutting can be bent with certain degree, compared to those shallowly etched. However, the result is still far away from our expectation on its functional specification. We realized that the grain direction is also a critical factor to be considered for bending bamboo veneer, which means all components were cut in the ‘wrong’ grain direction.

Learnt from our previous experience, six sets of pattern were selected and sent for laser cutting, where the patterns were place along the grain direction. This time is the most successful attempt in achieving desired effects. All sampler can be bent with certain curvature. However, another issue we got is the surface tensile strength is relatively weak for patterning in this grain direction. Cracks appears frequently after our bending test.

Polypropylene is also tested with patterning. Because of its soft and elastic properties, the trials are pointless to be analyzed as we can’t obtain a proper bending edge with using these.

72

PROTOTYPE 2 BENDING PANELS

Dash line patterning is employed in this prototyping, as it is the most effective solution to curve material properly. The result of this bamboo panels bending simulation is quite positive. It provides us some practical idea and solid data on how we can design the kinetic panels.

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PROTOTYPE 3 GRIDSHELL STRUCTURE 1. MDF WAFFLE GRID MDF Waffle Grid Interlocking Joint MDF waffle grid is the most rigid structure that we have tested. However, the interlocking technique doesn’t facilitate for joint connection between panels and structure. Furthermore, this is not good for applying to multi-curvy surface, because its structural tolerance is too little for interlocking every slots in position.

2. POLYPROPYLENE WEAVING GRID Polypropylene Weaving Grid Eyelet Joint Polypropylene weaving structure is too soft and flexible in structure. It can be deformed easily, and doesn’t fulfil the structural specification for a lightweight but self-supporting gridshell structure.

3. BAMBOO VENEER WEAVING GRID Bamboo Veneer Weaving Grid Bolts and Nuts Joint Bamboo Veneer weaving structure comprises the advantages from both previous gridshell prototypes.

It provides an elastic structure, which fits to any curvy surface with reasonable strength for support.

The joint connection provides potential to be further developed for panel attachment.

74

PROTOTYE 4 JOINT CONNECTION 1. INTERLOCKING JOINT Interlocking joint is restricted to be used for the material with certain thickness. Furthermore, it is not an appropriate structure for attaching panels on the waffle grid surface.

2. EYELET JOINT Eyelet joint is only applicable for the intersections with few and thin layers. Thus, it is hard to be employed as the joint connection in real scale fabrication.

3. BOLTS AND NUTS JOINT Bolts and Nuts joint has the best joint performance.

It can be reversible and reusable, which provides tolerance of fabrication mistakes. Besides, it can be applied in real scale fabrication with bolts in larger size. Furthermore, it is east to be compiled into other component as well.

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76

[B.6] TECHNIQUE: PROPOSAL STRANDED ENTITIES

Programme: A change room for swimmer at Dights Falls

Design Brief

Specifications: Lightweight, Visually privite, Freestanding

Biomimicry Inspiration: Australian Grayling Fish Scale

Concept & Inspiration

Design Concept: Idea of Equilibrium

Technique Development: Panel Network from CS2.0

Parametric Modelling

Optimisation: Analysis from Prototyping

Fabrication Method: Laser Cutting

Fabrication

Joint System: Bolts And Nuts

Physical Modelling

77

DESIGN CONCEPT DIAGRAM

N

A

D LY

IE N

FR

IN +G L O B A L WA R M

G

N

E

+

FO

RM + R

EPRO

C DU

CHANGE ROOM

78

K

S

R

RI

+R VE E SPE C T + R I

IN

BIOMIMICRY AL

M

A L I A N G R AY L

SC

U

RI

A

LIB

L+

IG I N A L /E U R

E OP

EQU I

A L /A R T I F I C I A

OR

SYMBOLISM

U

R ST

G

A

TU R

BACKGROUND/ SCENARIO AB

E R WAT E R

ON

RIV

TI

C O N F L IC T

+

SI

TE

TR

Y

ET

AF

+

E C AU I O N + S T

CY

PR

E

PROGRAMME

TUR

ACTIVITY

UC

C H A N GI NG

P R I VA

+

M SW I M I NG

C ON

F LU E

+ NCE

S

Nowadays, conflicts between different value judgments is becoming more frequent and common in our society. On the other hand, the over-exploiting of natural resource speeds up the decay rate of our inhabitant. The negative influence of global warming has been becoming more significant in our daily. What we are now suffer, is all because of the arrogance and selfishness of human being.

Therefore, we promote an idea of ‘Equilibrium’ in our design. To consider the nature as a stakeholder before making any development decision. To respect the nature as it provides what we need in our daily life. To value the nature as our friend.

Based on the research and technique developed in the previous section, our design form is based on the fish movement of Australian Graylings, a common fish species found in Dights Falls. The structure sits on the river bank, which symbolizes a stranding fish. This is the message we want to express to the visitor, to warn them we are now at a critical and dangerous moment. There is no more time for us to be an innocent person about the environment we are now living.

79

3.

7.

4.

5.

6.

1.

2.

1. Dight Falls 2. Yarra River 3. Merri Creek 4. Fishway 5. Proposed Ch 6. Migration of 7. Pavilion

1 : 2000

Plan

80

Elevation

k

hange Room f Australian Grayling Isometric

81

[B.7] LEARNING OBJECTIVES AND OUTCOMES

Objective 1: “Interrogating a brief”

Objective 2: “Generating design possibilities”

Before start doing every weekly task, I have read through the task requirement in the subject guide and tutor’s instruction during the studio. The studio brief of designing a change room is frequently checked to ensure the techniques developed and learnt from the tasks can facilitate my further design.

Successful outcomes are chosen on the basis of selection criteria, which are the design requirements illustrated in studio brief. Brief is important for developing our process. It keeps our works’ relevancy and consistency. It reminds us the reasons why we approach the matters in such way, but not other.

Thus, keeping reference to the briefs is a crucial step before start doing the tasks.

The case study exercises consolidate my capability of manipulating algorithmic design and parametric modelling. Creating iteration matrix and extending developed technique push me forward to explore some new possibilities beyond their intrinsic grasshopper definition. Beside, categorizing our iterations into ‘species’ is an appropriate way to sort our outcomes in a systematic and logical way. It makes us clear about what have changed and why were tested. Such documentation defines our direction for further development.

82

Objective 3: “Three-dimensional media skills” By understanding the scripting logic in grasshopper, I have developed some skills on manipulating the parametric data from digital modelling to some useful information for fabrication. In my prototyping stage, I have used the data about the intersections of curves as the reference for cutting some slots and hole to install joints in place. This is an important step to shift our digital model onto a fabrication model.

profound moment for. Before I reached the final version of grasshopper definition, I have tried several approaches to imitate how the panels are connected, and one of the way is using ‘bounding box’. I realized it has a large constraints on manipulating its transformation in the panel network. Therefore, I modified the definition and use the geometry of surface grid as the reference base of the panel. This makes my final outcome more successful than the previous one.

Objective 4: “Architecture and air”

Objective 7: “Understanding Computation”

Prototyping is a process to visualize a single algorithmic model into variations of physical models, which are showcased in how we use the prototypes to support our design proposal in a persuasive way.

Especially for prototyping our bending panels, we have tested several kerfing patterns, to make our physical panels can perform as what we designed in the digital model.

From playing parameters in a given grasshopper definition in Case Study 1 to develop our own algorithmic model as a design proposal, this is a significant improvement of my grasshopper technique. It provides me to understand the way to manipulate what I have created. Consolidating the understandings on data structures is essential for our design. This helps us to figure out how our panel network and structural system link together.

Objective 5: “Making a design proposal” Our work is consistently developed from what we leant form case studies to what we designed in the proposal. Based on those knowledge, we have interpreted their techniques as our design tools. We tried to use the panel networking structure as our design approach for a lightweight and freestanding change room. All the design decisions were made express our thoughts on the change room at Dights Falls.

Objective 6: “Analyzing architectural projects” The reverse-engineering enables my ability to know what they have done and how they make that. This is an interesting process to understand their design intents in a deeper sense. This is also the most

Objective 8: “Developing a personalized repertoire” Scripting the grasshopper definition is a no-end process of trial and error. Personalities will be developed from experiences. For instance, ‘DeBrep’ and ‘List Item’ are frequently used and reliable for develop the definition in my style. In my opinion, establishing a personalized repertoire at early stage facilitates a significant advantage for computational design, so that I can familiar with those areas of application in my design. However, it also restricts our creativities when we only explore the possibilities in such comfort zone of what we are good at.

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[B.8] APPENDIX ALGORITHMIC SKETCHES IMAGE SAMPLER

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85

RECRUSIVE FUNCTION

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IMAGE LIST 1/ Hexagonalwater.com. (n.d.). Hexagonal water. [online] Available at: http://hexagonalwater.com [Accessed 14 Aug. 2017].

2-3/ Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/ the-morning-line/ [Accessed 21 Aug. 2017].

4-6, 8-16/ Dragonskinproject.com. (2012). Dragon Skin. [online] Available at: http://dragonskinproject. com/ [Accessed 21 Aug. 2017].

7/ Pittards.com. (n.d.). Black Dragon Aniline Leather|Leather Skins|Pittards. [online] Available at: https://www.pittards.com/shop/black-dragonleather-skin-85mm [Accessed 21 Aug. 2017].

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BIBLIOGRAPHY Aranda\Lasch. (n.d.). The Morning Line. [online] Available at: http://arandalasch.com/works/themorning-line/ [Accessed 21 Aug. 2017].

ArchDaily. (2012). Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD). [online] Available at: http://www.archdaily.com/215249/dragon-skinpavilion-emmi-keskisarja-pekka-tynkkynen-lead [Accessed 21 Aug. 2017].

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C

DETAILED DESIGN

[C.1] DESIGN CONCEPT [C.2] TECTONIC ELEMENT

& PROTOTYPE

[C.3] FINAL DETAILED MODEL [C.4] TAKING IT FURTHER [C.5] LEARNING OBJECTIVES & OUTCOMES [C.6] APPENDIX

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[C.1] DESIGN CONCEPT Feedback And Improvement From Interim We summarize the valuable feedback from interim presentation into three categories as follow.

1. Design Concept and Intention The idea of ‘equilibrium’ is generally good, but not specific enough on how it influences and implies to our site, Dights Falls. The linkage between concept and design is relatively weak. Every detail of our design should be related and can be explained in terms of our core concept, Equilibrium. Furthermore, the biomimetic inspiration, Australian Grayling, should be elaborated deeper in our tectonics. The form we used in design proposal has to be more persuasive and could be justified by the fish movement.

In order to enhance our design concept and symbolism, the design concept, presented in part B, will be refined and enriched. Site Analysis will be done in the first place of this part, to explore all factors that may influence our design in the site. The results will be taken as reference in our form finding development, to interrupt as parameters in our algorithmic modelling. The overall workflow will be consolidated into an integrated design diagram, with a better and simpler visual illustration.

2. Materiality Bamboo veneer seems to be an appropriate material choice and fits into the theme of equilibrium. However, material corrosion issue is also a critical problem in our design, as our design is intended to be partially immersed in the river. This also leads to another concern on the structure design. Gridshell structure is an effective and suitable structural system in our design, but its loading capacity has to be enhanced further to hold up the panel cladding and mechanism.

The structure support from site has to be considered as it will affect the structural integrity of our design.

After further research and reconsideration on bamboo veneer, we have decided to keep it as our material choice, as there is no better alternatives that has similar material performances and could be managed in further fabrication process. Surface coating is a possible way to address the waterresistant issue. Moreover, the gridshell design will be modified in our next prototypes, to improve its strength and adaptation to the site and other tectonic systems.

3. Technical Concern on Kinetic Design and Panel Movement The responsive panel movement is the highlight of our project. It also determines the successfulness of the design. Therefore, the technique issue of kinetic mechanism has to be resolved as soon as possible, as it will affect the further development of other tectonic systems. Besides, the connections between mechanism, gridshell and panel have to be well considered as a homogenous design. The investigation in kerfing pattern is persuasive to showcase the bending performance of bamboo veneer. Refinement on its density has to be done after the mechanism design is finalized.

We also agree this is a critical issue of our design in this stage. Thus, we will start to explore different possibilities of mechanism that can trigger such movement of the panel. Furthermore, we will improve the permanency and elasticity of deformed panels, which raise the durability of the design. All the technical issues of each tectonic system will be resolved one by one in part C2.

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SITE ANALYSIS

Old Weir

Fishway

94

Pavilion

Freeway

View

Footbridge

In the first place, we are intended to locate our design at the river bank and immerse it partially to the river.

Taking it as our premise, our proposed site location is selected with the reasons as follows.

1. Low water current zone Benefited from the point bar topography, it diffracts the high water current from upstream, which is the confluence of Merri Creek and Yarra River. A relatively low water current zone is created as shaded in the diagram. There is not only a good spot for people swimming, but also eliminates the negative environmental influences applied to our design.

Our design can also become an artificial barriers for slowing down the water current further, to facilitate a safer atmosphere for water activities.

e

Proposed Location

2. Views from Fishway and Look-out point From our site visit experience, we realized these two locations are the most popular place for visitors to overview the surrounding environment. In order to divert our future audience attention to our design, we took the perspectives at these two points as reference and found the area around the point bar landscape is a good option as our site. As it locates at certain distance from Fishway and Look-out point, it can maintain a balance between both privacy and significance for designing a change room there.

3. Australian Graylings migration at Dights Falls

View

Look-out Point

Inspired from our biomimicry investigation at our site, Australian Graylings is a fish species goes upstream every year for breeding. We take it as our foundation of design symbolism, to embody the idea of equilibrium. Therefore, we analysis its upstream pathway, as indicated as dotted line in diagram, and explore a junction point as our site.

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FORM FINDING

01 Enclosing Barrier

02 Water Current

04 Look-out Privacy 96

05 Threshold Introduction

In order to fusion our design in the site context, some data and observations were collected as the ingredients of form generation in our parametric modelling.

1. Enclosing barrier Taking the fish form as starting point, an enclosed barrier provides the simplest and base form for designing a change room.

2. Water Current Inspired from the dynamic movement of the river water, we simulate it as an external force in our digital model. It results in a curved surface as bounding wall.

03 Height Ratio

3. Height Ratio In order to increase the privacy of interior changing space, we enhance the barrier height at middle zone.

4. Look-out Privacy To block the view from lookout point, the barrier is converted to a convex form to raise the degree of enclosure of changing area.

5. Threshold Introduction The threshold design does not only block the view from entrance point, but also maintain it as a oneman change room.

6. Weight-enabled Kinetic Panels

06 Weight-enabled Kinetic Panel

Footing platform is part of the mechanism design and connects to surrounding gridshell structure.

When weight applies, the panels will be flatten. It shifts the equilibrium of privacy and occupancy as an indication for outsider but a protective barrier for insider of our design.

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[C.2] TECTONIC ELEMENT & PROTOTYPE Tectonic Element

Prototype Strageties

Based on our design proposal presented in Part B, we have integrated the critic’s feedback and refined some technique issues. Thus, our parametric modelling definition were rewritten to address the synchronization problem between the structure and the panels. Also, the kinetic mechanism will be developed based on the existing gridshell structure as a homogenous system.

With referring to the interim feedback, the mechanism design will be addressed first. Gridshell, Panel will be investigated subsequently based on the prototyping result we obtained in Part B.

As our design consists of several elements as a modular component, different tectonic and techniques are implied in each of them. Thus, we categorize them into three tectonic system, namely 1. Gridshell Structure 2. Kinetic Mechanism 3. Responsive Panel

As we have three tectonic systems in our design, it is not possible to fabricate an entire model for every prototyping. Therefore, we decided to treat them separately. It enhances our prototyping efficiency and reduces the cost for fabrication.

Once the component is modified as our expectation and performance requirement, it will be assembled to other tectonic systems for synchronization testing.

Minor refinements will still be done until everything is finalized.

Each of them performs in different ways with some requirements and achieve as our entire design.

Besides, the importance of joints is as high as those three tectonic systems. Joints does not only links the elements together as a whole, but they are also required to have some performance requirements.

These will be further discussed and elaborated in the later section.

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TECTONIC ELEMENTS SPECIFICATIONS

Gridshell - Panel Joint + Assemble layers of gridshell together + Allow panel attachment and movement

Gridshell - Kinetic Joint + Transfer load from kinetic mechanism + Flexible joint for mechanism movement

Kinetic - Gridshell Joint + Connect members to gridshell as a whole + Possible cental axis of mechanism movement

Kinetic - Panel Joint + Trigger panel movement by mechanism + Appliable for range of included angles

Panel - Gridshell Joint + Perform as an attacher to gridshell + Flexible for panel movement

Panel - Kinetic Joint + Motivated by mechanism movement + Well-fixed in position on panel surface

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Gridshell Structure + Lightweight, freestanding + Supported by pre-existing site elements + Fabricatablein large scale + High structural integraty + Appliable for curvy surface + Certian degree of elasticity + Adaptable for panels and mechanism + Load-bearing for panels and mechanism

Kinetic Mechanism + Simple but effective + Retractable + Durable for repeated movement + Performance-consistent + Adaptable to existing gridshell structure + Corresponding to panel movement + Responsive to change room occupancy + Triggered by footing platform

Responsive Panel + Inspired from fish scale form + Fabricatable by parametric data + Fabricatablein large scale + Corresponding to size of gridshell void + Achieve bending performance + To be experimented by pattern kerfing + Form an overlapped globel network + High-resistant in wet environment

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EV

KINETIC MECHANISM

1. MECHANISM DESIGN

Start from Single Deployable Structure Problem: Not applicable for dynamic form

2. TRIGGER DESIGN Start from 2 Hemp Ropes Problem: High friction 102

VOLUTION

FINAL VERSION

Replaced by Double Deployable Structure

Replaced by 2x0.7mm Fish Strings Problem: Too thick

Replaced by 2x0.5mm Fish Strings

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GRIDSHELL STRUCTURE

1.8mm Bamboo Veneer

1. MATERIAL USE Problem: Poor material strength in larger size

2. GRIDSHELL DESIGN Start from Double Layer Gridshell @ 2.8mm Bamboo Veneer Problem: Not adaptable to kinetic mechanism, easy to be deformed by shearing force 104

EV

VOLUTION

FINAL VERSION

2.8mm Bamboo Veneer

Replaced by Triple Layer Gridshell

105

EV

PANEL KERFING

1. KERFING PATTERN Start from Full Patterning, Cut Through Problem: Not flexible for kerfing 106

Replaced by 'Backbone' Patter Problem: Too few contact poi

VOLUTION

ning, Cut Through ints, easy damage

FINAL VERSION

Replaced by 'Backbone' Patterning, Etch Edge Problem: Too few contact points, easy damage

Replaced by Regional Patterning, After Treatment Learnt from Dragon Skin Pavilion in CS2.0 107

EV

PANEL DEFORMATION

60°C @ 5 Minutes

1. PREHEATING Problem: Required soften further

2. MOULD DESIGN Start from 3*3 Waffle Grid @ 90 Degree Problem: Not stable moulding structure, exceed bending allowance, too small in size 108

VOLUTION

80°C @ 6 Minutes

FINAL VERSION

120°C @ 8 Minutes

Problem: Required soften further

Replaced by 5*5 Waffle Grid @ 70 Degree

109

EV

JOINT

1. GRIDSHELL TO PANEL

Start from 1 Hook Screw Problem: Can't fix in position

Add 1 Plastic Expander Problem: Too large opening

2. PANEL TO GRIDSHELL Start from 1 Eye Screw Problem: Can't fix in position

3. PANEL TO KINETIC

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Start from 1 PP Hinge + 1 Metal Tag Problem: Too bulky

Add 1 Plastic Att Problem: Too bu

Replaced by 1 Rivit Problem: Too loosened

VOLUTION

FINAL VERSION

Replaced by Smaller Hook Screw Problem: Too large in size

tacher ulky

Replaced by Smaller Hook Screw Problem: Not applicable for top chord

Replaced by 2 Bamboo Washer Problem: Too many washers

Replaced by 1 Timber Screw Problem: Too loosened

Add 1 Timber Screw Problem: Penetration damage

Replaced by Both-End Plastic Expander

Reduced by 1 Bamboo Washer

Add 2 Bamboo Washers

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EV

4. KINETIC TO GRIDSHELL Start from 1 12mm Bolt + 1 Nut Problem: Too short

5. KINETIC TO PANEL Start from 1 Bolt + 1 Nut + 3 Washers Problem: Too Bulky

6. KINETIC TO KINETIC Start from 1 12mm Bolt + 1 Nut Problem: High Friction 112

Replaced by 1 25m Problem: High Fr

VOLUTION

mm Bolt riction

FINAL VERSION

Add 3 Washers Problem: Too close to grishell

Add 3 Bamboo Washers

Reduce Top Bamboo Washer

Add 2 Washers

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PARAMETRIC MODELLING DIAGRAM Data from Site Analysis

Form Finding

Start End Points, Threshold

Anchor Point

Water Current

Unary Force 1. Surface Grid Panelling

Height Ratio

Unary Force Diagonal I Lines

Look-out Privacy

Elastic length

Surrounding Privacy

Subsurface Density

Quadrangular Panals

Kanganroo Physic Simulator

Diagonal II Lines

Vertical Lines

Rebuild Surface

Evaluate Surface

Mesh to Surface Gridshell Structure 114

Cull Pattern into Checkers

e

2. Gridshell Network Formation

Extrude Lines to define Material Thickness & Layer Sequence

3. Gridshell Outline Formation

Move Lines to define Strips Width

Loft Surface

4. Gridshell Surface Formation

Unroll Surface

Extract Edges Nested In Template, Ready for Laser Cutting

Cross Product Surface Normal

Intersection

Make holes for Joint Connection

Extract Outlines

115

0. Form Finding

Result From Form Finding

Rebuild Surface

1. Surface Grid Panelling

Staggered Quad Panals

Responsive Panel

116

Mid-point of Top Edge

Polyline

End-points of Bottom Edge

Arc

2. Panel Edge Formation

3. Panel Section Generation

Axis Line

4. Panel Surface Formation

Fillet Edge

Kerfing Pattern

Rotate

Nested In Template, Ready for Laser Cutting Loft Surface

Unroll Surface

Extract Edges

117

FABRICATION AND CONSTRUCTION DIAGRAM

Panel Network Order

Gridshell Layer Order 118

Assemble Sequence

Radius & Radian

Panel Outline Merge Together Kerfing Zone

Kerfing Pattern

Density/ Length

1x

Responsive Panel

Radius & Radian

Reduce Length

1x

2x

3x

Create Edge Merge Together

End-point Intersection

Ready for Fabrication

Ready for Fabrication

Makes Holes

2x Kinetic Mechanism

Length & Intersection

Unroll Component

2x 4x 2x 1x 6x 3x 16x 8x

Make Slots Merge Together

Intersection Parameter

Makes Holes

A

Gridshell Structure

Ready for Fabrication

B

C

A: Vertical B: Diagonal 1 C: Diagonal 2

1x 2x 2x 4x 4x 119

DESIGN INTENT DIAGRAM DESIGN INTENT Fish Form

Fish Scale

Fish Movement

Fish Ecology

Gridshell Structure

Kin Mecha

Programme: A change room for swimmer at Dights Falls

Biomimicry Inspiration: Australian Grayling Fish

Design Brief

Design Agenda

Parametric

Specifications: Lightweight, Visually privite, Freestanding

Design Concept: Idea of Equilibrium

Form-F Data from S

Interest Conflict

120

Eco-system of River

Value of Nature

Tectonic Panel Ne on Gri

Water Current

Height Ratio

REALISATION

netic anism

Responsive Panel

c System: etworking idshell

Laser Cutting

Pre-Heating

Bending by molding

Spraying

Fabrication Method: Hybrids of Component Making & Post Production

Top Chord Connection: Knotted to Surrounding Trees with Rope

c Modelling

Fabrication

On-Site Construction

Finding: Site Analysis

Connection System: Hybrids of Engineering Joints

Bottom Chord Connection: Rooted in ground with Metal Nails

Threshold Introduction

Visual Privacy

Hook & Eye System

Bolt & Nut System

Belt & Screw System

121

diverting attention to.

122

...

[C.3] FINAL DETIAL MODEL

STRANDED ENTITIES 123

INTEGRATED DESIGN DIAGRAM

Bamboo Veneer

Laser Cutting

Material

Hook & Eye

Bolt, Nut & Washer

Joint Connections

Dights Falls

Idea of Equilbrium

Australian Grayling

Architectural Concepts & Biomimetic Inspiration 124

Hinge & Screws

Gridshell Structure

e

Sanding

Preheating in oven

Moulding

Spraying

Fabrication Process

Kinetic Mechansim

Responsive Panel

Tectonic Design

Fish Skeleton

Assembly

Fish Scale

Biomimetic Investigation

Parametric Modeling 125

FINAL PROTOTYPE MODEL @ 1:4

EXTERIOR VIEW 126

INTERIOR VIEW 127

VACANT 128

OCCUPIED 129

KINETIC MECHANISM PRINCIPLE

OPENED 130

TRIGGERED

CLOSED 131

DEMONSTRATION MODEL @ 1:4

OPENED SYSTEM 132

CLOSED SYSTEM 133

SITE MODEL @1:200

134

135

136

137

PLAN 1:400 138

Entrance

Threshold

Change Space

139

SECTION 1:50 140

141

EXPERIENCE ANIMATION @ LOOK-OUT POINT

01

02

142

03

04

143

EXPERIENCE ANIMATION @ FISHWAY

01

02

144

03

04

145

EXPERIENCE ANIMATION @ STRANDED ENTITIES

01

02

146

03

04

147

something at equilibrium...

148

149

150

it changes...

151

152

when we change.

153

154

[C.4] TAKING IT FURTHER

Form Optimization Apart from using Kangaroo Physic Simulator as our form-finding tools, Ladybug may also be a good additional grasshopper plug-in for us to be manipulate in our parametric model. Its features on climate visualization and analysis can help us to understand further about the site. The climate data can be directly converted into parameters in our digital model. With the support of real data, our form of design will be more responsive to the site context.

Structure Optimization In terms of structure, Karamba is definitely an enhancement of the gridshell structure. It provides us different set of structural analysis data, which facilitate the refinements on our design. By taking account of the entire weight of the design, it can give us a clear solution on the optimum formulation of gridshell and the material specification.

155

FABRICATION AND CONSTRUCTION IN REAL SCALE

156

Material And Tools As our final prototype model is fabricated in a small scale, it scales down the degree of materiality, as well as its final performance in our design. All tectonic systems and joints are designed that can be fabricated in a larger scale. Therefore, the materiality restriction will be resolved under real scale fabrication with factory-level techniques and machines supports.

157

DECAY DIAGRAM

Present

158

10 Years

50 Yea

ars

Natural Decay

100 Years

Decay is the nature of environment, there is no exception case for everything. Our organic bamboostructure design will be bio-degraded and become nutrient for organisms. It also symbolizes the stranded fish going back to the water, which means our environment is shifted back to its equilibrium.

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[C.5] LEARNING OBJECTIVES AND OUTCOMES

Objective 1: “Interrogating a brief”

Objective 2: “Generating design possibilities”

Based on the design proposal presented in Part B, we had a deep and clear understanding on every specifications of designing a change room, illustrated in the studio brief. We continued to develop our design from those valuable feedback we got in interim presentation. The subject guide also illustrates our pathway towards the final outcome. We followed the schedule as foundation, and keep refined the digital model and physical prototypes by setting some deadlines in order to avoid procrastination. By outlining all the diagrams, we can review every step in our design process is relevant and consistent to its design intention. This also enhances the bonding between our design and concept.

Taking the techniques from precedent learning and design proposal as the starting point, we redeveloped the grasshopper definition of gridshell structure and compiled it into the old panel networking definition.

The most challenging thing is to sync them into a single system, which means every panel fits into a grid space. The way we did is to use two different surface grid structures, but control their dimension with same set of parameters. After this technical issue was resolved, the next step was to finalize the formfinding approach. Our first attempt is to manipulate a surface from Kangaroo Physic Simulator, but the outcome is restricted by our technique maturity.

Thus, we combined the outcome from Kangaroo into some manual defined expression, which gave us more control and flexibility from exploring its possibilities as our final form.

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Objective 3: “Three-dimensional media skills”

Objective 6: “Analyzing architectural projects”

As the gridshell structure we created in previous design proposal wasn’t strong enough and without considering the design kinetic mechanism, the gridshell structure evolved from two layers into three layers structure. This was researched and learnt from some internet resource, and revised it for our design. The definition also provides the data about the intersections of strips as the reference for cutting some slots and hole to install joints in place. This is the way to convert them into line work for laser cut fabrication.

After part b, we shifted our attention on the design of mechanism. By analyzing different precedents, we decided to use deployable structure to manipulate the panel movement. It is a simple but effective approach and the most important advantage is it could be merged into out gridshell design. On the other hand, we did some further researches on how to improve the bending performance of bamboo veneer. There is nothing else other than kerfing pattern. Thus, we restudied the Dragon Skin Pavilion again. Inspired from its methodology of panel formation, we imitated its approach and the outcome is really successful and out of our expectation.

Objective 4: “Architecture and air” As we didn’t make any big change in our panel and gridshell design, the main focus of our proposal is the possibilities and practicalities of kinetic mechanism.

After several trials on different approach, the doublescissors deployable structure seems to be the best way and could be merged into our existing gridshell structure. In the aspect of materiality, we saw the limitation in bending panel by only using kerfing pattern. Therefore, we attempted to imitate the panel formation techniques learnt form Dragon Skin Pavilion. This gave us an amazing and unexpected outcome, where the panels could be curved more significant and permanent than before.

Objective 5: “Making a design proposal” Our design concept and intention were basically same as before, but did a little modification and enrichment in some details. As suggested in the interim personation, the design concept diagrams illustrated a better and clearer understanding on the implementation of ‘equilibrium’ into our design. We continued to improve what we have proposed, as we were quite confident on our design relevancy and consistency towards the design brief.

Objective 7: “Understanding Computation” Computation isn’t our largest concern in this stage, as the basic geometry and tectonics weren’t changed.

The only things is to synchronize three tectonics into a single system. We got a better control on the parameter setting and create something we want. We used the same logic to extract the data structure in algorithmic model to something for fabrication.

Objective 8: “Developing a personalized repertoire” In Part C, I continue my role and develop grasshopper definitions we need in our design and fabrication. One of the common feature in my developed definition is using different surface grid components from Lunchbox plug-in as starting point. ‘DeBrep’ is the next step. This gives me flexibility on manipulating some repeating patterns and components in the design. Furthermore, ‘List item’ helps me to define something in the surface subspace. Thus, different complicated geometry can be form by just using a few reference point from the surface subspace. However, I also see my shortcomings in manipulating and optimizing the form of design. This requires more diligence to be familiar with different powerful grasshopper plug-in, such as Kangaroo and Karmaba.

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[C.6] APPENDIX MOMENTS OF ASSEMBLY

162

163

164

165

166

167