Lin kai 825663 final journal

STUDIO AIR FINAL JOURNAL Kai LIN 825663 Tutor: Chelle(Xuyou) Yang 2018 Semester 1

Figure 1: “ICD/ITKE Research Pavilion in 2012” 1

Figure 2, “Parametric Patterns”, 2009

Table of Contents A.0 Introduction about myself A.1 Design futuring A.1.1 Precedent 1. the Philip Pavilion A.1.2 Precedent 2. Los Angeles Rams Stadium A.2 Design Computation A.2.1 Precedent 3. ICD/ITKE Research Pavilion in 2012 A.2.2 Precedent 4. Mesh Mould

A.3 Composition/Generation

A.3.1 Precedent 5. Esker House

A.3.2 Precedent 6. Prototype of ultrathin concrete roof by ZTH Zurich A.4 Conclusion A.5 Learning outcomes A.6 Appendix- Algorithmic sketches A.7 References

Part B CONTENT:

B1. Research field: Cable-net fabric formwork system.

NEST HILO by ETH Zurich

Hyparbole by Marc Fornes / THEVERYMANY

Los Manantiales / Felix Candela B2. Form-finding/Exploration: Hyperbolic paraboloid

Initial geometry-Hypar

Variations exploring

Design potential B3. Can computational simulation helps physical fabrication?

Further exploration on ‘Kangaroo’ B4. Technique: Development.

Advantages vs. Disadvantages

Capabilities vs. Constraints B5. Physical prototyping process and outcomes

Prototype1 vs. Prototype 2 B6. Site analysis: New student precinct Design proposal B7. Learning objectives and outcomes B8. Appendix- Algorithmic sketches

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CONTENT:

C.1. Design Concept

- C.1.1 Re-assessing design proposal: Design Problems

-C.1.2 Precedent selection: Form

C.1.3 Precedent Selection: Method of using Hypars C1.4 Voids C1.5 Deciduous tree through the void

C.1.6 Conceptual Drawing and redefined design concept

C.2. Tectonic Elements & Prototypes

-C.2.1 Diagram of construction process and technique -C.2.2 Prototype 3

-C.2.3 Material Selection: Fabric

-C2.4 Patterns inside the shell -C.2.5 learning from prototypes

C.3. Final Detail Model

-C.3.1 Hero Images

-3.2 Top view of the form

-C3.2. Interior- Light and shadow -C.3.3 Form Analysis

-C 3.4 Analyse the structure form section

-C.3.5 Voids on the final form -C.3.6 3D model and surroudings

-C.3.7 Physical fabrication: Digital to Reality

-C.3.8 Construction process and material selection

-C.3.9 Bill of quantities C.4. Learning Objectives and Outcomes C.5. References

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INTRODUCTION: My name is Kai Lin. My English name in high school was Frank. I actually prefer people call me ‘Frank’, BUT Kai is my real name.

My family immigrated to Australia in 2013 and I did my high school study in Ivanhoe grammar school. I am a 20 years old third year architecture student who love listening to music and play video games. But studying architecture is one of my best decisions, despite it is really difficult to me. My dream is to become a leader of a famous architecture team.

When I was applying the course of university, most of my friends were choosing commerce or science. I was the only one who interested in Architecture. Although I did not study any subjects relates to arts or design in high school, I clearly understood the creative and curiosity are two of my top character strengths.

There are some very fancy ideas in my brain but I realized I must keep studying and keeping climbing in the case to represent all those ideas to the world! I was not well prepared to take Studio: Air in year 2, because I am not good at the digital design and expressing my ideas logically, but now I am ready to go! I accept all challenges from the Studio of Air!

DESIGN FUTURING:

Can design slow defuturing?

Human centeredness is critically accelerating the destruction of our planet. With the world population rapidly increasing and the technology rapidly developing, humans require enormous resources that extracted from our planet. We human being unwittingly increasing the conditions of unsustainability and our future is actually start disappearing from our existence. The result of human activities destructively impacted the planet’s climatic and ecological system.

However, does anyone want to sacrifice our future to sustain the excesses of present? (1Tony, Fry, ‘Design

design, ‘Creation’ and ‘destruction’. When we use renewable resource from our planet, the design can be called ‘creation’, otherwise, it is ‘destruction’. As the figure 3 shows, the green terrace is a kind of strategy to against the defuturing conditions.

Nowadays, sustainable design can be a chance for us to slow the defuturing and reject all ‘doom sayings’.

Futuring: Sustainability’, Ethics and New Practice (Oxford: Berg), 745.2— dc22.(2008) pp. 1–16 (p.2)) Obviously ‘NO’.

We human can slightly influence the situation through sustainable designs. Design can be defined as ‘the act of creation’ and it include every artificial thing.

However, nowadays design as an anthro-directive action, and lots of designer design an object from aesthetical aspects without thinking about the materiality and sustainability. Human has displaced the ‘invisible hand of god’.(2 Fry, p.3) Therefore I believe the sustainable design can deaccelerate the defuturing.

The state of the world and the state of the design need to be brought together, thus we have to consider our design in response the environmental conditions.

Although the environmental problem is critical now, we humans do not have a real sense of it and the damage Figure 3: “Bosco Verticale”, 2014 that humans have done to our planet need almost 200 years to recover.(3Fry, p.5) There are two kinds of

PHILIPS PAVILION LE CORBUSIER AND XENAKIS The 1958 World’s Fair in Brussel was the first World’s Fair held since the end of World War II, the concept behind the Expo was to celebrate the rejuvenation of civilization from the destruction of war through the use of technology. The Philips Electronics Company decided to step away from displaying commercial goods and instead create a unique experience for the thousands of people that would be attending the Expo. Thus they commit the final commission of the pavilion to Le Corbusier’s office. However, Le Corbusier replied, “I will not make a pavilion for you but an Electronic Poem and a vessel containing the poem; light, color image, rhythm and sound joined together in an organic synthesis”.

Le Corbusier toke the task of developing the interior design of the pavilion and the developing of experiences the pavilion bring to all visitors and he left the exterior design of the pavilion to Lannis Xenakis, whom was also trained as an experimental composer and thusly would also create the transitional music that guided you into the formal space of organized sound1. (Oscar, Lopez. ‘AD Classics:

Figure 4, “ structure of Philips Pavilion”, Archidaily

Expo ‘58 + Philips Pavilion / Le Corbusier and Iannis Xenakis’, Archidaily, (25 Aug 2011), Accessed 15 Mar 2018, <https://www.archdaily.com/157658/ad-classicsexpo-58-philips-pavilion-le-corbusier-and-iannis-xenakis/> ISSN 0719-8884)

Lannis Xenakis designed the avant-garde exterior of the pavilion with the team of engineers and team of artists. The technique devised for designing and constructing the pavilion made it became significant. Hyperbolic paraboloids had recently been taken from the math and science during 1950s. The initial concept was from hyperbolic paraboloids which is a radical design at that time. By using the flexibility of hyperbolic paraboloids, Xenakis deigned the exterior of the Philip pavilion by combining nine forms of hyperbolic paraboloids.

The first step of construction process was to build up the ribs and the pre-stressed wires as the primary structure of the pavilion. The second step was to build up the formwork for concrete as the figure 4 shows. The third step was to form the pavilion by pouring concrete. The exterior of the pavilion was designed by using digital design method.

The interior was designed by Le Corbusier. There is an 8 minutes visual and musical experience by walking from the entrance to the exit as the figure 5 is lining out the interior space of the pavilion. Le Corbusier developed a series of stories to enhance the connection between the architectural design and the sensorial experiences.

The resulting Poem Electronique along with the pavilion, was the first electronic-spatial environment to combine architecture, film, light and music to a total experience made to functions in time and space2.( Lopez, ‘AD Classics: Expo ‘58 + Philips Pavilion / Le Corbusier and Iannis Xenakis’)

The Philip pavilion was demolished on January 1959. However, it inspired many architects about the new thinking of combining design with engineering and arts. Furthermore, the idea of hyperbolic paraboloid transferred to minimal surface and thin concrete roof structure and then largely influence the architectural design thinking in the later many decades.

Figure 5, “ interior of Philips Pavilion”, Archidaily

Figure 6, “the Philips Pavilion”

LOS ANGELES RAMS STADIUM

HKS ARCHITECTURE

The Los Angeles Rams Stadium was designed by HKS architects by largely using digital software to help them deal with the complexity of the design and it will be built in 2019-2020. The stadium has a retractable roof which is comprised of approximately 70000 unique panels with over 500000 square feet of surface area. These panels are uniquely articulated and cut to specification using a 3-axis CNC-coined die-punch machine and fabricated from titanium anodized aluminum. The panels comprising the tessellated flat triangles and these panels are shop-fabricated and pre-assembled into mega-panels as figure 7 shows. The largely using unique pre-fabricated panels is pretty radical in architectural design and it also confront a big challenge while constructing the building.

The second key component of the building is the 3D printed fixation.

Both the exterior envelope’s aluminum panels and the hypothetical node connections are discussed in terms of the challenges and constraints unique to their respective geometry, fabrication process and performance criteria.1(ACHIM, MENGES. BOB, SHEIL. RUAIRI, GLYNN. MARILENA, SKAVARA. ‘Fabricate Rethinking Design And Construction’, UCLpress (2017) p36-43.)

The effectiveness and the performance of workflow was significantly improved by using visual programming approaches such as grasshopper. The designer can easily play with the design outcomes by changing the instructions of ‘program’ in computer and then the computer will precisely and faultlessly work out the representation of the new design. However, the key obstacle of using digital design methods relates to the communication and connectivity between designer and fabricator. Rather than rely on over 75,000 individual 2D drawings to dimensionally describe each panel, a text-based file format containing all dimensional criteria was adopted. Through adequate file nomenclature, tokenization and formatting, the fabricator could automate the translation of these files directly into machine instruction.2 (Menges, Sheil, Glynn &Skavara, p38)) The method that the designers used are critically reduced the rate of errors while communicating with fabricators. The graphical diagrams and representational drawings are not the primary way to convey information anymore.

The Los Angeles Rams stadium is showing the beauty of digital design and leading the architectural design into a digital world.

Figure 7, “Los Angeles Rams stadium”.

DESIGN COMPUTATION: In many cutting edge architectural schools, the practice of designing had become both digital and experimental.1 (Rivka, Oxmanand, Robert, Oxman, eds, â&#x20AC;&#x2DC;Theories of the Digital in Architectureâ&#x20AC;&#x2122; ,London; New York: Routledge, (2014), pp.5 )The digital design tools have been rapidly developing

during the last decade. Those digital form generators significantly affected the design process of architecture. The design becomes the thinking of architectural generation through the logic of the algorithm, thus performance-oriented designing are able to generate in digital tools by deconstructing the materiality and the logic of morphogenesis. Therefore the possibility of the design approaches are largely increased. As the figure 8 shows, it is a example of computational design project. The complexity of the design is pretty high and it demonstrated the advantage of computational design.

The Parametric design is one of new forms of the logic of digital design thinking. It significantly widened the range of conceivable and achievable geometries by enhancing the geometric relationships and increasing the multiplicity of the variation of the geometrics. 2 (Oxmanand & Oxman, p3)The computation contributed large number of advantages on the new modern architectural design.

Figure 8, “ENPC computational design prohect”, 2016

ICD/ITKE RESEARCH PAVILION IN 2012 The ICD/ITKE research pavilion 2012 is an interdisciplinary project which was inspired by investigating the natural creature, the Lobster’s exoskeleton. By analyzing the lobster’s exoskeleton in detail, the designer chose to use fibre-reinforced composite material as the main material to build up the pavilion. This strategy re-defined architecture as a material practice and it characterized the new architecture of transparency and materiality. The overall design was generated by the computational tools and fabricated by the robot. By using the form generation methods, the computational simulations and robotic manufacturing, it allows the pavilion to have a high performance structure by analyzing the numerous variations. The other important point of designing this pavilion is minimal use of material. The layer of fibre and the arrangement was optimized through a gradient-based methods.

The figure 9 indicates all integrations what used to design the pavilion.

The pavilion was fabricated on the site with weather-proofing shelter and the fabrication time was 130 hours which is pretty quick. Although the span of the pavilion is 7.67 meter and the area of the pavilion is 29 square meters, the weight of the only about 320 kilograms. Therefore the digital design is bringing us the new vision of architecture.(Achim, Menges ‘ICD/ITKE Research Pavilion 2012’, ‘institute for computational design and construction’, the university of Stuttgart, 2012, Accessed 15 March 2018, http://icd.uni-stuttgart.de/?p=8807)

Figure 9, “The design integration of ICD pavilion in 2012”

Figure 10, “ICD/ITKE research pavilion 2012”

Figure 11, “Mesh Mould”, ETH zurich.

MESH MOULD ETH ZURICH In conventional product of reinforce concrete structures, the formwork is to retain the fluid concrete until it harden towards the final shape. However, the formwork we normally use was much degraded and generally regularly be placed on the site. Formwork can be an important factor that influence the construction waste and the production cost.

Mesh Mould”, developed by researchers at ETH Zurich in 2016.

It represents the potential of digital technology by generating the efficient and sustainable production of steel formwork with computational design and robot to precisely fabricate the formwork. The research of ‘Mesh Mould’ allows us to design any shape of loadbearing concrete walls or columns without a traditional formwork with lower production cost. Because ‘mesh mould’ can take both of the roles of formwork and reinforcement. The definition of the ‘Mesh mould’ is ‘focuses on the translation of the structurally weak polymer-based extrusion process into a fully load-bearing construction system’ 1

(Sabrina,Santos. ‘Amazing Robotically Fabricated Mesh Revolutionizes How Concrete is Formed and Reinforced’, ArchDaily. 02 Aug 2016. Accessed 15 Mar 2018. <https://www.archdaily.com/792079/amazing-robotically-fabricated-meshrevolutionizes-how-concrete-is-formed-and-reinforced/> ISSN 0719-8884)

The digital design tools such as grasshoppers widened the range of conceivable and achievable geometries and then the creation of ‘Mesh Mould’ allowed designers to achieve more and more performance-oriented designs.

A.3 COMPOSITION/GENERATION During the 1990s, the computation and digital modelling tools were significantly shift from two dimensions to three dimensions.

The complex 3D models was buildable in software since that time. By further developing those 3D modelling tools by applying material capacities, external environmental influences and forces.

Simultaneously, the architectural design was starting to shift from ‘Composition’ to ‘Generation’. The design becomes the thinking of architecture generation through the logic of the algorithm.

The parametric design was created by using a continuous logic of morphogenesis, and then the representation of design changed from static to dynamic. 1(BRANKO, KOLAREVIC, ‘Digital Morphogenesis and computational architectures’, 2000, p17. ) And it can create infinite possibilities of design outcomes by following the variations in the algorithmic procedures. The parametric design is one of many new digital design methods derived by new technology. Those computational methods can easily overcome those insoluble problem to the ancient design method. The complexity of a design can be translated to algorithmic language and then the computer would simplify that into logical thing step by step.

Thus the possibility of design outcomes are largely improved and the infinitely variable potentialities as well. 2 (Kolarevic, p18) However, the design became easier to designers, but not fabricators. ‘Mass customization’ on materials is one of challenges of computational design and high requirement of hardware of fabrication is one of restrictions in practice of digital design.

Therefore remaining coherent with the material, fabrication and construction constraints is the critical task for ‘Generation’.

Figure 12, “transition”

Esker house/ Plasma studio: The Esker house is a compositional residential building with the digitally designed roof and first floor on top of the exist house from 1960s. The split level and the roof was composited by timber and steel. The steel as the primary structure material to carry all loads and directly transfer to the foundation without pressuring the exist house and the timbers are more likely to use as secondary structure material and decorative material. The Plasma Studio designed the overall split level in digital software with the central concept of ‘soft’ and ‘fluid’ morphology.1(‘Esker house

/ Plasma Studio’ ArchDaily. 11 Feb 2009. Accessed 15 Mar 2018. <https://www. archdaily.com/11957/esker-house-plasma-studio/> ISSN 0719-8884) The unique

stratified morphology and construction system started off from projecting each step of the external staircase. And then the timber frames on steels connected to the timber staircase to achieve the consistency and it gives visitors a sense of continuously and fluidly transforming. This can be simulated in the plug-in software ‘Grasshopper’. The computational process and technologies of materialization occurred the continuous logic of morphogenesis and materiality in generative processes. By following the continuous logic of algorithm, the morphogenesis can be transformed. Thus the roof can have infinite variable forms. And then the designer chose one of the best performance forms as the final design. They took the principle of pitched timber roof system as the overall geometric behavior, thus the design is pretty stable.

Figure 13, “transformation of the roof of the Esker House”

Figure 14, “the structure of the roof”

Figure 15, “the staircase of the roof of the Esker House”

Construction prototype for ultra thin concrete roof, ETH Zurich This ultra-thin concrete roof was just a prototype which was made in 2017 and the novel ‘cable-net fabric formwork’ was tested and it will be applied on an actual construction project, Hilo Penthouse in 2018. The average thickness of the concrete roof is 5 cm and the edge of the roof is about 12 cm thick.1 (‘Construction prototype for ultrathin concrete roof’ ETH Zurich, 12 Oct 2017. Accessed 15 March 2018. https://www. ethz.ch/en/news-and-events/eth-news/news/2017/10/innovative-construction. html )The break-ground innovation of the method is that they are

able to build up a complex concrete structure by using less material and they are able to recycle all the tensioned steel cables after use which is very sustainable. The other advantage of the design is that builders can still work under the roof while the roof is hardening.

The overall structure of the formwork is shown on figure . The designers used digital software to generate the net and bounced the 2 dimensional net up to a 3 dimensional shape and the material they chose was the tensioned steel cables. The advantage of using computational software to model the net is that the algorithms can ensure the forces are properly distributed across each steel cable. The cable-net fabric formwork has to be calculated very precisely, otherwise the roof will under the risk of collapsing. As Diederik Veenendaal and Philippe block demonstrated that ‘by carefully designing the cable net and its topology, and calculating and controlling the pre-stressing forces, it is possible to form a wide range of anticlastic shapes, beyond those of the hyperbolic paraboloid’.1 ( Diederik, Veenendaal, Philippe, Block,’ Design process for prototype concrete shells using a hybrid cable-net and fabric formwork’, 2013, p39-50. )Thus we can see the potential of the cable-net fabric formwork. However, it is non-conceivable if there is no computation by digital software.

Figure 16, “ the analytical drawing of the Ultta-thin roof”

Figure 17, â&#x20AC;&#x153;the prototype of ultra-thin concrete roofâ&#x20AC;?

A.4. CONCLUSION: Today, digital design becomes more and more common in architectural territory. Thus the design approaches and design outcomes becomes more and more pluralized. When most of designers are indulging the beautiful and complex designs what created by digital design tools, lesser people are actually considering about the functionality of the design and whether the material use sustainable or not. Nowadays, humans are in a critical situation about defuturing. Therefore my intended design approach will definitely response to the environmental conditions. Obviously, I will use computational tools to support my design as it needs precise calculation to distribute the forces on the design. The ideal of using digital modeler is to use the logic of the algorithm to generate the best performative design. Through investigating the morphogenesis and materiality to find out the most sustainable material for my design. Using the highly innovative digital technology to minimize the material waste was inspired by the ‘ultrathin concrete roof’ and the ‘Mesh Mould’. If I am designing the bike shelter for New Student Precinct, I will definitely let all people who use the shelter and surrounding environment get benefited the most and then minimize the damage to our planet.

A.5. LEARNING OUTCOMES: In the past three weeks, my knowledge of the history and the influence of the digital design has grown immensely. I realize the conceivability of the digital design is much higher than conventional design and it can easily solve some problems what seems insoluble in conventional design, because of the computational system. However, the human’s future is in a critical situation now.

Designers cannot simply purse the fancy out look of a design, but more design in response to our environmental conditions and the planet. As my precedent in A.3 indicated the innovative digital technology can actually reduce the material waste and the design can be developed simultaneously. Therefore, if I want to improve my past design, I would prefer to use digital design tools to model and evaluate my design and then do a lot material test to find the most sustainable one to apply on my design.

A.6. APPENDIX- ALGORITHMIC SKETCHES:

Figure 18, â&#x20AC;&#x153;Algorithmic sketchesâ&#x20AC;?

These two examples can both be fabricated and assembled in reality. They are easily generated in Grasshopper within a series of the logic of algorithms, but they are very complex if we use conventional design methods to generate them. The most important point is that i can simply change the overall shape by change any variable value which was introduced as the continuous logic of morphengenesis. Thus the best performative design can be found by changing a few values, not re-design or re-draw everything to get. The top one is a tower which is composed by two series of rotating curves and the bottom one is the sphere which was decomposed from surface to curves to points. These practices are not very complex but they inspired me about the theory of the digital design and the advantages of digital design. The third example is related to the cable-net fabric formwork, and the sketch i did is simplified from complex shape. However, it made me uderstand the theory of cable-net fabric formwork a little bit more, and it may be helpful for my case study B.

REFERENCES • • • • • • • • • • • • • •

Achim, Menges ‘ICD/ITKE Research Pavilion 2012’, ‘institute for computational design and construction’, the university of Stuttgart, 2012, Accessed 15 March 2018, http://icd.uni-stuttgart.de/?p=8807 ACHIM, MENGES, ‘COMPUTATIONAL MORPHOGENESIS’: Integral Form Generation and Materialization Processes, p726-744 ACHIM, MENGES. BOB, SHEIL. RUAIRI, GLYNN. MARILENA, SKAVARA. ‘Fabricate Rethinking Design And Construction’, UCLpress (2017) p36-43.

Anthony, Dunne & Fiona, Raby ‘Speculative Everything: Design Fiction, and Social Dreaming’ (MIT Press) (2013) pp. 1-9, 33-45 BRANKO, KOLAREVIC, ‘Digital Morphogenesis and computational architectures’, 2000, p7.

‘Construction prototype for ultra-thin concrete roof’ ETH Zurich, 12 Oct 2017. Accessed 15 March 2018. https:// www.ethz.ch/en/news-and-events/eth-news/news/2017/10/innovative-construction.html Diederik, Veenendaal, Philippe, Block,’ Design process for prototype concrete shells using a hybrid cable-net and fabric formwork’, 2013, p39-50.

‘Esker house / Plasma Studio’ ArchDaily. 11 Feb 2009. Accessed 15 Mar 2018. <https://www. archdaily.com/11957/esker-house-plasma-studio/> ISSN 0719-8884 Jerome, Frumar, ‘Computation and Material Practice in Architecture’: Intersecting Intention and Execution during Design Development, School of Architecture of RMIT University, Melbourne, August 2011, p1-188.

Natalina Lopez. ‘HKS-Designed L.A. Stadium Will Be the Largest in the NFL’. ArchDaily.( 27 Nov 2016). Accessed 15 Mar 2018. <https://www.archdaily.com/800073/hks-designed-la-stadium-will-be-the-largest-in-the-nfl/> ISSN 0719-8884 Oscar, Lopez. ‘AD Classics: Expo ‘58 + Philips Pavilion / Le Corbusier and Iannis Xenakis’, Archidaily, (25 Aug 2011), Accessed 15 Mar 2018, <https://www.archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis/> ISSN 0719-8884 Rivka, Oxmanand, Robert, Oxman, eds, ‘Theories of the Digital in Architecture’ (London; New York: Routledge), (2014), pp. 1–10 Sabrina,Santos. ‘Amazing Robotically Fabricated Mesh Revolutionizes How Concrete is Formed and Reinforced’, ArchDaily. 02 Aug 2016. Accessed 15 Mar 2018. <https://www.archdaily.com/792079/amazing-roboticallyfabricated-mesh-revolutionizes-how-concrete-is-formed-and-reinforced/> ISSN 0719-8884 Tony, Fry, ‘Design Futuring: Sustainability’, Ethics and New Practice (Oxford: Berg), 745.2— dc22.(2008) pp. 1–16 (p.2)

CONTENT:

B1. Research field: Cable-net fabric formwork system.

NEST HILO by ETH Zurich

Hyparbole by Marc Fornes / THEVERYMANY

Los Manantiales / Felix Candela B2. Form-finding/Exploration: Hyperbolic paraboloid

Initial geometry-Hypar

Variations exploring

Design potential B3. Can computational simulation helps physical fabrication?

Further exploration on â&#x20AC;&#x2DC;Kangarooâ&#x20AC;&#x2122; B4. Technique: Development.

Advantages vs. Disadvantages

Capabilities vs. Constraints B5. Physical prototyping process and outcomes

Prototype1 vs. Prototype 2 B6. Site analysis: New student precinct Design proposal B7. Learning objectives and outcomes B8. Appendix- Algorithmic sketches

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B1. Research field: Cable-net fabric formwork system.

The system was used by Zwarts & Jansma Architects (ZJA) in Amsterdam, Netherlands, in collaboration with engineering consultants Iv-Groep in Papendrecht, Netherlands for the Landshape Wildlife Crossing, an entry for the ARC design competition in Colorado, U.S. 1 The Cable-net formwork system can be briefly described as A kind of flexible formwork which is possible to reduce the amount of material using and most of the materials are re-usable. In the case, it uses cable-net to replace the traditional timber formwork, the shuttering is replaced by fabric and the external boundary to support it. This system is lightweight and re-usable but it can only be used for light load-bearing structure such as pavilion and roof.

The other innovation of this system is that it can be pre-fabricated and then install on site. The Block Research group tested the feasibility of the cable-net system on a doubly curved concrete shell structure and they demonstrated t improves on traditional formwork structures for doubly curved surfaces.

Thus this system has its own advantages on forming anticlastic shell structure. By combining fabric and cable-net, it also can be used on long span projects.

Figure 2. Cable-net and fabric formworks for concrete shells

Figure 3. Cable-net and fabric formworks for concrete shells

Figure 3. Cable-net and fabric formworks for concrete shells

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B1.1. NEST HILO by ETH Zurich

Figure4. NEST HILO by ETH Zurich

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This ultra-thin concrete roof was just a prototype which was made in 2017 and the novel ‘cable-net fabric formwork’ was tested and it will be applied on an actual construction project, Hilo Penthouse in 2018. The average thickness of the concrete roof is 5 cm and the edge of the roof is about 12 cm thick.1 (‘Construction prototype for ultra-thin concrete roof’ ETH Zurich, 12 Oct 2017. Accessed 15 March 2018. https://www.ethz.ch/en/ news-and-events/eth-news/news/2017/10/innovative-construction. html )The

break-ground innovation of the method is that they are able to build up a complex concrete structure by using less material and they are able to recycle all the tensioned steel cables after use which is very sustainable. The other advantage of the design is that builders can still work under the roof while the roof is hardening. The overall structure of the formwork is shown on figure . The designers used digital software to generate the net and bounced the 2 dimensional net up to a 3 dimensional shape and the material they chose was the tensioned steel cables. The advantage of using computational software to model the net is that the algorithms can ensure the forces are properly distributed across each steel cable. The cable-net fabric formwork has to be calculated very precisely, otherwise the roof will under the risk of collapsing.

As Diederik Veenendaal and Philippe block demonstrated that ‘by carefully designing the cable net and its topology, and calculating and controlling the pre-stressing forces, it is possible to form a wide range of anticlastic shapes, beyond those of the hyperbolic paraboloid’.1 ( Diederik, Veenendaal, Philippe, Block,’ Design process for prototype concrete shells using a hybrid cable-net and fabric formwork’, 2013, p39-50. )Thus

we can see the potential of the cable-net fabric formwork. However, it is non-conceivable if there is no computation by digital software.

Figure 5. Analytical drawing of Nest Hilo The analytical image clearly identified the layers of cable-net fabric formwork system. The scaffolding is a temporary supporting formwork which is necessary on large span project. It provides temporary strength against lateral forces in order to balance the load distribution. The Edge beam provides anchor points for cables. The material of the edge beam can be timber or steel, but it is still reducing large amount of materials on formwork by comparing to the conventional formwork. The textile reinforcement above are actually providing extra strength to the concrete shell structure to against tension force. It is an extremely important layer in the whole system. Therefore the Nest Hilo prototype significantly increased my understanding about this whole system.

Figure 6. NEST HILO by ETH Zurich

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B1.2 Hyparbole by Marc Fornes / THEVERYMANY

Figure 7. Hyparbole by Marc Fornes / THEVERYMANY

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• Location: Providence, Rhode Island • Date: Fall 2017 It is located at the entrance to Rhode Island College’s Fine Arts Center, It dramatically draws visitors into the campus from two different angles by three paraboloid edges peel up towards different direction of the road. When visitors and passers-by walk through the pavilion, they would be abstracted by the patterns on the structure. Those patterns with hollows which allows sunlight penetrated into the pavilion. By incorporating with the central opening in the surface project up to 22 feet high1.(Actar Publishers, ‘rbannext’, Hyparbole: The Lit Lightness ( Actar publisher, copyright date 2018), web-

It makes the pavilion look more dynamic and it provides special experience to visitors about the light as well. site: https://urbannext.net/hyparbole/ [Date Accessed: 18/04/2018]

1. Actar Publishers, ‘rbannext’, Hyparbole: The Lit Lightness ( Actar publisher, copyright date 2018), website: https://urbannext.net/hyparbole/ [Date Accessed: 18/04/2018]

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Analysis:

We choose the Hyperboles as one of our precedents is because of the method it used in designing the structure with multiple hyperbolic paraboloids. It combined three doubly curved surfaces to create the base structure of the pavilion and the base geometry is a triangle as figure shows. It trimmed the sharp corner in the middle to create an opening and three paraboloid edges in different heights to determine they are facing distinct directions as figure shows. It is a three legged structure relies on three individual pleated concrete blocks. Lateral force is always a weakness point of lightweight structures. Because this is a lightweight pavilion with aluminium as main structural material, thus it needs additional resistance to against the lateral force. Same as our ultra-thin concrete shell structure, our project needs additional resistance on base as well.

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B1.3 Los Manantiales / Felix Candela The Los Manantiales is one of Felix Candela’s masterpieces, it represents the aesthetics by using geometrical form-finding. This building comprised four intersecting hypars to create a ultra-thin concrete roof with dramatic space underneath. Candela called the roof as ‘Umbrellas’ and the interior space ‘ the Flor’(The flower) This building demonstrated his masterful skills on hyperbolic paraboloid system.

Figure 8. Los Manantiales / Felix Candela

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The roof is a circular array of four curved-edge hypar saddles that intersect at the center point, resulting in an eight-sided groined vault. The plan is radially symmetric with a maximum diameter of 139 feet. Groins spanning 106 feet between supports. Trimmed at the perimeter to form a canted parabolic overhang, the shell simultaneously rises up and out at each undulation. The force paths from these overhangs act in the opposite direction from forces along the arched groin, reducing outward thrust.1 The method used on the roof is an efficient way to cover large space and span by joining four straight edge Hypars. The space under the roof can be used as markets or warehouse.

The iconic form of the form was derived through continued geometric investigate and exploration.

Therefore, we started our exploration on the geometric form-finding and the potentials of the Hypars.

1. Michelle Miller. â&#x20AC;&#x153;AD Classics: Los Manantiales / Felix Candelaâ&#x20AC;? ArchDaily. 14 Apr 2014. Accessed 21 Apr 2018. <https://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela/> ISSN 0719-8884

36 Figure 9. Analytical drawing of Los Manantiales

B2. Form-finding/Exploration: Hyperbolic Paraboloid

Achievable shapes Multiple Hypars Varying sspan and amount of cables Varying Heights

1.

Varying Heights

Changing the height of the Hypar is actually changing the curvature of the shape. The hypar always need two anchor points set on ground surface and the other two can free-move. In this iterations, we played with the heights of the hypar to see what outcomes we can get. By simply dragging points up and down, we can get infinite outputs which demonstrated the hypars has a lot possibilities within only one direction move.

2.

Varying span and amount of cables

This time we tried to move Two points of hypar in horizontal direction and changing the amount of cables simultaneously. The larger span looks fantastic but it needs a lot more reinforcement than smaller spans.

More cables apply on the Hyper will reduce the size of the patterns on the Hypar but it will largely increase the load bearing capability on the cable-net.

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3.

Multiple Hypars

Multi

Number: 2

3

4

6

Combining multiple hypars in order to create new complex design is the design potentials of the Hypars. It is possible to use more than one simple Hypars to generate different forms. For instance, the â&#x20AC;&#x2DC;Hyparbolesâ&#x20AC;&#x2122; combined three hyperbolic paraboloids to generate the final shape; the Los Manantiales used four hyperbolic paraboloids in totally different ways to generate the shape; Le Corbusierâ&#x20AC;&#x2122;s Philips pavilion combined nine hypars within different scales to generate the final shape. Thus the simple hyperbolic paraboloid has large design potentials.

4. Trim and ideal achievable

By trimming sharp corners of the shapes, we wanted to make those shapes ideally achievable. We have some constraints for the system as well. For example, Concrete is initially liquid, thus it cannot stay on the sharp corner. Thus those are not achievable. And then we flattened the base those shapes to make them to be able to stand.

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Before we started to do more exploration beyond the base geometry, we investigated the properties of materials in cable net fabric formwork system. As the result, we found the cable in the system has no elasticity, thus the only variable element of cable is the tightness of the cable (the length of the cable). The fabric has elasticity, thus it will have deflection when applying any load on it. In this case, we want to cast concrete on the fabric, thus the variable element is the concrete load acting upon the fabric to simulate fabric deflection in physical world. After we poured concrete onto the fabric, the fabric deflection generated patterns in the hollow of cable-net. However, every pattern is unique because they are on different angle. Thus simulate the concrete patterns can be important.

1. Changing cable tightness In this step, we only used one to do the experiment.

We adjusted the loads on the shape to simulate the changing of length of the cable. As the figure shows, when the cable is loose, the curvature will become larger. This property might be helpful for us to create the final design.

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2.Fabric deflection /concrete loads for a single pattern.

The main variable elements in this step are elasticity of the fabric and the concrete loads (thickness of concrete layer). The way we did was to use a single pattern on the cable net system to simulate the fabric deflection when it is under the load of concrete.

3. Patterns with Same load but different angles.

By combing the cable net fabric formwork system with Hyperbolic paraboloid shape, each grid will be positioned in different angles, thus the load of concrete will not be equally distributed on each grid.

Therefore the shape of pattern will be affected.

4. Timber formwork in digital software.

This one is not simulating any material capabilities and force, but it is extremely important to physical fabrication. We used Rhino to build the timber frame for our prototype and it can tells us the angles we need to cut for timbers, and the length. It improved the accuracy of the physical fabrication and saved a lot time on calculation.

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During the 1990s, the computation and digital modelling tools were significantly shift from two dimensions to three dimensions. The complex 3D models was buildable in software since that time. By further developing those 3D modelling tools by applying material capacities, external environmental influences and forces. Simultaneously, the architectural design was starting to shift from ‘Composition’ to ‘Generation’. There are more and more software can be used to simulate the physical factors such as Karamba, Abaqus and Rhino Vault. In digital world, we are able to generate a digital model of a physical fabrication with enough details. There are some Engineering programs can actually help them to analyze the weakness points of the structure and them to help them find out the solutions to avoid the failures. However, it depends on the level of skills of users on those software. In grasshopper, for example, the component ‘Spring from mesh’ is actually designed based on Hook’s law, which tells us that the force is proportional to the stiffness multiplied by the displacement - the difference between the rest length and current length. Assuming the Rhino dimensions are in meters (m), then your mass is in kilograms (kg), and your force in newton’s (N). If the set up in ‘Rhino’ is right, then I would be able to simulate the material capabilities and environmental conditions for users. However, the simulation would not be correct if the input is wrong. If we cannot find the exact value of the elasticity of the fabric we used, then we are not able to simulate the digital model. Therefore, we can ideally generate a digital model with enough details but it is very difficult to manipulate all input values. But it can help us to fabricate the model physically such as the timber frame we created in ‘Rhino’.

Figure 10. Engineering and optimization

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B4. Technique Development Advantages:

Drawbacks:

Capabilities:

Constraints:

1.

Reduce large amount of non-reusable material by comparing to conventional formwork Such as re-usable cables, scaffoldings.

2.

Saving concrete, less concrete needed to build the ultra-thin roof.

3.

During concreting the roof, the area underneath remains unobstructed.

4.

Can be pre-fabricated.

1.

By combining cable net with fabric, it is possible to be the formwork for large span project.

2.

It is possible to form a wide range of anticlastic shapes (multiple Hypars) 3.

It is possible to produce ultra-thin shell structure 4.

The project can be self-supported.

5.

Adjust the length of cable (tightness of cable) to increase the curvature.

6.

Work with computational methods to optimize the system or find weakness points in order to strengthen the system.

Improvement:

1.

It requires high skilled labor to do the concreting.

2.

Needs to make sure the load distribution is accurate.

3.

Difficulty to install utilities on the project( ultra-thin concrete shell structure)

1.

Difficulty in to build a dome-like structure as gravity is acting upon the cable-net. To be able to build the complete design as a whole it would be extremely difficult. Thus, needing to separate the whole design into sections and then form as one after it has been built and cast.

2.

Controlling the concrete load on the cable-net need to be accurate in order to avoid failure.

Thus capability of cable-net need to be calculated and then the thickness of concrete needs to be controlled as well. Therefore the concrete shell cannot be too thick, otherwise it will occur failure.

3.

Difficulty in casting concrete on an angle which is larger than 90 degrees. Because the concrete will fall off.

4.

The load bearing capability is limited, large number of weight may cause failure to the whole system.

5.

Difficulty in making openings.

To improve the system from case study, we need to investigate the method that ETH Zurich group used on Nest Hilo. And then analyze the system from materials they used, additional computational support they used. Hopefully we can potentially improve our understanding of the system and make it better. The first thing we need to improve is to incorporate our digital design with computational analytical software to exam the weakness points, main load bearing points and maximum concrete thickness we can apply to our project. By adding more external environmental influences, internal material capabilities and forces into the simulation, the cable net system can be optimized digitally. The second important thing is that we need to gain more understanding about the material we use such as the concrete mix ratio, the cable maximum capability and the elasticity of fabric. Therefore the cable net fabric formwork system would be optimized physically.

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Figure 11. Cable net fabric formwork system on Hilo

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Formwork variations:

Our system and iteration basis, the Hypar can actually produce numberous of interconnecting hypars which can be in different scale, can be trimmed to curved edges, void in the middle and so much more. Thus the cable net fabric formwork system has a lot possibilities need us to explore.

By analyzing the cable-net fabric formwork system, the first point in constraints may not be a constraint. Because the property of cable can generate the other benefit to us, we can use the system reversely to get a dome shape. This is very similar to the design of Antoni Gaudiâ&#x20AC;&#x2122;s Sagrada Familia. By further exploring this idea, we realized this system can be used to create catenary design. Thus it has almost infinite variations waiting for us to explore.

Figure 12. Antoni Gaudiâ&#x20AC;&#x2122;s Sagrada Familia Figure 13. Catenary Design Figure 14. Catenary Design

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B5. Physical prototyping process and Results

Prototype 1 vs. Prototype 2

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B5.1 Prototype 1 Process

1.

The first step we did was to test the elasticity of the fabric and stretch it to be a hyperbolic paraboloid shape. For our cable net system, we do not want the fabric to be very stretchable. Thus we choose the geotextile (Right) one as the fabric for Prototype 1.

2. The second step is to get all materials we need for the cable net system.

Turnbuckle- Adjust the tightness of the cable to create more curvature and variations.

Eye bolts- use as fixed end Swage- use to fix the cable and make a round end.

2mm wire rope 0.9mm steel wire will be used to fix intersections of cables.

3. 600*600*600mm timber frame Equally divide the length of each side to seven. Seven holes were made for cables to go through.

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4. Half of the ends are fixed and the other half are fixed with turnbuckles. So the cable tightness can be adjusted after the cable is trimmed.

5. After fixed all the intersections between cables, the cable-net system is done.

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6. Place membrane to stop moisture losing from con- 7. Mix concrete crete which can reduce shrinkage, Pour concrete onto the fabric and then smooth the And then we placed the fabric above the membrane. surface of concrete to finalize the prototype 1.

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B5.2 Prototype 1 development: Re-casting

The first prototype was pretty successful in terms of exploring and constructing the formwork for a single hyperbolic paraboloid by using cable net fabric formwork system. We gained our understanding to the system and the hypar as well. But this attempt was very conservative, we only made the highest point to 200mm high and the other one to 100mm high. The prototype one used turnbuckles to adjust the tightness of the cable which can help us to achieve different curvature. The wire fixing provided us a rigid and stable cable-net surface. These two components are very important to the prototype 1. However, we ignored about the natural property of concrete, it can be very weak in large span without reinforcement inside the concrete. Thus we forgot to put reinforcement when casting concrete. Unsurprising, it cracked while we trying to lift it up from the fabric. The other factor caused this failure is the time, we did not wait for more than 24 hours to let the concrete set before we lift it up. Therefore, we improved our prototype one by adding reinforcement mesh, changing the concrete/water ratio and the type of concrete as well. This time we used â&#x20AC;&#x2DC;Fast dry concreteâ&#x20AC;&#x2122;, it would be set in 15 mins. However, the concrete surface are not smooth like before. Simultaneously, the concreteâ&#x20AC;&#x2122;s strength undoubtedly increased.

To make the next prototype better, we must add reinforcement to minimize the shrinkage, choose the right concrete and achieve the suitable concrete/water ratio. The other important improvement is to replace the geotextile fabric to another kind of fabric which has smooth surface and less stretchable.

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B5.3 Prototype 2 process:

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B5.4 Results from prototyping Result from protype 1: It demonstrated that the feasibility of using both large cable nets with a secondary system of fabric shuttering as well as fabric directly as a formwork for concrete shells and it represented its capabilities on forming doubly curved concrete shell structure.

Result from Prototype 2: We tried to make a curved hyperbolic paraboloid with more curvature. We also applied our ideas of void and round edges. We were aiming to fabricate this prototype as a part of our proposed design to demonstrate that curvier Hypar can be achieved by using this system as well. This prototype 2 used same materials of the cable-net system as the prototype 1. However, the differences between them are the timber formwork, the mixture of concrete and the fabric. This timber formwork is much more complicated than the one used in prototype 1, however, we used rhino to build up the timber framework before we start prototyping. It clearly told us what angle we need to cut for each timber and then assemble them together to get the complex framework. The concrete type we used for prototype 2 was the cement and sand without any stones or other aggregates. However, it does not perform well. The third improvement we made is replacing the geotextile fabric to the black fabric with the mixture of 70% polyester and 30% Lycra. It performed much better than the geotextile one, but the moisture in concrete lost from the fabric. Thatâ&#x20AC;&#x2122;s why the bottom of the concrete shell was shrinking. For further improvement, we would like to place a layer of waterproofing membrane above the fabric. This prototype 2 demonstrated that we are able to form curvier hyperbolic paraboloids shape with the cable-net fabric formwork system and continuous concrete shell can be formed in once with complex timber framework.

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B6. Site

Figure 15. New student Precinct

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Analysis

Project: University of Melbourne New Student precinct Location: Carlton, Melbourne, Australia Architect: Lyons Architecture Group Year Built: Under Construction 53

Figure 16. View from Alice Hoy 54

B6.1 Project brief and analysis Project brief:

The New Student Precinct offers a once in a generation opportunity to transform the campus-based student experience and provide benefits and quality outcomes for university student and staff. It aims to be a world-class student precinct.

Location:

The precinct will be refined by Monash Rd to north, Grattan Street to the south, Swanston Street to the east and the Melbourne School of Engineering Precinct to the west, incorporating nine University of Melbourne buildings.

Transportation:

The precinct is conveniently located on the campus, it will be directly accessible and linked to the nearest public transport such as the tram station on Swanston Street and the metro station in the future and walking distance to the neighbouring communities. It represents the New student will become a hot spot for university communities, students and visitors.

Recreation:

It created a large social hangout area and large space which focus on events and activations. And then providing opportunities that enable all students to get involve into it.

Study space:

The precinct will provide contemporary study and informal 24/7 study spaces.

Environments/landscape:

The precinct is home to both heritage and significant listed trees that university is committed to protecting.

The 1888 garden will be protected and be remained.

Scope:

The precinct incorporated nine university buildings. Those nine building will be refurbished or re-developed to respond to the change of the campus view. By lowing the ground, it will provide enhanced accessibility to the campus. New art and new cultural centre will be located in the precinct.

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B6.2 Design Tasks The design task is to design a bike shelter in the New Student Precinct of Melbourne University by using cable net fabric formwork system. However, we wanted to beyond the brief to incorporate both productivity and creativity in our design. And then we want to design a project more than just a bike shelter. Therefore we listed some ideologies which will be found into the new student precinct into our bike shelter.

Community

Public Realm

social

Urban diversity

Bike shelter

connectivity

Identity

Amenity

B6.3 Proposed location of bike shelter Determining the proposed location of the bike shelter:

1.

We were inspired by the precedent ‘Hyparboles’, it HYPARBOLE’s multifaceted formal character draws visitors in from all angles. Its three paraboloid edges peel up towards distinct directions of approach1 . Because we are proposing to design a multifaceted ultra-thin concrete shell structure, it will be very interesting if we place the bike shelter there. Firstly, it draws people to enter into the open social hangout area from two directions through the shelter. It is gives people a sense of feeling about entering into a new world or entering into University-life.

2.

The new student precinct was designed as ‘walking distance to neighboured communities’, thus people does not need to ride their bike in the precinct. It will reduce the risk to pedestrians in the campus.

3.

The location of bike shelter will not influence the existing landscapes. There is no vegetation near the location.

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B6.4 Proposed Site View

Figure 17. View from Alice Hoy 60

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B6.5 Design Proposal

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Design proposal:

1.

24/7 bike shelter with multiple functions. It incorporate ideas with the design proposal of the New Student Precinct. We are trying to make the form more dynamic and openness.

2.

Hypar edges extend to the social hangout area to provide shading for students

3.

Guiding circulation- people come into the campus from two different directions through the bike shelter. Firstly, it can reduce the amount of bikes in the campus which is able to reduce risk to students.

Secondly, it becomes a dramatic opening to campus scene. It may attract more visitors.

4.

B6.6 Inspirations

Pavilion for students

Figure 18. Hyparboles(night)

The proposed design was inspired by the Hyparboles Pavilion. It combined three doubly curved surfaces to create the base structure of the pavilion and the base geometry is a triangle. We decided to play with four hyperbolic paraboloids to generate our proposed design. The other inspiration we got from the Hyparboles is the opening in the middle. Designing an opening in the middle will not affect too much about the structure. Thus it is a strategy to make ltra-thin concrete shell structure look more dynamic and it allows sun light penetrate into the bike shelter as well. Therefore we decided to have an opening in the middle.

The last inspiration form the Hyparboles is trimming all edges to avoid the constraints. It is very difficult to achieve the sharp corner by using concrete. Because it is very easy to shrink, thus we decided to trim all sharp edges.

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Figure 19. Armadillo Vault designed by ETH Zurich 1.

Void: Armadillo Vault designed by ETH Zurich Ideas of the pavilion: Stone structure, 399 slabs of limestones and no glue.

Similarities to our project: The geometry, Load bearing system, material properties and the digital and physical design processes.

Shape: Curvy canopy (Pavilion) Span up to 16m Digital design processes: Rhino Vault & Tessellation design Physical fabrication: Edge supports, scaffold, timber formwork, place limestones on, decanting formwork and then get the self-support structure.

The concept: Compressive force affects the architecture design.

Sustainable materials rather than steel.

Play with geometries and force.

Inspiration: The pavilion was designed in a exist building with 8 structural columns inside.

The form finding in this pavilion is quite interesting because it has two columns inside the pavilion and the designer created two voids for the columns to minimize the influences to the exist building. The second reason for the voids is about the natural lighting I suggest, and I took that point as one of my considerations to the new project. We wished to have a contrast/comparison between the old style building to the new generation building (parametric design or other digital design), so we want the bike shelter to build on exist building without affecting it. Thus the natural light sources of the building should not be affected. Secondly, the void can provide natural light to the bike shelter in order to save energy for environmental sustainability.

Figure 20. Form-finding drawings

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B7. Learning Outcomes Part B of studio Air is a group task, it challenged me ot on teamwork and communicating with group members. Fortunately, we have overcome almost all challenges in this part. The part B has its own complete sequences of exploring the topic which was given by tutor. Nobody understood the topic at the beginning, but by following the procedure of exploring the topic, such as form-finding, making iterations, searching possibilities of a simple shape, we are able to see the possibilities that the hyperbolic paraboloid has. By generating the digital model in Rhino and Grasshopper and play with it, we are gaining our understanding to the topic. After generation of the digital model, we used â&#x20AC;&#x2DC;Kangarooâ&#x20AC;&#x2122; to simulate forces, external environmental influences and material properties, and then as the result, we can demonstrate our assumptions by simple sliding the numbers in Kangaroo. It saved us a lot time on physical fabrication as well. For instance, we generated the timber formwork in Rhino, then we do not need to calculate any angle between two timbers, thus the computation allow us to explore more complicated designs.

After the prototyping the hyperbolic paraboloids, we clearly understood the advantage and disadvantage of the cable-net fabric formwork system; the capabilities and constraints as well. I love fabrication, so I think physical fabrication has more fun than the digital simulation. Physical fabrication always challenge me and my understanding to the cable-net fabric formwork system, it always inspire me about the potential of the system such as use the cable net system reversely can actually have the same principle as Antoni Gaudiâ&#x20AC;&#x2122;s Sagrada Familia. Therefore I enjoy the study in part B and more excited about the coming part C. HAHA

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B8. Appendix- Algorithmic Sketches

Figure 21. the Bridge over the Basento River by Sergio Musmeci

Figure 22. Los Manantiales / Felix Candela The top one is the Bridge over the Basento River by Sergio Musmeci. And the other one is Los Manantiales designed by Felix Candela. These two projects are my favourite projects, I tried to simulate them in grasshopper in order to understand their designerâ&#x20AC;&#x2122;s thinking while designing this kind of project. Therefore it helped me to analyse the structure of the project and the generation process of those project. I believe that I can take their thinking into my own design thinking.

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B9. References Figure 1. A stack of hypars made of 3/8 dowels.

Figure 2. Cable-net and fabric formworks for concrete shells Figure 3. Cable-net and fabric formworks for concrete shells Figure4. NEST HILO by ETH Zurich Figure 5. Analytical drawing of Nest Hilo Figure 6. NEST HILO by ETH Zurich Figure 7. Hyparbole by Marc Fornes / THEVERYMANY Figure 8. Los Manantiales / Felix Candela Figure 9. Analytical drawing of Los Manantiales Figure 10. Engineering and optimization Figure 11. Cable net fabric formwork system on Hilo Figure 12. Antoni Gaudi’s Sagrada Familia Figure 13. Catenary Design Figure 14. Catenary Design Figure 15. New student Precinct Figure 16. View from Alice Hoy Figure 17. View from Alice Hoy Figure 18. Hyparboles(night) Figure 19. Armadillo Vault designed by ETH Zurich Figure 20. Form-finding drawings Figure 21. the Bridge over the Basento River by Sergio Musmeci Figure 22. Los Manantiales / Felix Candela

Actar Publishers, ‘urbannext’, Hyparbole: The Lit Lightness ( Actar publisher, copyright date 2018), website: https://urbannext. net/hyparbole/ [Date Accessed: 18/04/2018]

Construction prototype for ultra-thin concrete roof’ ETH Zurich, 12 Oct 2017. Accessed 15 March 2018. https://www.ethz.ch/en/ news-and-events/eth-news/news/2017/10/innovative-construction.html ) Diederik, Veenendaal, Philippe, Block,’ Design process for prototype concrete shells using a hybrid cable-net and fabric formwork’, 2013, p39-50.

Michelle Miller. “AD Classics: Los Manantiales / Felix Candela” ArchDaily. 14 Apr 2014. Accessed 21 Apr 2018. <https://www. archdaily.com/496202/ad-classics-los-manantiales-felix-candela/> ISSN 0719-8884 Veenendaal D. and Block P, ‘Design process for a prototype concrete shells using a hybrid cable-net and fabric formwork’,Engineering Structures,75: 39-50,2014.

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CONTENT:

C.1. Design Concept

- C.1.1 Re-assessing design proposal: Design Problems

-C.1.2 Precedent selection: Form

C.1.3 Precedent Selection: Method of using Hypars C1.4 Voids C1.5 Deciduous tree through the void

C.1.6 Conceptual Drawing and redefined design concept

C.2. Tectonic Elements & Prototypes

-C.2.1 Diagram of construction process and technique -C.2.2 Prototype 3

-C.2.3 Material Selection: Fabric

-C2.4 Patterns inside the shell -C.2.5 learning from prototypes

C.3. Final Detail Model

-C.3.1 Hero Images

-3.2 Top view of the form

-C3.2. Interior- Light and shadow -C.3.3 Form Analysis

-C 3.4 Analyse the structure form section

-C.3.5 Voids on the final form -C.3.6 3D model and surroudings

-C.3.7 Physical fabrication: Digital to Reality

-C.3.8 Construction process and material selection

-C.3.9 Bill of quantities

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C.1 Design Concept:

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C1.1 Re-assessing Design Proposal: Design Problems

Figure 1. 10 am in the summer

Figure 2. 16 pm in the summer

In the winter, sunlight is the great source of heat. So our design should allow abundant sunlight penetrated into the shelter. Therefore, voids on the shell structure are necessary. During the daytime, the concrete shell structure would absorb thermal energy and release at night, so the interior of the structure will not be freezing cold.

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1.

Shading Melbourne has extreme weather sometimes in the summer and the average temperature is around 29 °C. Sometimes the temperature up to above 40 °C. The duration of the sunshine can be more than 14 hours.

As these two images shown, the new student precinct does not have enough shading provided in the public hangout area and market area during the summer. Therefore our design has to be able to provide shaded area for the new student precinct.

Figure 3. 12pm in the winter

Figure 4. 14pm in the winter

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Figure 6. bike racks in campus

Figure5. bike racks in campus

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2.Circulation and lack of bike racks

Figure 7. bike racks in campus

There will be a large amount of populations active in the new student area, especially during the lunch time. All bike racks are distributed in the campus.

Problem: 1. Difficult to find the bike rack.

2. Not enough bike racks.

3. Ride a bike in the campus is pretty dangerous to pedestrians.

Thus we want people to leave their bike when they entering the university.

4. Bike racks may block the circulation and then cause inconvenience.

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C.1.2 Precedent selection: Form

Figure 8, Hyparbole, MARC FORNES / THEVERYMANY

Figure 9. Carbon fibre-reinforced concrete, Chemnitz Technical University

Figure 10, Felix Candelaâ&#x20AC;&#x2122;s form

Figure 11, Hyperthreads, Tec de Monterrey, Santa Fe, Mexico City

figure 12, Bacardi Visitor Pavilion, San Juan, Puerto Rico, 1960

Figure 13, Suspended model of IL and, by inversion, the corresponding Grid Shell

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â&#x20AC;&#x2DC;Hyparboleâ&#x20AC;&#x2122; pavilion- MARC FORNES / THEVERYMANY

Catenary structure

Felix Candela

Hyperthreads, 2011 | Tec de Monterrey, Santa Fe, Mexico City

green hyperbolic paraboloid pavilion 22 feet above the ground Force to the concrete base Base geometry: Triangle Number of hypar: 3 voids allow light penetration inspired by felix candela aluminum-efficient structure and less cost three entrances

Comprised of four intersecting hypars Rounded edge strikingly thin roof surface an efficient way to cover large spaces eight-sided groined vault

Bacardi Visitor Pavilion, San Juan, Puerto Rico, 1960 Comprised three un-trimmed hypars sharp edge large span and large space underneath Thin structure varying height of each hypar guiding circulation with three entrances

Mesh relaxation with 5 legs.

Concrete structures reinforced with carbon fibers Concrete slabs on facades only 2 cm thick

Catenary + hyperbolic paraboloid small span thin structure

Suspended model of IL and, by inversion, the corresponding Grid Shell Dynamic relaxation method inspired by Antoni Gaudi upside-down force model catenary structure

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C.1.3 Precedent Selection: Method of using Hypars Philips Pavilion / Le Corbusier and Iannis Xenakis VS. Los Manantiales / Felix Candela

Figure 14, Philips Pavilion / Le Corbusier

78 Figure 15,Los Manantiales / Felix Candela

Philips Pavilion / Le Corbusier and Iannis Xenakis: The execution of the design involved a tensile structure of steel cables strung from steel posts at the end of the tent to form the hyperbolic paraboloids1. It comprised nine hyperbolic paraboloids with varying sizes in order to generate the final form.

Advantages: 1. The design can be more flexible, and infinite outcomes by playing a few Hypars.

Figure 16, Structure of the Philips pavilion

Disadvantages: 1. Too complex 2. Needs construction engineer to analyze the way of construction.

3. Sharp edges has higher shrinkage.

Los Manantiales / Felix Candela

Figure 17, Nice Hyperbolic Paraboloids in Philips Pavilion.

Design Decision: After we analyse the advantages and disadvantages of those two different methods, we decided to combine two methods together to generate the new form.

CONCEPT: Simply combine varying sizes hypars but trim sharp edges to rounded to minimize the shrinkage.

The roof is a circular array of four curved-edge hypar saddles that intersect at the centre point, resulting in an eight-sided groined vault.

Advantage: 1. Rounded edge, less shrinkage 2. The method is simpler 3. Symmetric 4. Large span with simple structure Disadvantages: 1. The design is restricted by the number of hypars. The design outcomes are uniform.

Figure 18, Design method behind the Los Manantiales

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C1.4 Voids

Voids:

Figure 19, Rounded voids on concrete structure

The structure will be a thin concrete roof structure with a large span, so the interior will definitely be very dark and depressing. Therefore openings, sunlight and sky would help visitors to reduce the depressive feeling. Our inspiration of the void is from the ‘Hyparbole’ and then we decided to create a similar void at the center of our form. Furthermore, the void will have an angle towards the sun to maximize the sunlight penetration.

80 Figure 20, ‘Hyparbole’ at night time

Figure 21, Chichu Mesuem in Japan

C1.5 Deciduous tree through the void

In the summer, the temperature in Melbourne can rise up to 40 °C. So the concrete shell would absorb a lot thermal mass and release the heat at night, it will accelerate the bad impact of ‘Urban heat issue’. Therefore, we decided to transplant a deciduous tree and placed in the centre of our form and through the void.

Advantages: 1. Minimized thermal heat absorption to the concrete.

2. Reduce the feeling of depression when people in the pavilion 3. Leaves can be recycled as manure Disadvantages: 1. Block light sources 2. leaves need to be collected by cleaners

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C1.6 Conceptual drawing and redefined design concept CONCEPTUAL DRAWING: 1.

Extended cantilever with rounded edge and provide shading to people 2.

Large entrances with four bases in order not to affect the circulation 3.

Bikes are locked to the concrete bases.

4.

Voids in the middle to provide sunlight penetration 5.

Deciduous tree through the void and then minimize the thermal heat absorption of the concrete in the summer and leaves goes off in winter.

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FORM Hyperbolic paraboloids

Multiple hyperbolic paraboloids with varing sizes

TECTONIC Structure: Concrete thickness: the concrete shell become thiner at the top and thicker down the bottom. Because of the bottom of the shell need to bear more loads than top.

Estimate thickness: 10mm<x<30mm Legs of Hypars: Cast by cuboid raw concrete with traditional timber formwork.

Combining those hypars in different position to generate the form

Numbers of hypars in the structure should be equal to the number of legs (bases). Otherwise, there will be a â&#x20AC;&#x2DC;Mâ&#x20AC;&#x2122; shape catenary structure.

Cable-net: Thickness of the cable: Prototype: 2mm diameter Reality: 15mm <x< 3mm diameter Connections: Prototype --- Steel wires as simplified connections to make to cable-net.

Reality --- Nodal cross clamps Steel plate as connection for the timber

Site Analysis Supporting: Temperary timber formwork Circulation and the topography

Determine the number of hypars and entrances of the shelter in order not to affect the circulation of the site

Sun path analysis

Temperary Scaffolding Adjustment: Turnbuckles to adjust the tightness of the cables to ensure the cable-net will not be deformed by the weight of wet concrete. voids/opennings: Use Image sampling in grasshopper to generate the shape by simulating the image we given. And then when the light throught the voids, it will project the image to ground.

Determine the location of the shelter and the position of opennings to maximize the light penetration into the shelter.

C2.1 Diagram of construction process and technique

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FABRICATION

Drill holes by using driller

Cut timber by using circular saw

INSTALLATION

Set up the scaffolds

Assemble timbers in the right position by bolting steel plates.

Cable fix to the timber Cut tubes in varing sizes in order to make voids Connect all cables to become a cable-net by using steel wires or nodal cross clamps

A polymer fabric is then stretched across the cable net and lined with a mesh textile, which is then sprayed with concrete

Figure 22, construction photos of Hilo Nest

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C2.2. Prototype 3:

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We used same fabrication method on prototype 1&2 to fabricate the prototype 3. We fabricated a scale 1:10 physical model to demonstrate that the thickness changing form the base to the top can be used to our design to minimize the weight of the structure and reduce the total cost of materials. The second thing we demonstrated is that the structure has a 75°angle to the ground and it can be self-supported and the concrete can be cast within the angle.

Process of making the prototype: 1. â&#x20AC;&#x2DC;boolean differenceâ&#x20AC;&#x2122; the leg out and scale it down to 1:10 2. Bounding box to get the size of timber frame.

3. build up the framework and cable-net fabric system.

4. after the concrete set, we remove the concrete panel from the formwork and then cast the concrete base for the concrete panel.

5. After one day, the concrete panel will be able to stand alone.

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C2.3 Material Selection: Fabric

Figure 22, Grunt 2 x 20m Non-Woven Geotextile Membrane

Grunt 2 x 20m Non-Woven Geotextile Membrane • Fuzzy • Low stretch tolerance • Strong • Absorb water • Primarily used by landscapers, plumbers and civil contractors, it is a hard wearing and cheap, effective solution for the management and prevention of soil erosion and moisture loss.

Applied on prototype 1, the fabric has enough strength to bear the load of concrete but it was too difficult to peel the fabric off from the concrete. The concrete panel was fuzzy as well.

Mixture of 70% polyester and 30% Lycra • One direction stretchable • One side smooth and the other side fuzzy • High strength • Thick Applied on Prototype 2, this is a great material for casting concrete. It gives us the patterns we want inside the shell.

Calypso Black Block-out Eyelet Curtain • Non-stretchable • High strength • Thick Applied on prototype 3, the patterns inside the shell are not really visible, Because the fabric is non-stretchable.

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C2.4 Patterns inside the shell

Prototype 1, square pattern

Prototype 2, Rectangle pattern

Triangle

Square

Pattern inside the shell:

Pentagon

Hexagon

The surface of the concrete shell fabricated by cable-net fabric system can be smoothed and polished but the side covered by fabric can only be changed by the arrangement of the cable-net. If the geometry on the cable-net is triangle, then the patterns inside the shell will be triangle as well.

By using different stretchable fabric, the thickness of the pattern will change.

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C2.5 Learning from Prototypes

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During the semester, we did three physical prototypes to help us to gain our understanding of the cable-net fabric form-work system. There are two kind of prototypes, digital prototype and physical prototype. We did more than 50 iterations in the grasshopper to get the form we want and then used three prototypes to understand the fabrication process of the system and the physical properties of the structure as well. We also used prototypes to test all the materials we intended to use for our fabrication. Prototypes allows us to learn faster from mistakes and keep moving forward. Because the majority of the prototypes do not go exactly same as what we planned. Therefore, we learned a lot more from prototypes than simply playing forms in digital world.

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C3. Final detailed model

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View point 1 93

C3.2 Top view of the form View point 2

View point 5

A

View point 3

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View point 1

View point 4

A

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View point 2 97

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View point 3 99

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View point 4 101

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View point 5 103

C3.3 Interior design-light and shadow

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Interior 1 105

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Interior 2 107

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Interior 3 109

C3.3 Final form analysis 1

2 3

5

4

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• Five hyperbolic paraboloid with varying sizes • One centre point.

• Side to side connect to each other which was designed with the same method of designing philips pavilion and we simplified the position of hypars to generate a simple design for the shelter. (The design does not have to be complex) • Four concrete bases as supporting. However, the structure has five hypars combining together. Therefore we designed a suspended edge between hypar 1 and 2 which is similar to the catenary structure.

• Thicker at the base and thinner at the top, because the strategy can increase the stability of the structure and minimize the cost of concrete.

• The sharp edges of hypars would cause shrinkage and then decrease the durability of the structure.

Therefore we used the method from Felix candela’s Los Manantiales. It used curved-edge hypars to minimize the risk of shrinkage. Thus we trimmed sharp edges and smoothed them to be rounded.

• Three entrances and one overhang to provide shading to the platform were created by the structure.

• Guide circulation

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C 3.4 Analyse the structure form section

Thickne

Thickness: 180mm

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ess: 80mm

Thickness: 60mm Thickness: 100mm

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C3.5 Voids on the final form

Figure 23, bubbles

Figure 24, Chichu museum in Japan

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Main void in the centre of the structure: it was inspired by the ‘Hyparbole’ and the ‘Chichu Art Museum’ in Japan. The massive voids on the structure can actually reduce the depression and provide abundant sunlight to the interior of the structure. After the structure analysis, we found that the structure in the middle does not take much load and it would not affect the performance of the entire structure.

Bubbles/ small openings: Bubbles can give people a kind of fresh and dynamic. Visitors would feel like the whole structure is breathing.

And then more light can be penetrated into the shelter. We used four sets of bubbles on the structure and most of them are on the north side of the structure to maximize the light penetration.

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C3.6 3D model and surroudings

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C3.7 Physical fabrication: Digital to Reality

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C3.8 Constructio and material se

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on process election

Concrete thickness: 60mm-180mm

The best ratio of Cement, Stone and Sand for roof 3 parts sand, 1 part cement, and 3 parts aggregate will generate a concrete mix.

It will make the concrete structure has M30 grade quality.

Fabric: white Polymer

This is the one of the most efficient fabric can be used to be the form-work for casting the concrete. It is cheap, high strength and less stretchable than those fabric we tested for the prototype.

Cable-net: 10mm Diameter

The size of the each net on the structure will be 700*700mm. Thus we need much thicker than the cable we used to fabricate the prototype. Therefore 10mm diameter should be able to bear the load of the concrete.

Temporary timber framework: 300*300mm sectional area Connected by steel plates.

Scaffolding and props: temporary support to against the inward forces.

The Max weight capacity is 3400kg for each prop.

Base plates: Fix to the ground to against movement.

Those plates can fix props to the ground to increase the capabilities.

Concrete base: These will be cast on the site to fasten the whole structure to the site. This is the only one step needs to be done on the site, others can be prefabricated.

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C3.9 Bill of quantities

Total period

labo $ 100

Area of the Flattened Surafce: 585 m2

$606 per 2.9 m3 TOTAL: AUD $11002 for concrete

Thickness of the concrete: 50~120 mm total volume: 52.65 m3

$12 per meter Cable-net: Diameter: 10mm Total length: 1786M

total: $21432

Fabric: polymer: Approx: 700m2

Bolts & Node component: Approx: 500 bolts 500 nodes

Total: $1890

TOTAL: $ 5000 124

conctruction d: 55 days

Total construction budget: $185824

or fee: 0000

$1200 per day Scaffold: approx: 60 props

Total: $36000

Labor: scaffolding: 2 days timber edge installation: 5 days cable-net: 10 days fabric: 2 days reinforcement mesh: 3 days concreting: 1 day decentering: 1 day polishing the surface: 3 days Machine fee: Aud $10000 for all Electricity & water: Aud $ 500 for all

$10000 $500 125

C.4. Learning Objectives and Outcomes Even though the computation and the digital design tools are popularizing and there are more and more designers use those digital tools to generate very fancy and awesome designs what we have never seen. But those designs can only exist in digital world. The key concept I found several key concepts about how to balance the use of digital tools and the physical practice. The best architects in the best companies love to make prototypes to test their thinking and design, because they can spend about 10 mins instead of several hours to understand the design system they use. Thus most of those tests were not run as what they planned, so they can rapidly learn new knowledges from those mistakes they made. If they just sit in front of the computer and playing with iterations for a few hours without making prototype in real life, the design outcome will definitely collapse. However, if they donâ&#x20AC;&#x2122;t play the form with the digital tool, they would spend a few hours to draw a single design which is not efficient. Therefore balancing the digital design and physical practice is quite important to designers. Throughout the study of the whole semester, my group did more than 50 iterations in Rhino and made four prototypes (included the failed one). All members in my group gained their understanding to the cable-net fabric formwork system and the hyperbolic paraboloids by keep practicing those two systems in digital and physical world. Most of the assumptions we suggested are correct, but there are also a lot of assumptions failed. However, we learned from our mistakes and then developed the design by correcting those mistakes.

One of the major challenges I have begun to overcome throughout the semester is incorporating the digital design and the physical fabrication. The design we generated in software are always fancy, but it is normally difficult to fabricate in real world. Now, I have ability to think about what materials and construction processes I can actually use to make my digital design become true.

The other challenges I faced while designing the form was that I always have a lot new ideas in my mind but I could not figure out what I could take or abandoned. During this semester, I learned how to organize my thinking while designing a project and learned how to discuss my thinking with my teammates as well.

Now, I am expecting more and more challenges and â&#x20AC;&#x2DC;Studio fireâ&#x20AC;&#x2122;. Haha

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C5. References Michelle Miller. “AD Classics: Los Manantiales / Felix Candela” ArchDaily. 14 Apr 2014. Accessed 21 Apr 2018. <https://www. archdaily.com/496202/ad-classics-los-manantiales-felix-candela/> ISSN 0719-8884

Construction prototype for ultra-thin concrete roof’ ETH Zurich, 12 Oct 2017. Accessed 15 March 2018. https://www.ethz.ch/en/ news-and-events/eth-news/news/2017/10/innovative-construction.html )

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