Chow Neuman 718056 Final Journal - Studio AIR

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B.1

Research Field

B.2

Case Study 1.0

B.3

Case Study 2.0

B.4

Technique: Development

B.5 Technique: Prototypes B.6 Technique: Proposal B.7

Learning Objectives & Outcomes

B.8 Appendix

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B.1 RESEARCH FIELDS

//STRIPS+FOLDING Strips and folding are the fundamentals of origami and has inspired interesting forms and patterns that can be further developed through repititive series of the similar process to increase the geometrical complexity. Strips are more so the element that needs force acting on it Folding - to inform a design outcome.

The process of designing through folding frees the designer from any preconceptions of final form and also abolishes any exisiting architectonic images as the eye is just focused on what the next step is, being curious of the outcome. This process is linked to the subject aim where computational processes take over the role to compute the final form, while the designer inputs parameters and curiously waits for the outcome as well.

Apart from that, folding is about creating links between the steps that derives the outcome design - in a way it is similar to a ‘grasshopper logic’ itself. It gives way to accidental results - unintended - and propels design in a way that unintentional outcomes could be the undiscovered path into new realms of styles1.

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Sofia Vyzoviti, Folding Architecture: Spatial, Structural and Organizational Diagrams (BIS, 2003), p.2.

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Seroussi Pavillion B I O T H I N G Alisa Andrasek

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B.2

CASE STUDY

01

The core element in the design of the Seroussi Pavillion are the self-modifying patterns derived from the vectors of electro-magnetic fields emitted from selective points on the site. It is a very intelligent algorithmic process in which its form-finding was dependent on the hilly site, whereby the strips emitted from the point charge is finding for the ground to land on. As such the shape is influenced mainly by the repulsions and attractions of the electro-magnetic fields from each point charge connecting lines into an organic floral pattern.

The lines presented from this algorithm allows possibilities of various form of folding/strips panellings in Grasshopper that can alter the character to be more complex and potentially reach its optimal setting in terms of design tailored to site.

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B.2 CASE STUDY 01 ITERATIONS SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

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ITERATIONS

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r 2.8 curve divide 20

r 2.8 curve divide 40

r 0.2 curve divide 40

SPIN FIELD INTRODUCTION

4

r 0.2 curve divide 5

strength 20

SPECIES 2

3

SPECIES 1

2

CURVE DIVIDE/RADIUS SIZE

r 0.2 curve divide 20

strength 10

strength 5 //3DVIEW

multiplication 5//3DVIEW

extrude Z 1.0//3DVIEW

Variable Pipe 0.1 | 0.2 | 0.3 | 0.5 | 0.8

LB Triangle Panels B u3|v3

LB Triangle Panels C u4|v7

TWO CHARGE RELATIONSHIP

Polygon | hexagons curve divide 10

SPECIES 4

CURVE EXTRUSION/PANEL

SPECIES 3

Lunchbox Quad Panels u3 |v5

Bezier Graph | Default Point Charge, Strength 5 r 0.8

Bezier Graph | Altered 1.0 Point Charge, Strength 5 r 2.8

Bezier Graph | Altered 2.0 Point + Spin Field, Strength 5 r 2.8

Bezier Graph | Altered 3.0 Spin Field, Strength 5 r 2.8

Bezier Graph | Altered 4.0 Spin Field, Strength 5 r 5.5

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ANALYSIS OF RESULTS / SELECTED ITERATIONS \

SPECIES 1. 5

This iteration was chosen amongst the the series of Species 1 as I felt the density of lines shows great potential in being a form of shading pavilion whilst being very delicate and light to complement the surrounding environment. It resembles fibres forming lobes branching outwards of the point charge just like the delicate leaves on CERES site branching out of the core barks.

Potentially being able to fabricate with weaving of high tension nylon threads that pulls and form the lobe sea-shell form.

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S

Iterations was an important process of design in which it helped me to further understand what each Grasshopper component does and how I can actually alter forms through them to obtain my desired visualization that feeds the design brief best.

The main criterias set out in my selections were aimed to choose iterations that was able to provide adequate shading intentions without compromising aesthetics as well as being non-intrusive to the site to maintain the openness of the area.

SPECIES 2 . 2

This iteration presents a further design interest in making a pavillion that produces the desire of exploration. The use of spin fields to alter the way pathways through the pavillion work causes a total different way of using or flowing through this system.

This is a more cohesive form as it can potentially correlate existing structures in the CERES site as point charges that react together to generate this form.

It also shows a nature of windy-ness through aerial view, a picture of turbulence going on that reflects the wind forces that the state of Victoria experiences itself. Going back to its environmental existence.

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SPECIES 3 . 5 This iteration creates a new excitement as it now releases the lines off the ground level, making the form reflect the natural trees that exist around the CERES site. Adding diamond panels using the Weaverbird plugin allows the lines to generate leaf-like forms.

The use of point charges that has a radius of causing interactions between lines emitted from the multiple points allow the overall connection of structure where movement can be fluid through the multiple “trees�, making it an interesting feature whereby people are actually flowing with nature, walking through the pseudo-natural form.

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SPECIES 4 . 4 This form draws most connection to me as it relates a lot to the CERES site. Walking through the site it gave me a sense of togetherness, where the community actually share their gardening/farming efforts and it is really a communal and family atmosphere going on there.

Reflecting with using this Grasshopper logic I tried to alter the line directions in a way that it reflects a thread weaving ball where it represents “unity� abstractly. I wanted to produce a form where it coincides with all the selection criterias put out as well as present this site-specific tone in terms of formal expression. Potentially for shading, point attractors could be used to pull threads to areas to increase the opacity of the particular area.

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B.3

CASE STUDY

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UNDER STRESS

//marcfornes theverymany Marc Fornes translates the fluidity and effortless travels of data over the computation world in the modern day with this beautiful installation. The form itself shows how the static orthogonal and simplistic institute building actually owns a spirit of creativity and unlimited flow of information that goes on between faculties within that building itself.

The installation as according to him actually enhances the identity of that institution in portraying their intricacy and complexity that they face dealing with day to day technological innovations in the computational world but still holds an elegance to their workflow.

The ornamentations portrayed through the joineries in the strip connections with rivets adds on to the richness of the form, a planar strip that could conform to the organic curves using Kangaroo Physics to actually cause materials to realize the visualization of beautiful smooth forms.

The choice of material being reflective also brings life to the surrounding as it plays with light rays bouncing off the plain white surfaces to produce distorted and re-produced images projected on the surface of the installation, making it a joyous sight though actually being ultimately simple itself materially.

This project relates really well with our design brief as we can potentially use the glow materials provided by Professor David to incorporate the notion of computational architecture in correlation to art in producing an optimal beauty.

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STEP 1 STEP 2

STEP 3

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The first step was mainly identifying the opening ends of the installation connected to the walls and labelling them as X-points on the Rhino plane.

Thirdly, the mesh were BOOLEANUNION-ed to eliminate any internal mesh faces so that it can be unified as one whole mesh in Grasshopper.

The c open iden using DEC NAK diffe mesh nake bake of th alter

Lines were then connected orthogonally to create a visual expression of how the structure was oriented in their directions.

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The second step was actually choosing which primitive mesh component would be ideal to manipulate the form when Kangaroo Physics was processing to generate similarly smooth form-finding.

MeshBox was the best as it can be welded to multiple other modules to form the shape along the lines with similar mesh faces in comparison to MeshCylinders.

Where the X-points were marked, mesh faces were deleted to create the hole openings as seen in the installation after the mesh has been exploded, and then re-joined to reunify the mesh.

STEP 4

control points around the n ends of the mesh were ntified in Grasshopper by g LIST ITEM, CONSTRUCT MESH and KED VERTICES to find the erences between all the h vertices on faces and the ed vertices and listed to be ed so that the orientations hese control points can be red.

UNDER STRESS

//R E V E R S E

ENGINEERING

STEP 5

STEP 6

The mesh component is then connected to Weaverbird’s Mesh Edges to extract the lines on mesh faces to be connected to the “Connection” input of SpringsFromLine from the Kangaroo plugin. The Spring force component allows the form-finding to occur as it contracts the material to reach a point of ZERO pulled from the control points.

While the Kangaroo Timer is still turned-on, the baked control points are pulled and adjusted as well as rotated to closely imitate the form as in the “Under Stress” installation

by Marc Fornes, and the output mesh is resultant.

This force is connected to Kangaroo Physics to simulate a “real-time” mesh contraction.

The output mesh is runned under Weaverbird’s Mesh Edges again to obtain the outline curves of the strip faces which are Offset and Lofted to generate the final smooth panel surface in the FINAL FORM/

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B.4 Technique Development

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SPECIES 1 //CULL CONTROL POINTS

Original

Cull Pattern: True, True, False

Cull Pattern: T

SPECIES 2

//CONTROL POINTS XYZ MOVEMENT dendrites

elongated dendrites

stretc

SPECIES 3

//WEAVERBIRD’S PATTERNING SEQUENCE mesh edge revealed

wb inner polygons subdivisions

wb Sier subdivi

SPECIES 4 //WEAVERBIRD’S

wb constant quads split mesh thicken: 0.50

wb inner polygons + mesh window wb split p mesh thicken: 0.30 mesh thic

SPECIES 5 //EXTRUDE Z + GEOMETRY ALTER

wb Catmull-Clark’s + wb Sierpinski’s + window Z-Vector Extrude: 1.0

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wb Catmull-Clark’s + window wb CatmullZ-Vector Extrude: 1.0 Circle (Rang Attractor Po Z-Vector Ext

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True, False, True

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Cull Pattern: True, False, False

ched holes

constrict holes

rpinski triangles isions

wb split triangles subdivisions

polygons cken: 0.30

wb split triangles mesh thicken: 0.70

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Cull Pattern: False , False, False

widen base

wb Catmull-Clark’s subdivisions

wb Catmull-Clark’s mesh thicken: 0.70

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Cull Pattern: True, False, False, True

widen canopy combine: constrict base

stretched canopy

wb constant quads split subdivisions

wb inner polygon + wb split triangles + mesh window mesh thicken: 0.50

-Clark’s + DeMesh wb Catmull-Clark’s + DeMesh wb Catmull-Clark’s + DeMesh wb Catmull-Clark’s + DeMesh ge Domain: 0.1-0.5) Polygons: 6 sides Polygons: 4 sides Facet Dome oint towards Naked Vertices Z-Vector Extrude: 1.0 Z-Vector Extrude: 1.0 trude: 1.0

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ANALYSIS OF RESULTS / SELECTED ITERATIONS \ This iteration was chosen due to its organic nature of behaving like the roots of a mangrove tree, natural to swampy areas which possess similar traits to plants along the creeks. This form offers shaded areas and a very open space which would be an incredible sight looking right above when under the pavillion. This form also shows strong potential as the roots of the form could find themselves on the existing poles on the CERES site, moving control points to alter the form further to react to the site conditions.

As for the top exposed holes, they could find themselves on adjacent structures to hole up the form itself being materialized by tensile membranes. This process of form-finding causes the design to be cohesive to the existing environment as well as creating a “growth� in the area with a new complementing flora.

SPECIES 2 . 5

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S Species 3.5 reflects a similar base to Species 2.5 but has a larger canopy top, which is an improvement to the previous form as the current control points are now “linked� to potential sidestructures creating this beautiful complex shading system that can have altered pulling points to aim at shading from northern Sun or evening western Sun angles. The use of CatmullClark’s component on Weaverbird plugin allows the surface to be flexible to materiality whether being panelled with hexagons/triangulation to form this smooth form or maintained with tensile membranes to have an even smoother form.

SPECIES 3 . 5

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Species 5.1 portrays an intricate view of the powerful Weaverbird plugin tool in patterning an existing form. This combination of mesh polygon subdivisions with the mesh window component allows the quick computation of complex geometries being patterned all over the mesh vertices. There were two ways of computing this surfaces, mesh thickening or by extruding along the Z-vector to produce panels with physical thickness. This panels can be fabricated individually and joined together with other modules through wire meshes that produce the form.

SPECIES 5 . 1 56

With the use of attractor points, this form and panels can potentially be an amazing adaptable structure to the CERES environment with openness and shading being algorithmically computed to have larger panels in areas that require more shading. With the panel pattern betwen a combination of 3 triangles, it has a large range of permutations in the ways the opening of panels can be to allow sunlight in.

Species 5.5 the use of cubes extruded from 4-sided polygons could potentially be bounding boxes for mini-tensile membrane modules of the larger form. A series of these modules could react to wind, sun angles and also being economical material-wise.

Using attractor curves, these modules could take on an interesting patterning with the use of the glow materials that would cause glow emitted into different directions based on the attractors and result in a better transitional architecture feature in which the night glow will totally dissipate the existing form.

SPECIES 5 . 5

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B.5

PROTOTYPING

HINGE METHOD ONE This first method of joineries that our group prototyped was using hinge over both triangulated panels that have tight joints leaving closely-knitted slits.

This method posed problems as it was difficult to rotate the panels as we did not regard the thickness of material before laser-cutting them.

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HINGE METHOD TWO When the joineries of panels have a slightly larger gap the panels were more flexible to rotate about the hinge to ensure the connection of other panels can conform to the designed curves we computed in Grasshopper.

In addition to that, glow vinyl tapes were stick onto the panels covering certain hexagon perforations as well as at the edges, so that in the dark they would light up to produce a different form from its day-use.

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E F

Thi pro pro eye

The rea sup can

As C com

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EYELET METHOD ONE FOLDING

is method is very efficient for our design oposal as it uses very little connections to oduce the whole structure. It relies on the elet connection at the hole of notches.

e experimentation on this material make us alise that it is structurally weak. It cannot selfpport itself as the flexibility is too high. it nnot have a fixed angle once installed.

CERES is windy, the structure could very well me down over a weak gust.

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EYELE PANEL

This is the mos continuing our system. The ey rotation so tha installed.

Eyelets are also any mess on-si lower cost.

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ET METHOD TWO L TO PANEL

st efficient method if we are r same method of panelling yelets is strong and also allow slight at panels can be easily angled to be

o fast to install and wouldn’t create ite. Quicker installation equals

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EDGE TO EDGE + GLUE + NOTCH This method creates a module of triangulated notched panels that can be easily expanded by adding more and more individual panels.

This is an ideal biomimicry of floral blooms, where the single top panel will be interconnected by wires, whilst the outer panels just bloom out freely like a flower.

The shadow-play it provides also is intriguing with the amazing overlapping shades.

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This metho discussion developed

+

od was not chosen in the group and as such was not further d.

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DASHED LINE

Dashed lines laser cut across a pane panel to be folded on either sides. that etched surfaces cannot do. As e only allow the panel to fold on one si

This method could be repeated acro pavilion and requires almost no inst as the laser cutting process determi of fabrication + assemblage itself.

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ES FOLDING

el allows the . A flexibility etch surfaces ide.

oss the whole tallation time ines the time

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GLOW MATERIAL The glow in the dark diminishes the panel forms and even perforations are not to be seen.

This is a way of manipulating visual experiences during the night, potentially creating an avenue for computational design process to use ornamentations of glow strips instead of physical structures to produce a special outcome.

Special thanks to Prof. David Mainwaring for providing the phosphorescent materials in this experimental prototyping process.

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CERES

SITE STUDY B.5 PROPOSAL

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BRIEF INTERPRETATION The site we had on CERES was an area that constitute of several main activities that we could explicitly observe while visiting there over a few hours from 3pm to about 5pm. During this period of time, we see a mix of crowd in the area namely parents observing their children playing about the playground as well as some soccer and chasing going on at the open area.

There were also smaller groups having picnics in the pavillion and on the small mosaic tables - observed to be probably the community gardeners or farmers having a break in the area.

This space of mingle allowed us to understand the main purpose of our design apart from providing physical shading to it. It goes way beyond that, integrating our parameters of designs to produce a form that potentially increases the activity around the area, facilitate more activities as well as enhance the existing experiences the users currently have.

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B.5 SITE ANALYSIS

From the Sun-angle study, we observed that the main parts of our pavillion that needed shading was the western-evening sun a 1500HRS as well as taking note of northern noon Sun. These two areas are where we intent to use image samplers, Ladybug or point attractors as included parameters to provide intricate shading that is not apparent in the overall structure to have a sense of singularity in the patterning form.

The two main viewing galleries were the classroom up the hill, as well as the existing pavillion on ground level in which we intend to allow a full view of our project for user understanding and also for patrons to admire the full artistic-architectural feature during the night when it glows.

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DESIGN DEVELOPMENT

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The arcs were the drivers to the form in this case.

They replaced Kangaroo Physics in the initial phase of design as it is a quicker tool to form lofts as ways to sketch out multiple forms to suit our research area.

Rebuilding the lofted surface with more control points, the surface appear more organic and smoother. The increase in control points also allow greater flexibility in adjusting the form to suit shading criterias namely toilets + sun.

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OBTAINING ARCS

CONTROL POINTS

Lunchbox plugin was used to generate the panelling on the surface form, and triangulated panels were chosen over quads as it would be easier to fabricate and be able to mimic the smooth form more accurately in visuals.

PANEL GEOMETRY

Inspired by the stomatal guard cells in the delicate leaves on site, the perforations were a scaled up interpretation of using natural systems to produce shading mechanisms with attractor points to optimze this method.

PERF O RATIONS

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DAY VIEW C E R E S

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NIGHT VIEW C E R E S

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B.7 LEARNING OUTCOMES In the approximately 5 weeks process going through PART B, it is a much more intense course of Grasshopper understanding and it really did drill me and push me to adapt and learn the components more quickly. This was due to the pressure of having a group design presentation that requires all members to be on par in Grasshopper proficiency to be able to convey as well as understand each other’s ideas to achieve a common design goal. It was rather challenging but not regretful as this process of case studies helped me explore various forms of logics and ways that I could actually recreate my own logic and patch in different series of components to enhance the form-finding of the design I intend.

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Through Case Study 2.0, it actually allowed me to use Grasshopper to produce logics that resembles forms in my visualization. It is really satisfying going through several links of components, using different methods to actually find the deriviative of the chosen case study project.

Achieving the final form that actually has direct resemblance to the actual project does bring you to a new level of understanding and confidence to take on PART C with more available design idea inputs rather than being a handicaped designer.

B.8 APPENDIX //ALGORITHMIC SKETHCES

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C.1

Design Concept

C.2

Tectonic Elements & Prototypes

C.3

Final Detail Model

C.4 Learning Objectives & Outcomes

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C.1 Design Concept//interim b

INTERIM N O I T A T N E S PRE From the interim presentation, our initial group design was lacking clarity in how it actually responded to the site - CERES itself. The panel were please with the direction of the design narrative but it was not applied to the actual form.

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There were also concerns regarding the costing of our design as the perforations in multiplication with the amount of triangulated panels we have, would be too hefty to build due to extensive laser cutting period. The organic form; umbrella-like shape was the desired form that the client and our tutor wanted in our proposals but the triangulation limitations posed issues when it comes to

breakdown

NEW FOCUS FORMFINDING--SITE RESPONSE AMPLIFY DESIGN NARRATIVE w/ CERES EFFICIENCY of MATERIAL USAGE COST-EFFECTIVENESS SUSTAINABLE+RECYCLABLE MAINTAIN UMBRELLA SHADING FORM FLUIDITY

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C.1 Design Concept//rediscover

L A C I R T E GEOM N O I T A Z I M I OPT CELLULAR

SCALE

Beginning from t triangulation to form, we enhance thinner material materials produc diminished the c time-cost ratio perforations wer polypropylene ma light entry. The problem to the s was meant to be As such, we used polypropylene co vertices to stre

However, with th it is hard to ac with the limitat use. As more tri

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ry

the original idea of o produce a pseudo-curvy ed the results by using a l as the joints with thicker ce a clunky edge that continuity. To reduce the on laser cutting, re removed and a translucent aterial is used instead for e thin material pose a structural integrity as it a self-supporting structure. d two layers of the thin onnected with metal poles at engthen the cellular form.

he thickness of a dual-layer chieve the highly fluid form tions of panels we have to iangles equals higher cost.

Through prototyping we discovered that by removing intermediate panels, the gap between the panels creates an illusion that it is a smoother curve, as the edges are not visible anymore leading the eye to perceive its own continuity.

To optimize such continuity in gaps, we decided to change our polygon to a cubic form as it can have equal gaps on all 6 sides. However, we needed to join these cubes together that are technically floating individually. As such we produced a cellular pattern consisting of 6 cubes that are interconnected with a hollow core at the center. This allows the gap to be even on all 6 sides and produce the curvature at a larger scale.

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C.1 Design Concept//rediscovery

SOCIAL Y R O G E L L A

ER GRASSHOPP NARRATIVE

This design idea came about when I realised how different the environment is when I stepped into CERES Community Park in comparison to the neighbourhood houses surrounding it. It felt as though I entered an entirely new town with a deeply contrasting vibe. This place is actually a focal point in the suburb where the sustainable culture is being bred. It is daunting to see how a small community of people can actually impact the suburban attitude with their rightful behavior to the environment - growing their influence in the suburb and making it a more environmentally sustainable place.

This is depicted in our HEXcubes whereby each cellular HEXcubes represent an individual. An action - denoted as a force - by an individual causes a ripple effect that causing deformity in adjacent HEXcubes as well (As shown in prototype features later on). This is to take opportunity of the brief in further amplifying CERES’s goal in transforming the society to be more sustainable step-by-step. “slowly but surely”.

This version of narrative can be also said otherwise, an act of unsustainability by an individual can cause great damage to the society around him/her.

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y

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C.1 Design Concept//formfinding

OR RESPONSIVE x

NORTH

To obtain a form that meets b criteria of biomimicry and re were shocked by how the cross had cellular visuals that res ‘HEXcubes’. The hugging curva inspired us to experiment wit to fit the site context.

YARD

COURT

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We finally chose the last ite characteristics of the crossmore responding as the larger correlates well with the exis creating a balance surroundin slender ends bridges the arra one unified ‘enclosed’ courty the play space/night performa

g+1

RGANIC

NORTH

both the esponsiveness to site, we s-section the leaf actually sembles our array of ature of the leaf shape th several plan-view shapes

eration that still has the -sectional leaf but was r area at the centre sting large pavillion ng the courtyard. The ay of tables together as yard area to further define ance area.

COU

RTY

ARD

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C.1 NORTH

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RES BO

1 Design Concept//formfinding+2

O T D N O P S S E T I S H T O The client suggested that the pavilion could potentially be relocated to the marketplace. As such, we had to ensure that our design could react or respond to each site UNIQUELY but without altering much of the design intent. The both sites are still located in the CERES community park, so in terms of social context as well as site context, it is pretty much similar just with a different functional space.

Our selected iteration of form suits very well with the play area as well as the marketplace. The longitudinal shape of the pavilion suits the walkway of the marketplace as well being synonymous with surrounding buildings/tents whilst providing a fun twist with its curvature to the space.

The idea here is to amplify the liveliness that occurs in a marketplace, in relation to provide shading - the ultimate brief content.

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C.1 Design Concept//formrespon PLAY AREA

a a

a

In the play area, the form shoul facing the northern Sun for opti this limits the pavilion to be s non-responsive during winter, wh desired. As such, a form of supp be incorporated to achieve the i multiple configurations of shadi respond readily to the site cond

In the marketplace, the long end for shading as well. So, all fou pavilion requires flexibility of

a

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nse MARKETPLACE

b

b

ld incline downwards imal shading. However, static and here Sunlight is porting device has to ideal form with ing position to ditions.

b

ds require inclination ur corners of the f bending.

b

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C.1

choic

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1 Design Concept//realization

A L L E R B ce: UM m s i n a h c e m To realize the goal of obtaining the multi-configuration form, it would require a supporting stand that is telescopic and reacts like an umbrella mechanism.

This would allow control over the inclination of the form and highlight the smooth curvature formed by the cubes that flexibly bend with gravity. The gaps inbetween the HEXcubes also draws the eye to perceive it to be a continuos organic form.

To ensure full control over the four corners of the pavilion, 4 branches will be installed to a trunk, with each branch containing 4 sub-branches that are the telescopic poles for extension and contraction.

The slender and thin profile of the trunk+branches complements the site environment as it frees up the space as well as puts more focus on the shading elements. This does not disrupt any existing activities, but in turn allow more activities to be carried out in that space.

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C.1 Design Concept//initialexpe

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erience-experimentation

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C.1 Design Concept//workflow de

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efinition

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C.1 Design Concept//Constructio 110

on Process

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C.1 Design Concept//HEXcubes C

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Configuration

The configuration is obtained using Grasshopper List Items with Cull Item tool.

The colorful display of cubes demonstrated in the other panels are distributed using Jitter to produce a random pattern of colour using a standard three colour palette that represents closely to CERES’s identity.

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a PROTOTYPE one. otch n h it w e t a t e c a

This method of forming the HEXcube is cr and the thin profile of the acetate caus to be even more obvious on either sides. the whole sheet of acetate with an alcoh down, visible burnt marks are seen on as which causes a chaotic scene when superone another, as in the image above.

The transparency of acetate is almost 10 not be helpful in shading, and the form defined as the transparent layers messes of the geometry. This prototype is glued (squiggly lines) to ensure no edge glue

However, this method can demonstrate how can interact with adjacent HEXcube when 116

rudely unrefined ses burnt marks . Even giving hol swab wipessembled cubes -imposed onto

00% which would is not as s up the outline d on the notches marks.

w one HEXcube it is bent.

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PROTOTYPE one.b ped a t e n a h p o ll e c paper This is my favourite prototype as the versatility of mere 80gsm paper amazes me.

It is flexible yet the joints are securely firm with the help of the humble cellophane tape. If only this could be entirely built out of paper and made it indoors.

With paper, this design narrative can actually be pushed to its finest potential as the ripple effect would be more clear and less fragile. The lightness of the material suggests that it could be wirethreaded and hung in a museum gallery without the need of much structural support.

As we can see from the images, our HEXcubes can deform into 3 different shapes, and can even be totally flattened. The versatility of this cellular form shows how humans have free choice to do as they wish, but consequences exists as well to every single choice they make.

In the social allegory, CERES wishes to alter their communal habits by being more sustainably. Their actions has definitely already created a ripple effect across its local community.

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PRO ace poly

Th wi Ag ma ma in ma

Th cu fi th

Th us el de th ac oc sh an fl th sh

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OTOTYPE two.a.b e . etate edge glu let . ypropylene eye

his was another method of HEXcubes but ith different openings to the hollow ends. gain, acetate is not really a good aterial for laser cutting as the burnt arks are inevitable regardless of the ntensity setting in the laser cutting achine.

he polypropylene works well with laser utting as it has flawless edges and clean inish. Its level of translucency also fits he job description of being a ‘shader’.

he eyelet connection is really simple sing the eyelet plier and it gives it an legant aesthetic. The HEXcube technically eforms as this type of connection causes he edges to be not joint, as such it ctually forms kind of a diamond-shaped ctahedral. This prototype changes its hape two ways. It can be stretched wide nd causes the array of HEXcubes to latten, or it could be compressed and all he HEXcubes will form a “bright and hining star” diamond silhouette.

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.a.b.

PROTOTYPE three t . lo s d r a c d e r u t Tex t . lo s e n le y p o r p Poly This method was rather straight forward, but was extremely difficult to figure out the grasshopper logic to complete the slits.

The connections were difficult to assemble as the slots had to overlap to enter the slits which causes the slit holes to be slightly torn due to forced-expansion.

The results weren’t neat and wasn’t aesthetically pleasing. However, these joints were one of the strongest connections amongst all the prototypes.

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a PROTOTYPE four. e lu g d o o w e n le polypropy

This was a desperate effort to try maintain the rigidity of the cube form. Alas, this method causes the whole HEXcube to be unflexible which defeats the purpose of its design in the first place.

Bending on cube causes the wood to snap in all other adjacent cubes.

However, it still gives a beautiful look with its framing being an accented touch to its cube edges.

The installation of this prototype is very simple with plastic glue or wood glue. Alcohol swabs allow the burnt marks to be removed from the polypropylene surface.

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PRO TOTY PE boxb five. oard slit& a fold This was a fun effort, trying to form a cube without using multiple sheets of material. Cutting slits allows folding to occur within the boxboard sheet. This creates a dual-direction folding that produces the cubic shape.

It has the fundamental qualities of being flexible, inter-related in terms of adjacent activities, and it can produce a beautiful curvature form.

A series of these could be a very economic option to build a pavilion that has controlled shading by the amount of slits you have on a panel.

A try on plywood would also achieve similar results with a better aesthetical finish and built quality.

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PROTOTY polyprop

This used final This assem dimen

Only able toget has l slipp 126

YPE six.a glue ic t s la p e n le y p OTYPE PROT FINAL MODEL

prototype was the actual one for the final model in the l presentation of Studio Air. prototype was difficult to mble due to its small nsions at 1.5cm per cube side.

Selley’s Plastic Glue was to bond these polypropylene ther as PP is a material that low surface energy and has a pery surface.

The bottom layer of the cube is as shown in the first picture, whilst 4 rigid polypropylene colored panels are glued onto each sides to strengthen the cubic shape when it folds. This prototype is very successful despite of its bonding issues, and is very durable under weathering conditions. The next part [Final Design] would expound more on this prototype.

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a . n e v e s E P Y T O T O PR let e y e E P D H d le Recyc

N

CONSTRUCTIO CHOICE FOR

This is the evolved form from Prototype six.a where it uses similar laser cutting format but bonds with eyelets instead of glue. This saves a lot of cost and time as the assemblage of eyelets has no downtime/wait time.

Eyelets are strong and doesn’t crack when it is bent unlike how glue does. This allows the design intent to be propelled to its full potential as the ripple effect feature is coupled with the clean 128

finish of the recycled HDPE. HDPE is a much more sustainable material than polypropylene but at the same time is physically stronger and more durable. In the final constructed pavilion, the colored HDPE would illuminate beautifully with its ideal translucency when it is also coupled with Dr David Mainwaring’s phosphorescent glow spray paint.

t

s

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.a PROTOTYPE eight ing. r p s . s u o r ib F 3DPrint This mechanism is to allow each of the 16 branches to be able to alter the form of the shading element by its adjustment of height. The spring is attached to the sub-branch and there is a notch hole to lock the spring in place.

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This branch would have worked better with 3D power print rather than plastic fibre.

However, the real pavilion would be using recycled steel pipes in replacement of this device material.

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.a e in n E P Y T O T O R P T H IG N K E IT H W OW GLOW GLOW GL

We can see that the vinyl tape glows brightest amongst the other method of glow material applications (As seen in 1st and 4th image).

However, the vinyl tape is rather thick and does not bend well. As such, the HEXcube form would be unrefined and rough looking.

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The White Knight glow spray paint does different effect to different materials. It works best on pure white surfaces in which it glows brightest, As seen in image 2 and 5 where it glows brighter than the purple/pink polypropylene that was also sprayed on.

3rd image shows how the transparent polypropylene does not really glow well although sprayed over with 5-6 coatings.

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C.3 C.3 C.3

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FINAL FINAL FINAL

DESIG DESIG DESIG

GN GN GN

& & &

DETAIL DETAIL DETAIL

MODEL MODEL MODEL

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DY U T S E IT S : P RECA Looking back at the brief, we are supposed to focus on providing a pavilion that shades the current site and light it up at night to enhance evening activities. The sun study carried out as shown in thediagram beside shows that majority of the area of the site is brightly litted in the day. The only shades comes slightly from the existing trees and classroom on the hill.

(Occasionally clouds give shading too?)

In the day, we can gladly say it is a children’s park. In the night, the site turns on activities that are suitable for the older crowd as well.

From another perspective, we organization itself. It is a organization that intends to sustainable practices in our

studied on CERES, the non-profit create a culture of community.

We observed that CERES community park is the focal point of the neighbourhood in which it is surrounded by the fundamentals of the modern day society: Residentials, Industrial Areas, Roadways & Diminishing Natural Context.

These four elements of society are undergoing a tug war, whereby three of the obvious elements are jeopardizing the natural context 3 on 1 - climate change.

As such, we believe that the brief of designing a shading/night glowing pavilion at CERES could be an opportunity to demonstrate its function being associated with a social allegory to amplify CERES’s goal as a company that brings community together to practice the sustainable culture.

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ins truc tions

High Density Polyethylene: HEXcubes material.

Can withstand high heat load and great even under ultraviolet rays.

One of the most hydrophobic materials that is available to the general market.

Highly recyclable - obtainable.

Cheap and easy to handle due to its lightweight.

3D Printed Pipes = Recycled Steel Pipes: Readily available.

Not many people recycle as it has close to zero resale value.

A lot of wastage in industry.

Could obtain a large amount for zero cost.

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WeaknessIts hydrophobic quality causes it to be difficult to bond with glue.

Requires special-grade expensive glue.

V1

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We aim to produce a design that is simple in fabrication and quick in assembly. This saves cost, time and also reduces the embodied energy as a whole. Drawing inspirations from nature, first pipe act as a bark with largest diameter.

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To create an impact but not hinder existing site activities, the pavilion stretches 4500MM in length and 2250MM wide. However, the pipe only has a diameter of 150MM which means the space under the pavilion is freed up, being complemented well with shading.

To ensure functionality is met, we designed the pavilion to be 2200MM high which is slightly below the standard height of an apartment ceiling height of 2400MM. This caters to people of ranging heights to use it.

V2

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To strengthen the cubic form that weakens when it folds, we placed a 2nd layer of HDPE in square forms with a thicker profile, connecting them with a gap for folding.

As HDPE is a material that is hard to bond, we had to find a better way to connect them efficiently. We punched holes at the notches and edges of the solid panel to allow eyelets to connect the cubes together.

The drawings show the process of connection as well as the laser cutting template to produce them.

V3

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S O S T O O T H O P H S P S E S S R E G R O G R O P O R S T P OS O T H O P H S P S T E S O O S R TO H E G O P R O H G R S P O P S E S PR S R E G R O G R O P R P P R PR

Accumulating approximately 1000 HEXcubes in a bag.

Took 24 Hours to completely fold them. [2Person]

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Stripping off the laser cut templates for folding.

Masking tape was placed before taking it back home to ensure no pieces are lost.

Every piece is precious.

Be sustainable.

O S OS S O SGRE T O O O S T T H OS O O P T H H O S P P H S E S S P S S R E S G S R O E R R O S G ROG R O O S T P O O T PR H O P H S P S E S S R E G R O G R O P PR

After completing stocking out all Coles and Bunning store of their Selley’s plastic glue, we had no choice but to use hot glue gun for the last minute fixtures. It wasn’t as aesthetically pleasant but did the job.

Fitting in some collage arts.

Installing the site mood with the branches and spring being deviced. Calibrated to perfection at that time. Not now, maybe.

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CHOO CHOO... CHOO CHOO... CHOO CHOO... CHOO CHOO...

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CHOO CHOO... CHOO CHOO...

CHOO CHOO...

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Oddly, CERES is looking rather trippy. Is the society considering them weird?

Sustainability should be the norm right? Who knows? Gimmick or truth?

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People are going to stare.

They are going to know.

The influence is trickling.

Don’t resist.

CERES is taking over.

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Pastels are weird?

Wait till you see.

Weird is good.

Weird is the way.15

ELL DE OD MO ALL M F INA FIN S OS TO OT P HO PH

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ES M O C T U O G IN N LEAR & OBJECTIVES As the journey of studio AIR draws to an end. It is truly a new beginning for me in my design life. Being well-equiped with the knowledge of Grasshopper and other parametric tools, I’m able to optimize my design processes and even carry out tasks quicker more efficiently.

From drawing inspirations out of case studies, I was able to fully understand the purpose of parametric design. It is not a style of design that just represents repititiveness, but an intention to optimize every area of design, from material usage, environmental response, simulation and much more.

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This insp attention After all master-bu know our every lin specified ability a purpose i into the design co to societ architect previous does not opportuni whilst ma architect

I believe C pushed I’ve neve completin period of Carol had could tak direction to time m decisions and go on

I believe criticall use Grass quicker w that woul basic Rhi breakthro which we design na something social co

pired me to pay great n to detail as an architect. l, we are actually uilders that are supposed to design through and through from ne drawn and every brick d. Digital tools enhances our as an architect to define into every element that is input design system. An architectural omplements and contributes back ty. And with the help of digital ture, all these obstacles that master-builders used to face exist anymore. It is an ity to push the boundaries, aintaining the flair in tural standards.

e the limited time given in PART my boundaries in designing, as er worked this hard before in ng a design proposal. In a short f time, me and my groupmate d to make hard-on decisions that ke a turn in our design ns. From fabrication decisions management and finalized design s, we had to just DECIDE fast n with it.

e our notion of the project is ly thought out, as we decided to shopper to lead us into ways to alter forms and shapes ld require tedious array work on ino. The subject readings made a ough in our thought-processes in start to explore unfamiliar arratives like to design g that criticizes existing onditions.

With this project fully completed, I can proudly say that I have achieved a certain level of proficiency in using parametric tools to design. It is actually a very simple tool, it just require practice to gain familiarity with the commands. Once mastered or understood, almost anything can be built - its just a matter of time or speed of work. As we are prototyping, this process already trained me to be able to fabricate tailor-made tectonic types.

The reverse-engineering study in Part B also trained me to be able to reproduce something that I perceive visually or mentally. This is a great skill that I obtained through this course. That is the main issue with architects these days. Many have great ideas, but representation and method is their obstacle to achieving their goals. This is why computational design is so important to me as my hand-drawn abilities can be compensated with great renders and CAD works. It removes the barrier of my mind to work as I have now a medium to convey my ideas accurately.

From the range of reports; Part A to Part C. I’ve noticed even my style of journal report has evolved and changed for the better. Part A and B seemed to be a depressive period where I struggle to master Grasshopper. But once mastered, the architectural flair and fun came back in Part C. Press on, you will not know whats on the other end. -N

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REFERENCES REFERENCES

Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction and Social Dreaming (MIT Press,2013), pp. 1-9, 33-45.

Fry, Tony, Design Futuring Sustainability, Ethics and New Practice (Oxford: Berg 2009), pp 1-16.

Liz Stinson, What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie, Wired, 2017 (cited 15 March 2017), Available from <https://www. wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London;New York: Routledge), pp1-10.

Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester:Wiley,2011), pp1-28.

Schumacher,Patrik,”Patrik Schumacher on parametricism-’Let the style wars begin’,The Architect’s Journal (Revised May 2010)<https://www.architectsjournal. co.uk/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article>[15 MArch 2017] Sofia Vyzoviti, Folding Architecture: Spatial, Structural and Organizational Diagrams (BIS, 2003), p.2.

World Architecture News, “Water Theatre, Las Palmas, Canary Island, Spain,” (Revised September 2006) <https://www.worldarchitecturenews.com/project/2006/497/ grimshaw/water-theatre-in-las-palma-canary-islands.html>(15 March 2017) Yehuda E.Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design (Cambridge,MA:MIT Press), pp.5-25.

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