STUDIO AIR 2016, SEMESTER 1, Brad Elias Zihao Guo 683552
SELF INTRODUCTION
FIG. 1 PROFILE PHOTO
My name is Zihao. I am currently in my third year of my bachelor of environment at the University of Melbourne, major in architecture. I was born and raised in Guangzhou which is one of the most beautiful and dynamic city in China. I am keen on traveling around the world and enjoy experiencing different urban space. I found architecture or buildings are the fundamental elements for the urban space. Such evocative and dynamic architectural design could make the city looks a way more different. That might be the reason why I decided to do architecture in the University. In my last two years of study in architecture, I done some design studios like Studio Water and Studio Earth which gave me chances to design by working with the site and some functional requirement. They also improve my designing skills and logical thinking. However, a subject called digital design and fabrication is the one that actually make me experience how digital method can be applied to the design processes. I feel it makes my life much different when I took this subject in my second year. It lets me know how design processes and fabricate processes can work in a circle. Digital design can evaluate the potential design outcome and decide which fabrication method we are going to use. Then, feedbacks can be generated from the fabrication process which can be re-applied to the design to optimise the original design. I am looking forward to getting more comprehensive understanding of the algorithm designing and improving my computational designing skill in this semester with studying in Studio Air.
2
PREVIOUS DIGITAL DESGIN EXPERIENCE I have done some digital design practise in the subject called Digital Design and Fabrication. In this subject, we were required to design a second skin for users to create personal space. This exercise gave us a chance to use data to generate the design outcome. In terms of personal space, the dimension of the space are measured and integrated to the design process. It is my first time for using such entry-level data-driven system to achieve design outcome. Even though Grasshopper has not been used during the digital design process, my partner and me still got a rough understanding of data-driven algorithm design process. More importantly, we started to explore the interaction between digital design and fabrication.
FIG. 2 ILLUSTRATION OF FABRICATION COMPONENTS IN DDF
3
[A] CONCEPTUALISATION
Content A.1 Design Future
6
Asian Cairns by Vincent Callebaut Burnham Pavilion by Zaha Hadid Architects
A.2 Design Computation
11
National Stadium China BMW Bubble Pavilion
A.3 Composition/Generation
16
Beijing National Aquatics Centre Origami Pavilion by Tal Friedman
A.4 Conclusion
20
A.5 Learning Outcomes
21
A.6 Appendix
22
A.7 Reference
24
A.1 DESIGN FUTURING
6
In terms of design, most people think it is mostly about problem solving. Undoubtedly our world are facing huge challenges such as overpopulation, water shortage, and climate change. Designer are empowered to fix them[1]. However, it seems to become clear that lots of challenges we face today are unfixable unless people change their values, belief, attitudes, and behaviour. It is also a fact that those challenges make our world keep changing in many aspects including our society and natural environment. Then, there is a question, with the massive changing world, how designer and architect are going to facilitate the flows and changes to their design to make it fit in the future context. According to Fry, design futuring has to struggle from slowering the rate of defuturing and redirecting people towards more sustainable living environment[2]. In effect, future design is about how design can actually secure the future living[3]. In the past, due to urgent need, people used to create fast developed living in such convenient and unsustainable way. The way they did ignored the relationship between creation and destruction. The design also brought destructive cost to the society and environment when it brought something into being. Therefore, the way of design need to be reshaped to secure a sustainable living by facilitating the flows and making connections between systems.
7
FIG. 3 ASIAN CAIRNS PROJECT
CASE STUDY 1 Asian Cairns by Vincent Callebaut The Asian Cairns Project The Asian Cairns project is designed by Vincent Callebaut who is a Belgian ecological architect. He is keen on planning and designing ecologic projects for the future. The Asian Cairns project has developed a concept of integrating natural ecosystem into cities. The concept of ‘farmscrapers’ is made from piles of giant glass pebbles. The project is made up of six towers. Some of them contain up to twenty glazed pebbles. The curve shape of the pebbles are created by a steel structure while solar panels and wind turbines would be installed on the outer surface.
FIG. 5 VERTICAL ECOLOGICAL SPACE
Speculating The Probability & Possibility
FIG. 4 ASIAN CAIRNS HABITATION
Energy Self-Sufficient One of the concept behind the building is the philosophy from the architect which ‘the more a city is dense, the less it consumes energy.’ All energy are sourced from the sun and wind through solar panels and wind turbines installed on the outer surface. The self-sufficient community enable the sustainable and renewable living.
There is no doubt that people in this planet are facing the challenge of overpopulation. And probably, this issue will last or get more serious in the next decades [4]. According to Mcdougall, the world population will climb up to 9.2 billion in 2050. Higher population means more habitation need to be constructed for accommodating more people. Meanwhile, the natural environment will be compressed along with the urban sprawl. With the expansion of urban, Vincent Callebaut is trying to reshape the current urban structure with the idea of embedding the natural environment into the high rise building and developing vertical ecological space. That is such way of future design that create things without bringing destruction. Despite this is not a built project, but the architect intent to build a new type of urban habitat which is completely contextualize the rule of natural world. Moreover, he also attempt to explore the possibility of harmonising relationship between human habitation and the ecological environment.
CASE STUDY 2 Burnham Pavilion by Zaha Hadid Architects
Burnham Pavilion by Zaha Hadid Architects
FIG. 6 EXTERIOR OF THE BURNHAM PAVILION BY ZAHA HADID ARCHITECTS
Burnham Pavilion is a well-innovation in Millennium Park in Chicago. The pavilion is made up of a curving aluminum framework exceeding 7000 pieces and 24 custom-made fabric panels. Its bent-aluminum structure created an unique curvilinear form. The distinctively fluid shape is established by fabric skins wrapped tightly around the metal frame created a secret and private space to attract people to walk inside. The fabric skins also works as screens for videoinstallations in the pavilion.
Redirect People To Think About Future
FIG. 7 INNER ALUMINUM FRAME
“Fabric is both a traditional and a high-tech material whose form is directly related to the forces applied to it - creating beautiful geometries that are never arbitrary. I find this very exciting.” - Zaha Hadid
10
The pavilion is described as resembling a “futuristic camping tent”. Hadid conceptualized how tension shaped appearance just as fabric is pulled taut or twisted, which resulted in the elliptical structure. The diagonal lines in the structure is aligned with Burnham’s 1909 city plan, which visualized a fanned grid of streets expanding diagonally from Chicago’s city center out into the suburbs. As part of the Burnham Plan Centennial celebrations, the Burnham Pavilion attracts the visitors’ curiosity and encourages them to consider the future of Chicago. In addition, the pavilion is designed and built to maximize the use of recycling and re-use material which can also be used in the future. Fabric is such lightweight and sustainable material that requires less cost and labor on site.
A.2 DESIGN COMPUTATION “Computation augments the intellect of the designer and increases capability to solve complex problems” - Brady Peters
11
CASE STUDY 1 National Stadium China
FIG. 8 NATIONAL STADIUM CHINA IN NORTH BEIJING
Location: Beijing, China Client: National Stadium Co Ltd Seating Capacity: 91,000 including 11,000 temporary seats for the Games Gross Floor Area: 254,600m2 Height: maximum 69.2m (266.4ft) above pitch level Design Consortium: Arup, Herzog & De Meuron Architekten AG, China Architecture Design & Research Group Completion Date: Early 2008
12
The ‘Bird Nest’ Project The National Stadium in Beijing hosted the opening and closing ceremonies of the 29th Olympiad, as well as athletic track and field events. It has a capacity of 91 000 seats, including 11 000 temporary seats. Architects intended to develop an architecture that will continue to be functional after the Games in 2008, in other words, to create a new type of urban site that will attract and generate public life in this part of Beijing. The building’s immense proportion and dramatic form make the stadium become a new icon for China and the City of Beijing. From the distance, the stadium looks like a vast collective shape, like a vessel while its undulating rim reflects the rising and falling ramps inside the stadium. Based on the appearance of the stadium, the Chinese crowd nicknamed the stadium “Bird‘s Nest” in the early stages of the project. Therefore, the architects essentially assimilating it before it had even left the drawing board. Contextualization and Formation Frank Lloyd Wright introduced his concept of organic architecture in the 1900s[5]. In his organic architecture, a building should be shaped to harmonize with its surrounding if nature is manifest in the environment. For instance, the prairie has its own beauty, hence building on it need to be shaped in low proportion and quiet skylines. However, the design methodology has developed so quickly in both evolutionary and subversive way in the past century with the booming development of economics and technology.
FIG. 9 RHINO MODEL OF THE ‘BIRD NEST’
At present, a hundred years after the introduction of Frank Lloyd Wright’s organic architecture, ‘formation precedes form’ [6]. Designing processes are becoming the thinking of generation through algorithmic logic with the assistance by computation. For instance, instead of imitating the appearance of the organic, natural design now is learning from natural principle of how to produce form which is responded to the conditions of environmental context. Back to The National Stadium, even though its structure is popularly described as the ‘Bird Nest’. The pattern was initially inspired by Chinese style ‘crazed’ pottery, and the randomness of the natural world. Of course, bird nest is also a representation of the organic randomness in the natural world. Despite the form of the ‘Bird Nest’ seems arbitrary while those steel members seem to be crossing each other randomly. The formation of the form is never arbitrary, and the pattern abides by complex algorithmic rules. Mathematical geometry and biomimetic algorithms have applied to the form-finding process of the pattern. The Parametric design in the project is a logic of associative relationship between the building and the context of natural randomness. Computation enables all the creation and modulation of this complex design.
FIG.10 ALGORITHMIC RULES OF THE ‘BIRD NEST’ 13
CASE STUDY 2 BMW Bubble Pavilion
FIG.11 EXTERIOR OF THE BMW BUBBLE PAVILION
Client: BMW Group Location : IAA 1999, Frankfurt / Main, Germany Project-Team :Bernhard Franken, Sonja Albrech, Nils-Peter Fischer, Kirstin Fried, Niklas Führer, Thilo Kurzemann, Hans-Herbert Kuss, Michael Lulay, Thomas Remdisch Partner: IBZ+L,Bollinger + Grohmann Status: realised 1999 Dimension: 260 m²
14
Computation And Contextualization As one of the leading automobile manufacturers, BMW intended to introduce their new brand image for the upcoming era through the 1999 International Auto Show took place in Frankfurt. Driving with clean energy from water and the sun was symbolized in the form of a drop of water. A drop simulation computation program was used to create this shape. The form of two water drops is consisting of an aluminum framework that supports the transparent Plexiglass skin. Three hundred different spherical plexiglass sheets were fabricated with CNC milled polyurethane foam mold thermoforming at 150 to 160ºC. FIG.12 THE FORM OF TWO MERGING WATER DROPS
Computation and Performative Architecture “The digital linkage also established an advanced environment for interactive digital generation and performance simulation as a paradigm of collaborative design between the architect and the engineer.” & Robert Oxman[8]
- Rivka Oxman
The Bubble Pavilion was one of the first structures in the world which was completely created with computational means, from the design to construction. Analytical computational technique based on finite-element method has been used in the project[9]. The geometry model was divided into small and interconnected mesh which can be used for performing structural, energy and fluid dynamic analysis for building. Besides, the wireframe crosssections which are produced by contouring in computation process can be manipulated to construct an abstraction of the building’s structural framework[10]. Therefore, the construction process can be optimized and waste can be reduced. FIG.13 STRUCTUAL FRAMEWORK OF THE BMW BUBBLE PAVILION
15
A.3 CONPOSITION TO GENERATION
“Generative design is not about designing a building. It’s about designing the system that designs a building” - Lars Hesselgren
16
Composition and generation With the development of computation and the continuous exploration of possibility, the design approach of architecture has shifted to generation from composition. For a long period, architects proceed their design with sketching concept and geometry forms. Unlike generation, composition is an one direction linear process which composition is the input and design or visual representation is the outcome. In contrast, generation is the outcome which generated by a set of rules and algorithm in the generative design process. Generative design is basically relied on the computation processes and parametric modeling. It is the process with scripts, algorithm and simulation. With generative design or computational design, multiple optimized design iterations can be generated if detail projected data and requirements are integrated into the programs[11].
17
CASE STUDY 1 Beijing National Aquatics Centre
Soap Bubble Ceiling The soap bubble like ceiling of the Aquatics Centre used a complementary approach instead of using a series of versions to decide what is best on comparison. Architects used computation to find structural solution which are self-organizing by genetic algorithms.
Computing Performance And Simulation FIG.15 SOAP BUBBLE LIKE CEILING
“Using parametrics, I was able to investigate far more alternatives. We built version 34 because it was better. But version 1 would have worked fine. Generative design allowed us to get better results in a fraction of the time.� - J Parrish, director of ArupSport
FIG.16 INNER STRUCTURE
18
The structure of the Aquatics Centre was optimized by analyzing a series of configuration of the thousand of steel members and connecting nodes. In order to manipulated such complex geometry system, Arup created a parametric software which is able to automated the drawing and analysis process. The algorithm of the computational design checked the forces distribution within the structure according to the member sizes, and provide feedback in 25 minutes. Therefore, a new design opportunity which is optimized based on the weight-to-strength ratio. Such alternatives generated by the parametric design save around $10 million on design cost compare to original design methods. It has also been argued by Peters[13], computation assists architects by simulating building performance , incorporate performance analysis and the materialism, tectonics and parameters of production machinery. These tools can provide performance feedback at various stage of a project and create new opportunities which can be used to improve efficiency.
CASE STUDY 2 Origami Pavilion by Tal Friedman
Parametric Fold Finding The Origami Pavilion is a good example of generative design and parametric design. The entire structure is made up of eight aluminum sheets. The architect took the most noble function of parametricism which is structure optimization for the folding of thin rigid materials. Shortcoming of the Generative design One of the biggest challenges of the generative design is the problem of communication which is a process of sharing information between humans and computers[12]. It is easy to communicate information form computers to human. But it frustratingly difficult to work well in the opposite way when someone is lacking of the intelligence to interpret messages with script. In addition, some performance criteria such as human behavior, intuition and ‘feeling’ can not be rationally measured and integrated into the computation design.
FIG.17 ORIGAMI PAVILION
FIG.18 ORIGAMI PAVILION FOLD FINDING
FIG.16 PARAMETRIC STRUCTURE OPTIMIZATION
FIG.18 ORIGAMI PAVILION FABRICATION
19
Conclusion The development of the design environment is moving as fast as a non-stop train, the design contexts are also changing continuously. We can still appreciating Frank Lloyd Wright’s organic architecture or Louis Sullivan’s ‘form follows function’. However, designer need to seek alternatives for the changing environment. Because human are facing a series of problems, and actions need to be made to secure our future. That requires designers facilitating the flows and exploring the possibility of future by contextualizing, and building connection between systems. Computational design and generative design are the tools which are able to empower the architects by algorithmic logic. It provides architects more opportunities to explore design possibility and achieve more satisfied outcomes.
20
Learning Outcomes The first three weeks study in Studio Air actually brings me into a new knowledge sphere or concept sphere. With the study in parametric design tool Grasshopper, I am gradually shifting from an one direction linear composition logic to a feedback looping algorithmic logic. I did have some previous experience in digital design and modeling, especially in Rhino and Sketchup. But I have never thought about using parametric design to achieve better design outcomes by manipulating with the parameters. Despite the application of parameter enhances the complexity and difficulty of the design processes at this stage. But somehow, I find it improves the efficiency of the design process as it enables users make changes in single component or parameter to achieve refined alternative outcome instead of making changes to the whole composition. I am looking forward to moving to part B for getting more familiar with Grasshopper and gaining more comprehensive understanding of computational design and generation.
21
A. 6 APPENDIX
22
23
A. 7 REFERENCE [1] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) p2. [2] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p3. [3] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p6. [4] Mcdougall, Rosamund. Too many people: Earth’s population problem, p1 [5] Wright, Lloyd Frank (1908). “In the Cause Of Architecture”, Robert McCarter, ed, On and By Frank Lloyd Wright: A Primer of Architectural Principle, London: Phaidon, 2005. First Published in The Architecture Record. [6] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p3 [7] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p8 [8] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p4 [9] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with p24 [10] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with p25 [11] Generative Architecture – Transformation by Computation, Retrieved 17/03/2016 From http://www.builtr. io/generative-architecture-transformation-by-computation/. [12] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p3 [13] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p13
Case Study: Asian Cairns by Vincent Callebaut http://vincent.callebaut.org/page1-img-asiancairns.html http://www.dezeen.com/2013/03/21/asian-cairns-by-vincent-callebaut/ Zaha Burnham Pavilion http://www.archdaily.com/33110/burnham-pavilion-zaha-hadid Beijing national stadium http://www.archdaily.com/6059/inside-herzog-de-meuron-beijing-birds-nest http://www.e-architect.co.uk/beijing/birds-nest-beijing 24
http://www.dezeen.com/2008/07/30/national-stadium-beijing-by-herzog-de-meuron/ https://liber tecture.wordpress.com/2014/01/28/algorithmic-boogie-beijing-olympic-stadium-case-studygsapp-adr-i-13/ https://www.herzogdemeuron.com/index/projects/complete-works/226-250/226-national-stadium.html Bmw Pavilion h t t p : / / w w w . f r a n k e n - a r c h i t e k t e n . d e / i n d e x . php?pagetype=projectdetail&lang=en&cat=0&param=overview&param2=21&param3=0& https://books.google.com.au/books?id=kJEMWde-REYC&pg=PT117&lpg=PT117&dq=bmw+BUBBLE+PAVILI ON&source=bl&ots=iuEFMOMSQZ&sig=ZobM0JcnPNAtDWudrCdjxdL5-74&hl=en&sa=X&ved=0ahUKEwiUtsSzcfLAhUEW6YKHYwyA-sQ6AEIPzAJ#v=onepage&q&f=false http://www.noveformy.cz/blob/blob-reference/the-bubble-bmw-pavilion/ Beijing National Aquatics Centre http://www.cadalyst.com/cad/building-design/generative-design-is-changing-face-architecture-12948 http://www.dezeen.com/2008/02/06/watercube-by-chris-bosse/ Origami Pavilion http://www.archdaily.com/781664/origami-pavilion-creates-shelter-with-just-3-folded-aluminum-sheets
25
`
[B] CRITERIA DESIGN
26
Content B.1 Research Fields
28-29
B.2 Case Study 1.0
30-37
B.3 Case Study 2.0
38-43
B.4 Technique Development
44-61
B.5 Technique: Prototype
62-65
B.6 Technique: Proposal
66-68
B.7 Learning Objectives and Outcomes
69
B.8 Appendix
70
B.9 Reference
71
27
`
FIG.19 VOLTADOM
VoltaDom by Skylar Tibbits
28
B. 1 RESEARCH FIELDS
Tessellation In order to narrow the design possibilities and make an appropriate project for part B, I decided to specialise in tessellation as a start point. In the past, tessellation is the tiling of a flat surface by using one or more geometric shapes. It was commonly used in wall decoration or the tiling of the faรงade. With the assist of computational process and digital technology nowadays, tessellation can be integrated into some complex form or structure with physic simulation. It can be the division of an undulating surface or 3-dimensional structure, and into polygons in a repeated pattern without gaps or overlapping. The exploration of tessellation is able to generate more interesting design outcome which is tightly connected to different systems and movements. Picture on the left is the VoltaDom project by Skylar Tibbits, an American designer and computer scientist. It is a structure that fills the concrete and glass corridor with hundreds of vaults. Those vaults are the repetitive geometric pattern which fill the 3-dimensional structure without any gap and overlapping in tessellation. VoltaDom creates complex double curved vaults through the simple rolling of a sheet of material with an innovative fabrication technique. It requires computation process es to generate rapid prototype and also the connection.
29
Voussoir Cloud by Iwamotoscoot
30
B. 2 CASE STUDY 1.0
FIG.20 VOUSSOIR CLOUD
The Voussoir Cloud design fills the space with a series of vaults which can be experience both from within and above. It is a landscape of vaults and 5 columns consisting of cluster of 3-dimensional petals that formed by folding with wood laminate along curve seams. The curve generates a dished form that relies on the internal surface tension of the wood and the flange to hold the structure .The concept of Voussoir Cloud is trying to explore the structural paradigm of pure compression combined with light weight material system. The design used hanging model to find efficient form that maintain the overall stability of the structure. Computational hanging chains model was used to refine the profile lines when form finding programs to find the compressive vault shapes of a Delaunay tessellation. The curvature of each petal depends upon its adjacent voids. To achieve this curvature a computational script was written for Rhino model to manage the petal edge curvature as a function of tangent offset.
31
1
SPECIE 1
1.1 Varing the length of the columns by manipulating the offset of the anchor points at the bottom Number of Anchor: 5 Offset: -10 on Z-direction Unary Force: 1.0
1.2 Using Kangaroo WindMesh Strength: 0.7 Wind Vector: -0.63 on Z-direction
1.5 Using Kangaroo MeshPressure
Pressure Level: -1.7
1.6 Using Kangaroo HydroMesh Fluid Density: 0.2
1.7 Creating Recipr Structure 1.3 Exploring Fluid Shape with Kangaroo Rocket Rocket Strength: 6.6
Scale: 1 Angle: 100 Radius: 0.1
1.4 Exploring Fluid Shape with Kangaroo Vortex
1.8 Creating openin by using Weaverbir PictureFrame
Strength: 11.4
32
Distance: 0.211 wbThicken: 0.1
o
7
o
SPECIE 2
2.1 Base curve is changed From rectangle to polygon Number of Anchor: 6 Offset: -10 Z-Axis Unary Force: 1.0
Pressure Level: -1.5
2.2 Using Kangaroo WindMesh Strength: 0.7 Wind Vector: -0.63 on Z-direction
rocal
ngs rd’s
2.5 Using Kangaroo MeshPressure
2.6 Using Kangaroo HydroMesh Fluid Density: 0.3
2.7 Creating Reciprocal Structure 2.3 Exploring Fluid Shape with Kangaroo Rocket Rocket Strength: 6.6
2.4 Exploring Fluid Shape with Kangaroo Vortex Strength: 6.6
Scale: 1 Angle: 100 Radius: 0.1
2.8 Creating openings by using Weaverbird’s PictureFrame Distance: 0.211 wbThicken: 0.1 33
SPECIE 3
3.4 Exploring Fluid Sh with Kangaroo Vortex 3.1 Base curve is changed from rectangle to circle
Strength: 49.5
Number of Anchor: 12 Offset: 0 on Z-direction Unary Force: 12 on Z-direction 3.5 Using Kangaroo MeshPressure Pressure Level: -5.0 3.2 Using Kangaroo WindMesh Strength: 2.0 Wind Vector: -4.87 on Z-direction
3.6 Creating Reciproc Structure Scale: 1 Angle: 100 Radius: 0.1 3.3 Exploring Fluid Shape with Kangaroo Rocket Rocket Strength: 3.3
3.7 Creating openings by using Weaverbird’s PictureFrame Distance: 0.211 wbThicken: 0.1
34
SPECIE 4
hape x
4.4 Exploring Fluid Shape with Kangaroo Vortex 4.1 Voronoi radius is changed to 1000 Number of Anchor: 12 Offset: 0 on Z-direction Unary Force: 12 on Z-direction 4.5 Using Kangaroo MeshPressure Pressure Level: -6.8 4.2 Using Kangaroo WindMesh Strength: 1.0 Wind Vector: -3.02 on Z-direction 4.6 Creating Reciprocal Structure
cal
s s
Strength: 4.7
Scale: 1 Angle: 100 Radius: 0.1 4.3 Exploring Fluid Shape with Kangaroo Rocket Rocket Strength: 12.3
4.7 Creating openings by using Weaverbird’s PictureFrame Distance: 0.211 wbThicken: 0.1
35
`
SUCCESSFUL ITERATIONS
ITERATION 1.3
ITERATION 2.2
ITERATION 2.6
ITERATION 4.6
36
Iteration 1.3
Iteration 2.2
The fluid shape of the upper structure which is generated by the Rocket force simulation in Grasshopper provides some dynamic and compressive movement to the original Voussoir Cloud structure. The dynamic ‘rising’ form might be more likely to get visitors’ attention and make connection to the current cultural and social contexts such as urban consolidation or population growth which are able to evoke awareness.
In this iteration, the aesthetic quality of the form doesn’t quite satisfy my aesthetic requirement. However, the relationship between the form and natural element makes this iteration successful. The iteration is generated by the wind simulation parameter in Grasshopper. The entire structure and tessellations is reshaped by the wind force on Z-axis. It creates a fluid structure which is tightly connected to the natural phenomenon.
Slection Criteria Tessellations and structure can create shelter space for users and provide experience to users. Tessellations and structure should generate a unified and dynamic movement across the surface which is tightly connected to the surrounding movement. The form need to facilitate the connection and interaction between the users and the natural environment.
Iteration 2.6 In this iteration, openings are added to the structure with the Weaverbird Picture Frame. With those openings, it can provide more natural light and ventilation to the shelter space which will be more likely to generate unique experience to the users and create interaction between human and nature.
Iteration 4.6 Similar to the iteration 2.6, openings are created by wbPicture Frame. Comparing to the previous iteration, the form of the iteration is differentiated by changing the Voronoi diagram to make it become more organic and more harmonious with the site’s landscape and vegetation.
37
38 FIG.21 POLY.LUX BY SOFTLAB
B. 3 CASE STUDY 2.0
POLY. Lux by SOFTlab POLY. Lux is an installation that hung within the entrance of St. Patrick’s catholic school in the busy metropolis. The installation sculptural form was generated through a gravity driven process in which three funnelling forms of varying depths hang downwards. the surface contains more than 1400 battery powered LEDs, installed onto the Mylar panels which make up the form, flickering and blowing in the wind with the intention of slowing down traffic through the experience, engaging and encouraging visitors to co-mingle and interact with the work.
39
STEP 1
STEP 2
STEP 1 create a basic geometry in rhino 40
STEP 3
STEP 2 turn the Brep Grasshopper
STEP into
mesh
in
use Kangaroo P finding
P3
Physic for from-
Reverse-Engineering
STEP 5
STEP 4
STEP 4 Define the boundary of each panel with attractor points
STEP 5 Use Boundary Surface to create surface from the boundary of panels 41
The most complicated process for the reverse engineering is the form-finding of the panels because they are various in shape and size. In order to achieve the outcome, attractor points are used to manipulate the size of the panels. As it can be seen from the figure 22, the boundary of one panel is made up of three splines. Those splines are defined by the vertices of the outer triangle (with white dashed line) and the mid-points on the edges of the smaller triangle which scales down from the outer one. Thus, the shapes and sizes of panels can be differentiated by the size of inner triangle and scale factor between two triangles. The scale factors are driven by the distances between the attractors and the centre of the triangles. In other words, panels which are closer to the attractor will be smaller because the scale factor is smaller. FIG.22 PANEL FORM-FINDING
FIG.23 TOP VIEW
42
FIG.24 BOTTOM VIEW
FINAL OUTCOME
FIG.25 FINAL OUTCOME
43
SPECIE 1
1.01-Using Attractor Points Number of Attractor=5 Rest Length of Spring=0.60
1.02-Using Attractor Points Number of Attractor=6 Rest Length of Spring=0.60
1.03-Using Attractor Points Number of Attractor=7 Rest Length of Spring=0.60
44
B. 4 TECHNIQUE DEVELOPMENT
1.04-Using Kangaroo MeshPressure Number of Attractor=7 Rest Length of Spring=0.60 Pressure Level=-10
1.05-Using Kangaroo MeshPressure Number of Attractor=7 Rest Length of Spring=0.60 Pressure Level=-20
1.06-Using Kangaroo WindMesh Number of Attractor=7 Rest Length of Spring=0.60 Wind Strength=1.0 Wind Vector=-2.68 on Z-direction
1.07-Using Kangaroo WindMesh Number of Attractor=7 Rest Length of Spring=0.60 Wind Strength=1.0 Wind Vector=-2.68 on Y-direction
45
1.08-Using Kangaroo HydroMesh Number of Attractor=7 Rest Length of Spring=0.60 Fluid Density=0.7
1.09-Using Kangaroo HydroMesh Number of Attractor=7 Rest Length of Spring=0.60 Fluid Density=0.2
1.10-Changing the Length of Spring Number of Attractor=7 Rest Length of Spring=1.27
46
1.11-Changing the Length of Spring Number of Attractor=7 Rest Length of Spring=2.09
1.12-Smoothening by using Weaverbird PictureFrame Number of Attractor=7 Rest Length of Spring=0.60 Distance=10
1.13-Smoothening by using Weaverbird Frame Thicken Number of Attractor=7 Rest Length of Spring=0.60 Distance=0.1
1.14-Creating Openings by ScaleNU and Solid difference Number of Attractor=7 Rest Length of Spring=0.60 Scale-X=0.71 Scale-Y=0.71
47
SPECIE 2
2.01-Using Attractor Points Number of Attractor=5 Rest Length of Spring=0.60
2.02-Using Attractor Points Number of Attractor=6 Rest Length of Spring=0.60
2.03-Using Attractor Points Number of Attractor=7 Rest Length of Spring=0.60
48
2.04-Using Kangaroo MeshPressure Number of Attractor=5 Rest Length of Spring=0.60 Pressure Level=-52
2.05-Using Kangaroo MeshPressure Number of Attractor=5 Rest Length of Spring=0.60 Pressure Level=50
2.06-Using Kangaroo WindMesh Number of Attractor=5 Rest Length of Spring=0.60 Wind Strength=1.0 Wind Vector=-1.90 on Z-direction
2.07-Using Kangaroo WindMesh Number of Attractor=5 Rest Length of Spring=0.60 Wind Strength=1.0 Wind Vector=-1.90 on Y-direction
49
2.08-Using Kangaroo HydroMesh Number of Attractor=5 Rest Length of Spring=0.60 Fluid Density=0.6
2.09-Using Kangaroo HydroMesh Number of Attractor=5 Rest Length of Spring=0.60 Fluid Density=0.2
2.10-Changing the Length of Spring Number of Attractor=5 Rest Length of Spring=1.27
50
2.11-Changing the Length of Spring Number of Attractor=5 Rest Length of Spring=2.00
2.12-Smoothening by using Weaverbird PictureFrame Number of Attractor=5 Rest Length of Spring=0.60 Distance=10
2.13-Smoothening by using Weaverbird Frame Thicken Number of Attractor=6 Rest Length of Spring=0.60 Distance=0.1
2.14-Creating Openings by ScaleNU and Solid difference Number of Attractor=7 Rest Length of Spring=0.60 Scale-X=0.71 Scale-Y=0.71
51
SPECIE 3
3.01-Using Attractor Points Number of Attractor=6 Rest Length of Spring=0.60
3.02-Using Attractor Points Number of Attractor=7 Rest Length of Spring=0.60
3.03-Using Attractor Points Number of Attractor=8 Rest Length of Spring=0.60
52
3.04-Using Kangaroo MeshPressure Number of Attractor=8 Rest Length of Spring=0.60 Pressure Level=-42
3.05-Using Kangaroo MeshPressure Number of Attractor=8 Rest Length of Spring=0.60 Pressure Level=30
3.06-Using Kangaroo WindMesh Number of Attractor=8 Rest Length of Spring=0.60 Wind Strength=0.6 Wind Vector=-1.90 on Z-direction
3.07-Using Kangaroo WindMesh Number of Attractor=8 Rest Length of Spring=0.60 Wind Strength=1.2 Wind Vector=-2.68 on Y-direction 53
3.08-Using Kangaroo Reciprocal Structure Number of Attractor=8 Rest Length of Spring=0.60 Line Scale=1 Rotation Angle=0 Radius=0.3
3.09-Using Kangaroo Reciprocal Structure Number of Attractor=8 Rest Length of Spring=0.60 Line Scale=3 Rotation Angle=100 Radius=0.3
3.10-Changing the Length of Spring Number of Attractor=8 Rest Length of Spring=1.60
3.11-Changing the Length of Spring Number of Attractor=8 Rest Length of Spring=2.27 54
3.12-Smoothening by using Weaverbird PictureFrame Number of Attractor=8 Rest Length of Spring=0.60 Distance=10
3.13-Smoothening by using Weaverbird Frame Thicken Number of Attractor=8 Rest Length of Spring=0.60 Distance=0.1
3.14-Creating Openings by ScaleNU and Solid difference Number of Attractor=8 Rest Length of Spring=0.60 Scale-X=0.71 Scale-Y=0.71
55
SPECIE 4
4.01-Using Attractor Points Number of Attractor=6 Rest Length of Spring=0.60
4.02-Using Attractor Points Number of Attractor=7 Rest Length of Spring=0.60
4.03-Using Attractor Points Number of Attractor=8 Rest Length of Spring=0.60
56
4.04-Using Kangaroo MeshPressure Number of Attractor=8 Rest Length of Spring=0.60 Pressure Level=60
4.05-Using Kangaroo MeshPressure Number of Attractor=8 Rest Length of Spring=0.60 Pressure Level=-15
4.06-Using Kangaroo WindMesh Number of Attractor=8 Rest Length of Spring=0.60 Wind Strength=0.4 Wind Vector=-1.90 on Z-direction
4.07-Using Kangaroo WindMesh Number of Attractor=8 Rest Length of Spring=0.60 Wind Strength=1.0 Wind Vector=-2.68 on Y-direction
57
4.08-Using Kangaroo Reciprocal Structure Number of Attractor=8 Rest Length of Spring=0.60 Line Scale=1 Rotation Angle=0 Radius=0.3
4.09-Using Kangaroo Reciprocal Structure Number of Attractor=8 Rest Length of Spring=0.60 Line Scale=3 Rotation Angle=90 Radius=0.3
4.10-Changing the Length of Spring Number of Attractor=8 Rest Length of Spring=0.12
4.11-Changing the Length of Spring Number of Attractor=8 Rest Length of Spring=1.60 58
4.12-Smoothening by using Weaverbird PictureFrame Number of Attractor=8 Rest Length of Spring=0.60 Distance=10
4.13-Smoothening by using Weaverbird Frame Thicken Number of Attractor=8 Rest Length of Spring=0.60 Distance=0.1
59
SUCCESSFUL ITERATIONS
ITERATION 2.08
ITERATION 2.13
ITERATION 3.05
ITERATION 4.08
60
Iteration 2.08
Iteration 2.13
The fluid shape is generated by the HydroMesh in Grasshopper. It provides dynamic movement to the original structure by applying depth dependent pressure. As the structure is a hung installation, the lower part of the structure will be hanging like a water drop that drops from the top. The idea of water drop is tightly connected to the natural phenomenon and also the creek.
In this iteration, openings are added to the tessellations with wbFrame in Grasshopper. The openings can let more natural light in and achieve better natural ventilation. In addition, there is potential to let plants growth onto the tessellation. Plants represent nature and brings more natural factor to the design. Besides, plants can work as intermediate between human and the other species. It can visually separate human and wildlife from each other but bring them together into one space.
Slection Criteria Tessellations and structure can create experience to the users and engage visitors to interact with the work Tessellations and structure should generate a unified and dynamic movement across the surface which is tightly connected to the surrounding movement The form need to facilitate the connection and interaction between the users and other species on site. The form need to allow small animals cross on the top of the structure.
Iteration 3.05
The form is able to complicate the circulation and slow down the traffic
Personally, this iteration quite satisfy me in aesthetic perspective as its form is similar to some natural creature like the fountain or flower. However, the relationship between the form and the surrounding movement in the iteration interests me the most. The form is generated by the MeshPressure in Grasshopper. The pressure can represent the traffic and human movement around the structure.
Iteration 4.6
I found this iteration very interesting because of its maze like form which might succeed in slowing down the traffic. In addition, the reciprocal structure is similar to the branches of trees or the form of bird nest (possibly attracts more birds coming). It can evoke user’s awareness of the natural environment and facilitate the interaction between visitors and other species
61
B. 5 TECHNIQUE: PROTOTYPES
Unlike the tessellations in Voussoir Cloud which consist of a series of vaults, the Poly.Lux hanging installation is made up of hundreds of panels that have no curvature. The fluid shape is created by the angles between the panels and the joints which connect panels together. Therefore, I decided to use 2D laser cutting to fabricate the panels as well as the joints. Grasshopper was used to create joints to each vertices on the panels.
62
My first attempt is using material MDF (Medium-density fibreboard) and 2D laser cutting machine to fabricate the panels and joints. The reason why MDF is used rather than polypropylene is to meet my brief requirement which allows small animals to cross above the structure. The extremely flexible and thin polypropylene which is used in the Poly.Lux Project will not be able to support such amount of loads and meet
Cable ties are used to fix the joints. Cable tie is extremely strong and stable when it is fastened.
In this failed sample, I create angle between panel and joint by twisting or bending. However, it is not very successful because most of the joints came off when I tried to twist or blend them due to the poor flexibility of the material. In addition, I found MDF is still not strong enough to meet the structural requirement as some panels were deflected when tensile force applied to it.
63
Prototype Optimisation When I was trying to solve the problem of the joints in my previous attempt, I had a very hard time as there is no such material which is high in stiffness and flexibility to meet my structural requirement. However, I received a very useful suggestion from the tutorial which can easily solve the problem of my prototype. Brad suggested me to add a floating joint between joints to enable rotation and folding instead of overlapping the joints. Material is changed from MDF to Perspex which seems to have better performance in tension. In order to create fully adjustable joints, I need to make sure there is no overlapping between the circle joints when fastening the cable ties to fix the joints. Floating Joint
No Overlapping
64
65
D
C B A
66
B. 6 TECHNIQUE: PROPOSAL
VIEW A
VIEW B
VIEW C
My chosen site is one of the footbridge in the Merri Creek which crosses the Merri Creek Valley. The spanning of the footbridge connects the traffic from both sides of the valley. Footbridge is the only way for cyclists and pedestrians to get into another side of the valley within the area unless someone wants to get wet. When I was on the site, I found 80% of the pedestrians spent at least one minute staying on the bridge to relax or take photos while all cyclists just quickly passed through. The circulation on the footbridge presents a potential opportunity for me to implement an architectural intervention, which is similar to the POLY. Lux project, with the intention to slow down the traffic on site and engaging visitors to interact with the work, and more importantly the surrounding natural environment. In terms of the surrounding natural environment, there are plenty of tall vegetation on the both banks of the valley. Unlike human who can use footbridge to get into other side of the valley, the natural environment is divided into two pieces by the valley. Other species might find it hard to get into other part of the site if they don’t use the same path with the human. The separation of the natural environment by the valley presents an opportunity to create a structure which is able to bring two separated pieces together as well as provide a corridor for other species. 67
VIEW D
DESIGN PROPOSAL
Interface Between Human And Other Species In order to satisfy my own selection criteria and our studio’s requirement which is interface between human and other species, an installation that hung above the footbridge will be implemented. The structure will be efficiently slow down the traffic by complicating the circulation and encourage visitor spend more time on the site as well as interact with the work. In addition, the hung structure will be connected to the treetops on site and span through the valley which can provide a corridor for other species. The concept of the project is trying to create a functional space which brings human and other wildlife together. The structure allows other species like possum cross the valley on top of the structure while human are walking underneath. More importantly, it illustrates an idea of how human being can share the space with other species in the existing natural environment. Materiality According to the function of the structure and feedback from the prototype, the material of the panels or tessellations need to be high in stiffness to avoid deflection, especially on the area around the joints. In fact, using high stiffness material will cause less flexibility of the structure. However, those panels are all planar surface and do not have any curvature. Thus, it might have lower requirement for flexibility. In addition, materials for the structure also need to be high in durability and easy to maintain when it is exposed to the natural environment. 68
B. 7 LEARNING OBJECTIVES AND OUTCOMES Objective 5
Objective 1 The brief of creating interface between human and wildlife narrows my direction on the case study selection and provides limitation to the parametric design process instead of randomly making something arbitrary.
B.1
Objective 2 Techniques and components that learned from online video and Grasshopper3d forum have been applied to the parametric design processes of making iterations as well as reverse-engineering. Those techniques create much more possibility to my design.
Objective 6
B.2 B.3
Objective 3 Part B is very challenging and time-consuming. Grasshopper techniques is very important in this section. However, I also need to practise my skills in other fields and programs such as rendering with Vray, diagramming with Illustrator and working with laser cut machine
With the knowledge of Grasshopper and Kangaroo, I am able to identify the techniques used in the case study and rewrite my own script to achieve the same or similar forms.
Objective 7
B.4
B.5
Objective 4 In my opinion, ‘Air’ represents flows and movements. In this section, I have a chance to experiment with Kangaroo Physic to achieve forms which are connected to the world of physics and other natural movements such as wind and pressure.
At this stage, I felt that the hung tessellation concept in Case Study 2.0 was very helpful for putting my brief and design outcome together. However, it is still lacking of critical analysis in both the proposal and the successful iterations selection.
B.6
Studying in Part B forced me to do a lot of own researches in techniques through online tutorials. It actually enhance my understanding of Grasshopper components and data structure. More importantly, I have developed my algorithmic thinking through working with my iterations. Objective 8 At this stage, I am able to achieve some desired forms through parametric programming. At the next stage, I need to develop the skills of using parametric programming as a tool to make the design more site responsive and generate sustainability.
69
B. 8 APPENDIX
70
B. 9 REFERENCE Case Study: POLYP.lux by SOFTlab: “POLYP.lux by SOFTlab”, Retrieved 16/04/2016 from http://designplaygrounds.com/deviants/ polyp-lux-by-softlab/. VoltaDom by Skylar Tibbits: “VoltaDom by Skylar Tibbits”, Retrieved 10/04/2016 from http://designplaygrounds.com/ deviants/voltadom-by-skylar-tibbits/. Voussoir Cloud by Iwamoto Scott and Buro Happold: “Voussoir Cloud by IwamotoScott with Buro Happold”, Retrieved 10/04/2016 from http:// www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/. “Voussoir Cloud” Retrieved 10/04/2016 from http://www.iwamotoscott.com/VOUSSOIRCLOUD. Images 19. http://designplaygrounds.com/deviants/voltadom-by-skylar-tibbits/ 20. http://www.iwamotoscott.com/VOUSSOIR-CLOUD 21. http://designplaygrounds.com/deviants/polyp-lux-by-softlab/
71