part c final journal kexin ang 636730

PART C DETAILED DESIGN

CONCEPTUALISATION 65

66 CONCEPTUALISATION CONCEPTUALISATION 67

After receiving feedbAck from pArt b, we decided to further develop my prototypes further into A design thAt could be digitAlly

prefAbricAted in reAl life. using techniques leArned from field lines to rAtionAlize A dynAmic form for the design.

As whAt i did eArlier, wires will still be the mAin support for the overAll structure the tAsk now is to find A suitAble mAteriAl thAt could Act As its ‘clAdding’ And membrAne. thAt mAteriAl could be

semi-trAnspArent As it blurs the boumdAry between internAl And externAl, strongly ephAsis on interrAction And connection.

hence, we decided to go bAck to the site to

to redefine our deisgn concept And brief And find inspirAtion through products AvAilAble in crAft store As A stArting point to brAinstorm ideAs.

PART B REVISIT


INSPIRATIONS (BRAIN-STORMING)


SITE ANALYSIS

CONCEPTUALISATION 73

while wAlking on merri creek trAil, whAt we found most interesting wAs the Amount of detAil thAt one

might discover while viewing the nAture At A microscopic level. some of the nAturAl mAteriAls thAt we observed And found evocAtive especiAlly At A smAller scAle include, grAss, reeds And more. other thAn thAt,

pAper bAgs And tissue pAper were Also observed on the ground. therefore, in our project, we hope to creAte A pAvilion thAt could function to provide An evocAtive experience to Allow the users on site to discover the microscopic properties of

mAteriAls At A one to one scAle besides Acting As A temporAry structure thAt cAn be set up when needed. hence, the mAin concept Adopted is the reuse And recycle of mAteriAls, both mAn-mAde And nAturAl, thAt we found on site

to construct the pAvilion for which the pAvilion will disintegrAte over time And cAn be constructed whenever it is needed using the mAteriAls on site, imitAting the nAturAl cycle of life in the nAturAl system.


FORM-FINDING


in order to reAlise this ideA, we went bAck to the grAsshopper script for form finding, using techniques leArned from field lines, such As: AttrAction And repulsion force And clociwise, Anti-clockwise spinning force.

As we wAnted the users to view the mAteriAls in A cellulAr mAnner just As how we look into the detAils of cells viA the microscope, A more dynAmic And curvy form is needed to Achieve the desired effect. therefore, After multiple Attempts As

shown in A few of the iterAtions tested out ,we finAlly decided on this form (As shown Above) As our finAl form As it does not encompAss Any shArp edges thAt cAn seen in the otheriterAtions while still hAving the orgAnic 3d form And dynAmism in

terms of how it spreAds Across the lAndscApe.


MATERIALS STUDY


After deciding on the form, we went on to mAteriAl studies And experimenting wAys in which we could fAbricAte the form. in terms of mAteriAl studies, we experimented with both nAturAl And

mAn-mAde mAteriAls. close-up shots were tAken in order to imitAte whAt one might find while viewing it At A microscopic level. some of the mAn-mAde mAteriAls thAt we hAd experimented include gift wrApping tissue pAper, normAl tissue pAper, crepe pAper, recycled pulp pAper And even mAde our own bioplAstic. most of the mAteriAl is too soft, frAgile or

teArs eAsily. we Also utilised the collected nAturAl mAteriAls on site such As: reeds, twigs And grAss to test out which mAteriAls combine will give the most evocAtive effect.


EXPERIMENTATION


next, we experimented wAys to fAbricAte the pAvilion. initiAlly, we wrApped mAn-mAde mAteriAls such As tissue pAper, glued on the surfAce of A

temporAry formwork, bAlloon. once we pop the bAlloon, we mAnAged to creAte A fAirly strong membrAne structure through binding of glue, even without Any structurAl support system. we Also experimeted with putting reeds in between 2 lAyers

however, this bAlloon formwork ideA is limited to only creAting round structure, which does not Apply to the orgAnic,dynAmic form we intended to creAte. hence, we developed this ideA of creAting A digitAl fAbricAted form which could be

removed lAter. wires will be needed to support the membrAne, Also to imitAte the field line pAtterns derived in our finAl chosen form.

through multiple triAls, we decided to go with reeds insteAd of twigs As twigs Are too thick And mAy be too heAvy to be supported

within membrAne And wires, And could dAmAge the structure eAsily. we found thAt gift wrApping tissue pAper is A better mAteriAl choice thAn crepe pAper As it is thin, semi-trAnspArent And flexible, cApAble in spAnning Across the whole design. its trAnspArency level is exActly whAt we Are looking for in order for usersview it in A microscopic scAle. Although crepe is more textured (rough- hAnd-felt surfAce) it

is A bit thick And might cover the reeds inserted within. 94 CONCEPTUALISATION CONCEPTUALISATION 95

PREFABRICATION


CHOSEN FIELD LINE FINAL FORM

FIELD LINES WERE MADE 3-D AND LOFTED TO FORM SURFACE

1.

2.

CONTOURS WERE MADE ON THE SURFACE AND THE CONTOUR LINES WERE PROJECTED TO THE X-PLANE

CONTOUR CURVES AND THE PROJECTED LINES WERE LOFTEDTO FORM PANELS THAT ACT AS TEMPORARY FORMWORK

3.

4.


using grAsshopper to creAte contour Along the surfAce And project it to the horizontAl plAne, the formwork wAs obtAined through digitAl fAbricAtion. rAther thAn A whole surfAce, we resorted in using pAnels As it would be more convenient

to remove the structure from the formwork without dAmAging it. foAm boArd wAs lAser cut And gAps were left in order to insert these pAnels in. we slot the pAnels in According to the numbers nAmed prior lAser cutting to eAse instAllAtion process And

Able to work efficiently in A short period to quickly set up the temporAry pAnelling formwork. After pAnels Are slot in, we lAid the first lAyer of gift wrApping tissue pAper on the surfAce. next, reeds were lAid on top for Aesthetic effect And to enAble users to AppreciAte beAuty of nAture in A microscopic level. wires were plAced According to our field lines pAtterns to Act As structurAl support system. And lAstly,

Another lAyer of tissue pAper were lAid on top to cover the reeds And wires,Acting As the outerlAyer membrAne. when we removed the formwork, our design AppeArs to be dynAmic As intended And orgAnic, especiAlly the interior pArt As the stAins of

formwork left gAve it Another rAw Aesthetic effect. the reeds inserted in between is very AppeAling And could heighten the users’ experience when it is lighted up.


PROTOTYPES


LEARNING OBJECTIVES

THIS DETAILED DESIGN PHASE CONCLUDES THE WHAT PHASE OF THE PROJECT. DURING THIS PHASE, ALL KEY DECISIONS ARE FINALIZED. THIS PART FOCUSES ON THE DEVELOPMENT OF A REALISTIC AND YET INNOVATIVE DESIGN PROPOSAL. THE OUTCOME OF THIS STAGE IS A FULLY DOCUMENTED AND CONVINCINGLY ARGUED DESIGN THAT IS CRITICALLY POSITIONED IN CONTEMPORARY ARCHITECTURAL DISCOURSE.

THROUGHOUT THE PROCESS, I HAVE GAINED KNOWLEDGE IN HOW TO REALIZE THE WHOLE DESIGN PROCESS: FROM OBSERVING ON SITE, THROUGH BRAIN STORMING, FORM- FINDING, DOING MATERIALS STUDY, AND THEN EXPERIMENTING POSSIBLE FABRICATION WAYS TO ACTUALIZE THE STRUCTURE. THEN IT PROCEED TO SENDING THE FILE FOR LASER CUT AND LAYING THE FORMWORK OUT. FINALLY, LAYERING THE MEMBRANE AND INSERTING WIRE SUPPORT IN BETWEEN FOR STRUCTURAL PURPOSE. THE FINAL STEP IS TO PEEL OUR DESIGN CAREFULLY FROM THE FORMWORK WHICH WILL THEN STAY IN SHAPE.

DIGITAL FABRICATION IS AN EFFICIENT WAY THAT ELIMINATES ANY INACCURACY WHEN CUTTING AND SAVING TIME. OTHER THAN THAT, IT ALSO MINIMISES ERROR DURING INSTALLATION AS WE LABELLED THE PANELS ACCORDINGLY IN A SEQUENCE.

THE MOST INTERESTING THING I LEARNED DURING THIS PROCESS IS THAT DIGITAL FABRICATION TECHNIQUES COULD BE USE TO CREATE A TEMPORARY FORMWORK THAT COULD BE REMOVED FROM THE DESIGN LATER ON. EVEN THOUGH OUR FINAL MODEL LOOKS ‘ARTSY AND CRAFTY’, THE DIGITAL FABRICATION PROCESS IS VERY INTERESTING.

AFTER OUR FINAL PRESENTATION, WE REALISED THAT OUR DESIGN IS NOT CLEARLY JUSTIFIED IN MANY WAYS AND WE NEED TO REFINE AND FURTHER DEVELOP OUR DESIGN IN ORDER TO CREATE A PROPOSAL WHICH FLOWS AND MAKES SENSE, NOT JUST RANDOM FORM, AND WE NEED TO FIGURE OUT HOW THIS DESIGN COULD BE CONSTRUCTED IN A REALISTIC WAY. WE SHALL CLARIFY ALL THESE UNCLEAR POINTS IN POST PART C PART.

BIBLIOGRAPHY PAUL NICHOLAS, DESIGNING MATERIAL MATERIALISING DESIGN, ED. BY REBWCCA ROKE (CANADA: RIVERSIDE ARCHITECTURAL PRESS, 2013), P. 39-122.

STANISLAV ROUDAVSKI, MAP | INVESTIGATIVE DESIGNING AS AN APPROACH TO ARCHITECTURAL CREATIVITY (MELBOURNE: MELBOURNE SCHOOL OF DESIGN, FACULTY OF ARCHITECTURE, BUILDING AND PLANNING, THE UNIVERSITY OF MELBOURNE, 2015), P. 21-163.

INNA ALESINA & ELLEN LUPTON, EXPLORING MATERIALS, ED. BY CLARE JACOBSON (NEW YORK: PRINCETON ARCHITECTURAL PRESS, 2010), P. 125-129.

PETRA SCHMIDT & NICOLA STATTMANN, UNFOLDED PAPER IN DESIGN, ART, ARCHITECTURE AND INDUSTRY, ED. BY LUZIA KALIN, MAREIKE GAST (GERMANY:

BIRKHAUSER VERLAG AG, 2009), P. 29-215.

LEARNING OUTCOME


POST PART C


critics from finAl presentAtion

1. no scAle 2. uncleAr function

3. no indicAtion of reAl life construction method

4. the ribs Are not controlled

5. in reAl life we cAn’t just mAke one whole piece of fAbric thAt lArge, needs pAneling

6. overAll, pArAmetric technique is not evident.

we estAblished thAt with the previous temporAry form work thAt we do not hAve the control of reAlizing the curvAture And reAl shApe of your ribs.

we Also reAlize thAt our design does not reAlte to its site surrounding And hence decided to set up A simple Axo drAwing, doing A more detAiled site AnAlysis, considering openings

And humAn movement, drAwing stronger connection to the site we chose.

FEEDBACK FROM PART C


therefore, insteAd of using our temporAry form work, we decided to look At the

constructionmethod of zAhA hAdid’s music hAll, which used the construction

technique of frAmework + pAnelling. by breAking down the long curvy frAme into

segments, it becomes possible to fAbricAte,And sAme logic is used for the pAneling.

through 3d printing the segments of the ribs, we will get the exAct sAme shApe

of the digitAl model. it’s from file to fAbricAtion.

Also, by lofting eAch segment, you will be Able to get the pAneling surfAce shApe

As well , which cAn be used to trim the fAbric we mAde into the right pAnel size.

PRECEDENT


DEFINING AXIS (HUMAN MOVEMENT/ FLOW) ONFINAL FIELDLINE FORM, SET UP STARTING POINTS

REGION INTERSECTION BETWEEN FIELDLINE ANDHEXAGRID

HEXAGRID

USING KANGAROO TO BLOW IT UP INTO 3D

TRACE CURVE ALONG BOUNDARY OF FIELD LINES

PROJECT FIELD LINES ONTO SURFACE

FURTHER DEVELOPMENT


DEFINING AXIS (CIRCULATION, FLOW) ON

REFINED FIELDLINE FORM, SET UP STARTING POINTS

REDUCING LINES ON FIELDLINE DESIGN TO ENABLE CONSTRUCTION PROCESS TO BE FEASIBLE

FURTHER DEVELOPMENT: REFINING

SPINNING FORCE APPLIED, WRAPPED AROUNDTREES & REPULSION FORCE IS USED TO CREATE OPENINGS

DECIDED TO REMOVE THE STAGE HENCE APPLYING ATTRACTION FORCE

BLOW UP PAVILLION TO 3D USING KANGAROO 136 CONCEPTUALISATION CONCEPTUALISATION 137

FINAL DESIGN (REFINED)

our design is now strongly relAted to the site And forms connection through clockwise & Anti-clockwise spinnning force (wrAps

Around tree), repulsion force (creAte openings to fAcilitAte circulAtion And flow) As well As Act As duAl function: pAvillion And stAge (As the Attrction force is Applied Around the previous stAge, we thought it could be replAced by our pAvillion; extending over it). users cAn still view And AppreciAte the beAuty of nAture At A miscroscopic cellulAr level. the concept of disintegrAtion And regrow of the pAvilion is Adopted where

the pAvilion cAn be quickly set up within A few dAys. through the period of time And weAthering effect, the membrAne will slowly

disintegrAte And decompose. during this period, visitors Are Able to view one to one scAle of detAiling of both nAturAl And mAn-mAde mAteriAls, especiAlly when it is lighted up At night.


WEI CHERN’S WORK OF ART 16/6/2015


WIRE: CONNECTION

the piped segments Are colour coded to eAsily identify the ribs position

lAter on.

in reAl life, steel tubes will be used As A construction mAteriAl And connected through dowel joints.


through 3d printing the segments of the ribs, we will get the exAct sAme shApe of the

of the digitAl model. it’s from file to fAbricAtion.

we 3d printed the piped segments horizontAlly insteAd of verticAlly to sAve time And mAteriAl (filAments).

After thAt, we gently removed the support (creAted during printing) And insert wires to connect segment to segment.


SURFACE PANELLING


PANEL LAYOUT


this prototype wAs mAde pAnel by pAnel According to the pAnelling lAyout AttAched Above.

we were very hAppy with how the 3d prnted segments cAme out with connected into A dynAmic curve form.

however, we still think thAt the membrAne needs more refinement. we need to incorporAte reeds (from pArt c) to Add An Aesthetic detAil to

our model And to mAtch with our previous defined brief, enAlbling users to view And AppreciAte the beAuty of nAture in A microscopic

cellulAr mAnner. we Also think thAt the pAnels lAyout is not visible, And will try to refine in An updAted version one lAter on in order

to demonstrAte how it could be lAy out in reAl life construction to mAke it A workAble instAllAtion process.


FINAL MODEL (REFINED)


part c final journal kexin ang 636730

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