studio air journal

STUDIO AIR2016, SEMESTER 1, FINNIAN WARNOCKGUANJIN CHEN 663308

Contents

INTRODUCTION

PART A CONCEPTUALISATION

A.1 Design Futuring

A.2 Design Computation

A.3 Composition/Generation

A.4 Conclusion

A.5 Learning Outcome

A.6 Algorithmic Sketch

PART B CRITICAL DESIGN

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

B.8 Algorithmic Sketch

PART C DETAILED DESIGN

C.1. Design Concept

C.2.Tectonic Elements and Prototypes

C.3.Final Detail Model

C.4. Learning Objectives and Outcomes

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4 CONCEPTUALISATION

- “Not saying this is negative, I’m talking about an inevitable trend”

- Guanjin Chen, 08.02.Year unknown. - Raised in Shenzhen, China, from 0 to 16 years old.

- Currently undertaking an undergraduate degree at the University of Melbourne, major in Architecture.

- One year experience in 3D modelling and rendering tools such as Rhino5, AutoCAD, Sketchup, V-ray; Design tools such as Adobe Creative Suite; New to Grasshopper.

- “Computation work in architecture made design possible(not simple) to everyone”

- “However documentation is losing individuality and being stylised”

CONCEPTUALISATION 5

SECTION OF STUDLEY PARK BOATHOUSE ADS-WATER, SEM2, 2015

PHOTOSHOP ADS-EARTH, SEM1, 2015

6 CONCEPTUALISATION

A

CONCEPTUALISATION 7

A

8 CONCEPTUALISATION

A Over time, architecture from an art form that’s treated by Renaissance architects through decorative elements, to a space that modernist architects more concern about its function and technical aspects. However, architecture is no longer simply refer to form or functions, it posses with functional aspects and aesthetic qualities. As today, we see the growing importance of design as it shapes the perception of material world[1], yet its design is outdated as a solution to the still accelerating defuturing condition of unsustainability[2]. Therefore an urgency for a new culture of design and to be specific, new culture of architecture.

According to Fry, toward sustainability, not only the conventional design process and techniques should be abandoned, but also the ideology and entire mindset [3]. A shift towards design that use speculation for critical a provocative purposes is highly needed, as Dunne & Raby believe, the skill here is making links between today’s world and the suggested one [4], designers are encouraged to dream something impossible to reflect on present instead of hopping something possible that only leads them to a destined future. Here the advanced design process would allow more possibilities and potentials on the design, or in other way, the design itself allow more possibilities and potentials, for example to influence how we perceive and what we experience.

A.1 Design Futuring

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162. Ibid., p3.3. Ibid., 4. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press),p4

CONCEPTUALISATION 9

10 CONCEPTUALISATION

FIG.2

Fig. 1

Fig. 2

CONCEPTUALISATION 11

The use of space is therefore ambiguous and the distinction is blurred, the context of space is not taken as shelter here, and unlike all pavilion kind of structures. The structure reveals itself with different densities of steel mesh, although it seems to be transparency and easily perceived, only entering it can fully understand its spatial organisation. On the other hand, it brings a wire frame drawing into the reality, it’s more like a raw armature of space with its own characteristic before a completed rendering. It inspires not only design pieces afterwards but introduces a new way of spatial design that reconnects the inside space with outside surroundings.

The project is a floating Pavilion to present arts and architecture of Croatia at the Venice Biennale in 2010. It is designed by a group of 14 leading Croatian architects, who have made the recent Croatian architecture visible on the global scene. Unlike working in the usual formats of their previous speculative projects, designers decided to work together on a single proposal.

Based on the idea of Mirage which is an optical phenomenon naturally occur in which light rays are bent to produce a displaced image of a distant object or the sky, the structure is constructed on an existing barge welded from wire mesh, in more than 40 layers of varying contour to create this feeling of fata morgana. And the construction of space inside the volume is carved out and shaped by these contours.

CASE STUDY A.1.1 CroATiAn PAvilion

Inside the volume is a carved out space shaped by varying contours that form the main space as well as protrusions and openings toward the outside. (Archdaily)

Fig. 3

Fig. 4


Fig. 5

Fig. 6


Fig. 5

Fig. 6

- Key word: Urban

The building ground of the museum is located on a peninsula that was artificially extended 100 years ago and situated in the confluence of the Rhône and Saône rivers. The building serves as a distinctive beacon and entrance for the visitors approaching from the South, as well as a starting point for urban development.

- Key word: Space and logics behind complexity

“The Musée des Confluences understands itself not as an exclusive “Temple of the Muses” for the educated elite, but as a public gateway to the knowledge of our time. It stimulates a direct, active use—not only as a place of contemplation, but also as a meeting place in the city.”

Coop-Himmelb(l)au believes today’s knowledge can no longer be divided into separate areas because of the interwoven of multidisciplinary, such a result is mapped to the inevitable performance of fracture, fuzzy, overlapping, cross and other features of architectural space.

The project is designed back in 2001, completed in 2014 after 4 years of construction. As a museum it was envisioned as a “medium for the transfer of knowledge” and not as a showroom for products. Undoubtedly the reflection of modernism had an enormous and long-lasting impact on the young architects back in 50s, 60s, while Coop-Himmelb(l)au is one that stands out among them. Their projects can not be simply defined as “deconstructivism”, their reflections on the complexity of architecture expresse their exploration of future, and architectural language such as “pluralism” and “complex”

- Key word: Cloud.

The structure is floating above the ground supported by fewer columns, what’s interesting is that the result of this is the specific features of the building gave way to functional features of the city, the ground was greatly contributed to the city life and shapes public space underneath. This idea of a living room in city grid introduced a way of improving citizen’s daily life, also address the issue of crowdedness in the growing.

CASE STUDY A.1.2 MUSéE DES ConflUEnCES

Fig. 7


A.2 Design Computation

Undoubtedly, the integration between computer and architecture is dominant in this accent of science and technology, this new continuity if man-machine relationship has become a medium that assist design thinking and making[1]. From initially being medium to represent digitally which computerisation does, to design approach which computation does, however, it is rather important to distinct the definition of computerisation and computation and how they have changed the discourse of architecture in terms of methodology and thinking.

Apparently, computation introduces much simpler and more creative opportunities when user illustrate and edit their design, although it opened the study of complexity in design, incorporating various design parameters and exploring performative design of material systems, it does not automatically establish the design as innovative. Computation uses computers to produce and develop ideas that can be seen as puzzle making but not problem solving[2], architects need to select the optimised one among all to fulfil the task.

So with this, computation has not yet separated from today’s design process, indeed computers are superb analytical engines with logical reasonings and conclusion[3], bear in mind, it is the tool for designer, with the assist of computer, it is depended on them to design humanly.

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p52. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-253. Ibid., p5


“MAD’s research concerning the integration of digital media into architectural design, demonstrates a unique approach toward architecture”

- MAD

Fig. 8

Fig. 9


“MAD’s research concerning the integration of digital media into architectural

Fig. 8

Fig. 9

The generation of the building when explained appearance is rather simple, but in terms of the construction phase and even prior to that, conventional methods were not as capable as digital methods when generating forms and testing both natural and social vectors, in order to understand and explore flexibility and new possibilities in hereunto in simple and traditional functions, structures then are no longer separated away from human life and urban environment.

However, it’s been criticised a major issue which is the wastage of vertical spaces especially the shift of service ducts and pipes. Moreover, the idea of the peripheral communal balcony is not as efficient as it supposed to be, it might not only be a wasted space but a nuisance to the occupants.

Absolute Towers are one successful practice of MAD Architects, completed in 2012 at Mississauga, Canada. These two high-rises depart away from traditional skyscrapers which throughout the process of urbanisation, have been symbols of wealth and prosperity of the society and region, and technological bravado, the project jumped out of the limited framework that often results in limited stereotype impression, which is normally rigid, linear structures. Similar to “Turing Torso” located in Sweden, what makes this project unique is the rounded, pure looking. Behind this is the simplicity and clarity of the structural logic, another building is constructed after the success of the first one, which work in concert with the power of aesthetics that’s based on the form.

Functionally, the entire building rotates by different degrees at each level, not only corresponding with the surrounding scenery but to handles wind loading and sunlight, to ensure the comfort throughout the apartment.

CASE STUDY A.2.1 AbSolUTE TowErS

Fig. 10


Fig. 11

Fig. 12


Fig. 12

“At LCD we understand the complexity and the publics’ curiosity in computational design. With this in mind we attempt to create work that utilizes these methodologies while rooting design in the emotive and ephemeral. By evoking memories and emotions the experience is far more important than the image.”

The project “As Autumn Leaves” is remarkable not just for the unique design, but the way it regenerated and introduced new possibility into the decaying traditional culture, their works inspired generations now days new way to design and construct architectural forms.

Located in a historic hutong district in Beijing during Beijing’s 2013 Design week, “As Autumn Leaves”(AAL), designed and built by students of the Laboratory for Computational Design, as a spatial installation that’s based on ephemerality of nature. Began with the study of geometric growth patterns and geometries related to natural logics and materials, parametric deign tools were involved to investigate variation and adaptability within the systems. Leaves - as individual components were digitally fabricated using laser cut acrylic which is strong in tension that allows bending, acrylic “leaves” were then pre-assembled into “families” and aggregated on site. Moreover, in order to evaluate wind and gravitational forces, physics based modelling programs were used to generated solutions under certain circumstances, therefore results in a floating structure in the existing spaces.

CASE STUDY A.2.2 “AS AUTUMn lEAvES”

Fig. 13


A.3 Composition/Generation

The shift from composition to generation in the design approach of architecture is induced by the advancement of digital technology, and since the communication level of the user and design is based on design components, for instance drawing, erasing, etc, this change also parallels the shift from traditional drawing/sketching to computing. However, there is much more to do more than representation, by computing, architects are able to predict design outcomes during design process with the model which computer generates, the simulates performance analysis and knowledge of materials and construction systems, and by experimenting solutions before realising them, increase the effectiveness and suitability of solutions to complex design problems.

“Architect write programs to customise their design environments”[1]

With the generative design, algorithm thinking is introduced, a recipe for getting computers to do something[2] works in imitation of natural rules and generate endless variations. It is a form finding process where creative ideas and forms interlink in a series of algorithms rather than form making.

As shown in Lecture 3, the Bird-oid Objects described a generative design process based on the behavioural response of the biological characteristic of birds, by scripting the computer to keep a certain distance between units under certain conditions, magnificent figures are automatically generated with a simple rule. By computational design, the resulted design outcome would achieve optimal qualities both spatially and materially, and efficiency within the given environment.

1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p92. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), p11


“Algorithmic design systems enable the selective manipulation of fabrication data whereby material can be structured according to its properties and functional requirements” - Fabio Gramazio

Fig. 14


“Algorithmic design systems enable the selective manipulation of fabrication data whereby material can be structured according to its properties and functional

Because structurally the construction is rather simple - a 6axis industry robot cuts commercially available wooden slats to length and stacks them to walls, physical experiments are explained to define their arrangement and scope of variation, therefore requirements were taken as generative parameters into the design system, abstracted into design algorithms, which results in a constructive system whose properties in terms function and design go beyond the individual batten module, and there characteristics were tightly bonded that they became mutually dependent. Although practically speaking,the controlled interplay of complex material arrangements cannot surpass the functionality of a high specialised constructive layer in a large scale, the project opened up a combination of computational design strategies and physical experiments allows transforming the functional requirements into new potential for the design.

The project is done by a group of students of the elective course program of the Professorship of Architecture and Digital Fabrication at ETH Zurich in 2008. The Sequential wall is a performance based design in robotic timber construction, it researched and explored the architectonic and constructive potential digital fabrication.

Essentially the task was to integrate the functional requirements, such as load bearing and insulating behaviour as well as its constructive weather protection and thermal performance, which are the basis for every design, to an external timber wall.

CASE STUDY A.3.1 ThE SEqUEnTiAl WAll


“The phenomenon of architecture can be most adequately grasped if it is analyzed as an autonomous network (autopoietic system) of communications.”

- Patrik SchumacherFig. 15

Fig. 16


“The phenomenon of architecture can be most adequately grasped if it is analyzed

Patrik Schumacher

“…..capable of engaging with today’s complex urban, rural and natural environments with more intricacy and tailoring than is possible through conventional architectural design.”

This project contributes not only a new design or construction methods, but an emerging trend of hybrid architecture that both design and production are involved in an algorithmic decision making, and this decision making is not done by human but machinery that’s set up by biological characteristic of life as a circular organisation, which also reflects the concept of autopoeisis.

Done by a post-professional masters design thesis study of AA school of architecture, swarm printing in terms of Arial Robotic Construction, works on algorithmic and robotic behaviours of design that capitalise on utilising today’s multicopters(UAVs), or drones.

The project aims to provide a shortcut to an existing pedestrian route that spans between two steep natural cliff faces where no conventional construction machinery can easily access, additive fabrication technology - 3D printing, the method they came out is necessary under this circumstances. This research argues that design and production can be developed as a singular creative process based on the behaviours of robotic systems, unlike traditional separation of design and construction phase ,the research prepossessed a possibility of pre-design yet allow unpredictabilities that address a variety of environments, such as wind and bad weather, through real-time structural feedback. By “unpredictability”, the structural typology might change throughout production based on the decisions of drones, and new connective bridging possibilities might be explored.

CASE STUDY A.3.2 AADRl SWARm PRinTing

Fig. 17

Fig. 18


A.4 Conclusion

Architecture, beyond just the visual aesthetic and shelter for mankind now days, it is its role to influence people’s perception of the present and the future, and therefore, it is designer which in specific, us, to make this possible. Unlike previous, by incorporating digital technology architects have ability to explore the greater possibilities, while this fresh and stimulation design approach open doors to complexity and parametric outcomes, architecture should retain sustainability, redirect future and reconnect societies. Also it is importance to question the end products it produces, undoubtedly Computational design is generative because of its capacity to analyse and to response effectively, however, it’s gradually taking designer’s place by its optimised results and efficiency, it is vital to take balance between the benefits and shortcoming form it. Although computer is argued that its incapable of creating new instructions, lack creativity and are dependant on the user(humans) to function[1], to some extent architects themselves is doubted as well. Find an equilibrium between from find and form making is crucial, so as between consumer demands and dream, and taking sustainability as solutions to now and future. It truly is an ongoing debate and what I anticipate is to keep learning and exploring, to be able to contribute something to the society that engage human into the “world” I’m pursuing.

1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25


A.5 Learning Outcomes

Within three weeks, my knowledge of architectural computing has greatly expanded since starting this subject by constantly learning theories and practice through Rhinoceros and Grasshopper. Architecture as a never-ending dialogue between space and experience of one’s own, these digital tools make it possible to generate design models I might never achieve by hands, and make it possible to even optimise it. Furthermore, I acknowledge that algorithm, not only as something technology artificially, but a manmade interpretation of the rule hidden in the formation of nature, is more important as a way of thinking by both human and computer. Although due to the limitation of my computation ability I might not be able to address certain issues, but by keep learning I believe in the coming days my works can eventually be implemented in reality.


A.6 Algorithm Sketches(for more information refer to “Algorithm Sketch Book”


BIBLIOGRAPHY

1. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

2. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

3. Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press） Suggested start with pp. 3-62

4. Kalay, Yehuda E (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

5. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture(London; New York: Routledge), pp. 1–10

6. Oxman, Rivka, and Robert Oxman.(2010) The New Structuralism. (Hoboken, N.J.: Wiley, Print)

7. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice(Oxford. Berg), p.1-16

8. Dunne, Anthon & Raby, Fiona(2013), Speculative Everything : Design Fiction, and Social Dreaming(MIT Press)p.1-9, 33-34

1. Dezeen.(2012) ”Absolute Towers Twisted Skyscrapers By MAD”.<http://www.dezeen.com/2012/12/12/absolute-towers-by-mad/> [ accessed 19 Mar. 2016]

2. Tallbuildings.ru. (2016).”«MAD» Architects”. <http://tallbuildings.ru/en/sumasshedshie-arhitektory> [ accessed 19 Mar. 2016]

3. ArchDaily. (2012). Absolute Towers / MAD Architects”. <http://www.archdaily.com/306566/absolute-towers-mad-architects> [ accessed 19 Mar. 2016]

4. ArchDaily(2013) LCD Exhibits “As Autumn Leaves” At Beijing’s 2013 Design Week”<http://www.archdaily.com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-week>[ accessed 19 Mar. 2016]

5. Dhub.org. (2016) As Autumn Leaves | D*Hub”. <http://www.dhub.org/as-autumn-leaves/> [ accessed 19 Mar. 2016]

6. Egs.edu. (2016). Patrik Schumacher - The European Graduate School”. <http://www.egs.edu/faculty/patrik-schumacher> [ accessed 19 Mar. 2016]

7. Kokkugia.com (2016). “ Swarm Printing: Aerial Robotic Bridge Construction - Kokkugia”. <http://www.kokkugia.com/AADRL-swarm-printing-aerial-robotic-bridge-construction> [ accessed 19 Mar. 2016]

8. rok-office.com.(2016).”ROK - Rippmann Oesterle Knauss Gmbh | Projects | The Sequential Wall”.<http://www.rok-office.com/projects/sequential-wall-068/> [ accessed 19 Mar. 2016]

9. ArchDaily.(2010) “Croatian Pavilion At The Venice Biennale”. <http://www.archdaily.com/74469/croatian-pavilion-at-the-venice-biennale> [ accessed 19 Mar. 2016]

10. Coop Himmelb(l)au(2016) “Musée Des Confluences”..<http://www.coop-himmelblau.at/architecture/projects/musee-des-confluences> [ accessed 19 Mar. 2016]


IMAGE REFERENCE

1.

2.3.4.5. http://www.archdaily.com/74469/croatian-pavilion-at-the-venice-biennale

5.6.7. http://www.coop-himmelblau.at/architecture/projects/musee-des-confluences

8.9.10. http://www.i-mad.com/work/absolute-towers/?cid=17

11.12.13. http://www.archdaily.com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-week

14. http://gramaziokohler.arch.ethz.ch/web/e/lehre/148.html

15.16.17.18. http://www.kokkugia.com/AADRL-swarm-printing-aerial-robotic-bridge-construction

B38 CRITERIA DESIGN

BCRITERIA DESIGN 39

40 CRITERIA DESIGN

CRITERIA DESIGN 41

BB.1. Research FieldTESSELATION

Tessellation is the division of a surface into smaller, repetitive geometrical patterns both on 2-dimensional surface and 3-dimensionally volume, without generating gaps or overlaps. With the emergence of advance digital technologies now days, tessellation can easily be optimized and embedded into complex forms without compromising to certain concerns. Conventionally, we saw tessellation most commonly through the façades as decoration, however, designers today begin to explore the full potential of this research field, by integrating tessellation into the structure, by enhancing its performances and by empowering the user’s experience.

The chosen project study is the Voussoir Cloud as the catenary lines have great potential for form finding and structural design, the interest on tessellation, the use of specific material and porous elements that brings softness and lightness are all influential in the next stage of design. The project is made of 3-dimensional wedged petals which connect to one another to form five columns and several vaults above, extending from the bottom of each column, the petals become larger until meet another at the top. In terms of fabrication of this project, the petals are laser cut thin wood laminate that are folded along the curved score line and zip tied together, although the material and way of fabrication is arguably fragile. Under this circumstances, the stability is achieved and expressed through structure, the use of digital modelling tool like kangaroo to optimise the overall form in real world condition prior to fabrication make this possible, therefore the project is a site-specific since the gravity of earth, the anchor points of the vaults and columns need to be taken into account.

42 CRITERIA DESIGN

B.2. Case Study 1.0VOUSSOIR CLOUD by IwamotoScott

SCIArc Gallery, Los Angeles, 2008

Initial model Anchor points

CRITERIA DESIGN 43

Derived from this project, firstly as what they have done, we could explore the possibility and push it to the extreme in terms of material performance since both the “Voussoir Cloud” and studio task requires timber product particularly. Secondly, the idea of chaining and stable the structure at a few anchor points can be applied on our design to create more possibilities. Thirdly, just like the “Voussoir Cloud” iself draws from studies of Frei Otto and Anotonio Gaudi’s works, such efficient and stable model of upside down hanging chain can be applied through the use of computation, especially Kangaroo, we can model digitally and test the outcome is rather important. Lastly, talking about fabrication concerns, we should definitely consider the time and cost, for instance, the pieces we could tessellated and variations.

Kangaroo output

Fig.1

44 CRITERIA DESIGN

B.2.1. Iterations

DEPTHDisplacement depth {D}Scale input of holes {S}Variable = number slider

WIDTHDisplacement depth {D}Scale input of holes {S}Variable = number slider

INCREASENumber of punctures {N}Displacement {up/down}Variable = number slider

RELEASEVariable = placement of anchorpoint

D=-2.5S=0.2

D=-2.5S=0.2

N=31up, 2down

1column

CRITERIA DESIGN 45

D=-3.5S=0.15

D=-5S=0.1

D=-7S=0.01

D=-2S=0.4

D=-1.5S=0.6

D=-1S=0.9

N=82up, 6down

N=105up, 5down

N=16Gradually

All columns Wall Interval

46 CRITERIA DESIGN

SKELETONNumber of voronoi {N}

Variable = number slider

COIN & DIAMONDBox morph

Variable = number slider

FRAGMENTIZATIONOffset {F}Variable = number slider

N=50WF=30+WT, +WC

WbFrame Distance {WF}

NURBS Crv

F=-0.3

WbThicken {WT}WbCatmullclark {WC}

Height {N}

CRITERIA DESIGN 47

N=600WF=30+WT, +WC

N=100WF=50+WT, +WC

N=100WF=200+WT, +WC

Box morphH=0.1

Box morphH=0.3

Box morphH=0.8

F=-1 F=0.3 F=1

48 CRITERIA DESIGN

B.2.2. Successful Outcomes

This outcome is quiet visually attractive and draws my attention, the way to realise interval anchor points apparently creates great result.

The shape undulates from the lowest point on one side to the highest point on the other side, gives a sense of dynamic under the structure, also the light and shadow effect could be pictured rather interesting.

As already known that the task is to design a ceiling in a meeting room of an office, therefore, the concern of selection among many iterations that are produced by grasshopper needs to be relevant to the site context, and factor that affect users’ experiences, four important aspects are then settled that associated with considerations.

Light & Shadow Effect

By incorporating light timber material and porous elements, light and shadow needs to be carefully handled, also light and shadow can create interesting pattern and bring in dynamic effect.

Visually Attractive

Can be further more developed digitally.

CRITERIA DESIGN 49

By incorporating light timber material and porous elements, light and shadow needs to be carefully handled, also light and shadow can create interesting

Considering constructibility, this model could be made by pre-fabricated pieces that can easily produced by laser cutting machine, and the be assembled on site. Also in case there is a damaged pieces over occupied period, the project can be repaired or even changed partially.

This three-dimensional voronoi skeleton changes the structural of the model in a developable way, the less use of material and the smooth lines work together to introduce a sense of light weight and softness into the space.

Light weight & softness

In relation to the office, surrounding by the mass volume and cool colors of concrete and glass, the ceiling should bring softness and warmth to delight the space.

Constructibility

Associate with fabrication concern and the longevity of the project, both the overall form and individual module needs to shift from paper architecture to reality.

50 CRITERIA DESIGN

B.3. Case Study 2.0THE MORNING LINE by Aranda Lasch

Seville, Spain; Istanbul, Turkey: Vienna, Austria: Karlsruhe, Germany, 2008-2013

Fig.2 Fig.3 Fig.4

CRITERIA DESIGN 51

The Morning Line is a loop-like project that has no beginning or end, lines in the composition joins together and form a network of intertwining figures that repeats on different scales and rotations, it is them and the picture they made define the structure and the space. To accomplish this, The morning line is conceived as an infinitely modular construction that is built from a single shape which is named “the bit”. Each bit is conceived as a universal brick that is mapped with Matthew Ritchie’s drawings, in terms of the shape, the bit is derived from a truncated tetrahedron that shrinks or grows and then arches back onto itself to produce three dimensional fractals. Based on the portability, recyclability and readjust-ability, the whole project can be easily modified and moved around. In this case, parametric modelling involves to increase the variability since the change of measurements of the bit would allow the growth and shrinkage of the fractal. This can be achieved by trimming the generated shapes and scaling another onto the vertices of the previous one to create an ongoing recursive structure.Choosing this precedent allow me to explore tessellation in a particular way(subdivision) at this stage, and also think three-dimensionally, the development of the matrix will furthermore increase complexity of the design.

Fig.5

Fig.6

Fig.7 Fig.2, 3,4, 5. Patterns on the surfaces of truncated tetrahedron.Fig.6. Creating patterns

sqrt((y/z)^2-x^2) ZExtrude CapXY Polygon Explode Scale

0.333

Trim

Brep Graft DeBrepArea

Sort ItemSeries4

Discontinuity Cull

0 1

Pt(Brep) Item Plane 3PtPt(Drawing) Item Plane 3Pt

52 CRITERIA DESIGN

B.3.1. Reverse EngineerTHE MORNING LINE by Aranda Lasch

Seville, Spain; Istanbul, Turkey: Vienna, Austria: Karlsruhe, Germany, 2008-2013

Creating Truncated Tetrahedron

Creating Overall Structure

Mapping drawings

Plane 3Pt Orient BoundaryCrv

Plane 3Pt

CRITERIA DESIGN 53

Produce a set of drawings

To reverse engineer this project, the structure is essentially modelled from “bottom-up” which means, the geometry of each individual model is the essential, therefore the first thing is to create the individual module, step one is to modelled a tetrahedron which is defined as generation two and trim it by four tetrahedrons that is 1/3 of its size at each corner, this truncation then becomes the logic. Step two is to apply the logic on the four tetrahedrons which are defined as generation three and their smaller sized ones which are the generation four. Step three goes back to the overall form, two large truncated tetrahedrons as generation one emerge and serve as the base geometry for crystallisation. Final step is to map a set of drawings from Matthew onto the surface of each truncated tetrahedron according to the generations.

54 CRITERIA DESIGN

CRITERIA DESIGN 55

Generation 1 Generation 2

Generation 3

Generation 4

56 CRITERIA DESIGN

B.4. Technique: Development / Matrix

SPECIES Evaluate Deluny Mesh WbFrame

WbCatmullclarkLevel[WC] = 0.6

WC=3

Rotate 15 degrees

Scale D=10

D-50+WT+Vorono[V]

v=9

SPECIES

Type[T]=1 T=2 T=3 T=4

D=7

D=7WT=5

D=20

v=11

T=5

CRITERIA DESIGN 57

D=7 D=10 D=13 D=16 D=5 D=7

D=7WT=5

D=10WT=5

D=13WT=5

Unfold Unfold Unfold

D=20 D=40 D=40+WT

WC=0.6 WC=3 D=40+WTWC=3

v=11 v=20 v=50 Unfold Unfold Unfold

T=6 T=7 T=8 T=9 T=10

58 CRITERIA DESIGN

B.5. Technique: Site analysis The site is a meeting room at the heart of an office which is currently under construction. The site is ideally a rectangle with 4x6m dimension, the site is surrounded by glass wall on three side.

1:50 @ A4

1:50 @ A4Plan

Section Perspective

CRITERIA DESIGN 59

B.5. Technique: Material TestPaperback Timber Veneer

The selected material is timber veneer but with a paper glued on one side to increase its flexibility. Although it is extraordinary flexible when bend against the grain, contrastively it is relatively tough to bend along the grain.

Type 3 : Bend against the grain

Type 3

Type 1

Type 2

Type 2 : Bend against the grain (with 1cm fixed at each end)

Type 1 : Bend along the grain

60 CRITERIA DESIGN

B.5.1 Technique: Prototypes - concept

OVERALL FORM

JOINT/TESSELLATION

INDIVIDUAL MODULE

MACRO-SCALE

MESO-SCALE

MICRO-SCALE

The studio has been separated into several groups of 2-3 students with similar interests. Started from the exploration of tessellation and material performance, Feng Chao, Haotian Wu and I needed to come up with a proposal in a week, although we were in the same research field, we studied different approaches. Fortunately, this difference well categorized our new prototype in terms of three tracks.

CRITERIA DESIGN 61

B.5.1 Technique: Prototypes - Feng Chao

Macro Scale, overall form A macroscope formfinding is to design from top to bottom, the overall form dominates the design. Derived from the precedent study “Aggregated Porosity”, with considerations of the site and in order to meet the certain atmosphere needs, Feng Chao initially developed his idea into a prototype with a contrasting theme, a contrast between dynamic & static, curvature & flat, touchable & untouchable.

KEY SELECTIONSCiteria Met

Seperated Ceiling Modules

Interlocking Panels

Split ScalingContrasting Panels

Opening For Shadow

Fig.8

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B.5. Technique: Prototypes - Haotian WuMicro Scale, individual module and material performance

A microscope formfinding is to start from the basic components and details, the overall form might be even determined by the individual module. Derived from the precedent studies “VoltaDom” and “ICD/ITKE pavilion 2010”, with considerations of the material performance, Haotian Wu thought that individual module should be decided prior to anything else, he initially experienced several possibilities of the selected timber veneer, since conventionally timber veneer has been used to create relatively straight and flat elements, here we tried to bend it three-dimensionally. Later some issues seriously influenced the shape of individual module especially the problem of joints, so we learned from precedent project “Dragon Skin Pavilion” - to notch each individual module, and at the same time, we changed to hexagon shape with a more pleasing visual effect.

Fig.9 Iterations

Fig.13 ICD/ITKE Pavillion

Fig.15, 16, 17, 18. Testing prototypes

CRITERIA DESIGN 63

Fig.10, 11, 12. Modules based on “VoltaDom”

Fig.14 Details

Three types of new prototypes

B.5. Technique: Prototypes - Guanjin ChenMeso-scale, Waffle system and Recursive Subdivision

64 CRITERIA DESIGN

Waffle System

Interative

Physical models of prototypes

CRITERIA DESIGN 65

My initial idea was to produce a ceiling that the design of structure and single elements is equally important, derived from precedent studies “Voussoir Cloud” and “the Morning Line”, my prototype split into two parts, part one is a waffle structure with designed curvature to further define the installation of part two; part two is pre-assembled offset based on the repetition, rotation, scaling of one single module, based on the principle of recursive subdivision. Later this idea is embedded into the new prototype as the relatively “flat” system which would be installed on the wall and people might be able to touch the material. At meso-scale level, it also solved joints problem of this system.

Three types of new prototypes

66 CRITERIA DESIGN

B.6. Technique: ProposalThe “WO - CLOUD” by Group

ATTACHING

Connection of two systems

Our proposal at this stage is to design a ceiling that is composed by two parts.

Static, Flat- The diagrams and image on the left hand side show the part that will be installed on the wall, the randomly subdivided hexagon pieces are attached on the waffle structure to create a sense of static contrasting to the other part. This part will also allow user to get closer to touch and feel the material.

CRITERIA DESIGN 67

SLOTTING

Visible surface of the `“dynamic” system

Dynamic, Curvature- The diagrams and image on the right hand side show the part that will be hanging above head, each piece is ideally notched with the one next to its wider side, and attach with the one on its longer side by one hanging hook. The whole part delivers a sense of dynamic both by every single module, and the curvature of the overall form.

68 CRITERIA DESIGN

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70 CRITERIA DESIGN

Objective 1Studio brief - design a ceiling for a meeting room, has provided both direction and limitation to my selection when using digital modelling tools. In the iterations of Case Study 1 & 2, plug-ins such as weaverbird, kangaroo were really useful for form finding, I tended to create more complex however buildable module with relatively lightweight and porous character, in order to be expandable and fit in the site.

Objective 2Learned from tutorial videos and online forums for grasshopper, I can produce more attractive forms using parametric tools in complex/simple logic, and I’m able to step back and the final result can be completely difference just by changing simple thing. Throughout the iterations, I understood the logic of scripts and alter them accordingly.

Objective 5The open-ended brief of studio Air allows us to critically design base on our own studies. Embrace every new ideas and think it critically is crucial today, as a group, it is not easy to discussed, argued and eventually came up with an idea that meet everyone’s interests, also its rather tough to find logic behind and develop it subsequently.

Objective 6Contemporary architectural projects are now days more or less raised from the advance digital tools, even the concept, for instance, by pushing the limitation to extreme, computation itself can be the premise of a project, and the architectural intent on the other hand goes back to influence the exploration of computation capacities. In this case, understanding tools and application of parametric design, enabled the critical analysis in B.1 and choice of precedents for B.2 and B.3.

B.1 B.2 B.3

CRITERIA DESIGN 71

B.7. Learning Objectives and Outcomes

Objective 3I extended my knowledge of digital modelling program such as Rhino, Grasshopper through the practice of iterations, reverse-engineering and prototyping undoubtedly, I learned about the knowledge of various 3D media such as the laser cutter for physical modelling as well. These skills provide me more possible solution for my design.

Objective 4Air, is about fluid form, transformable structure, and atmosphere of surroundings, it fits in the context, changed by the context, and sometimes, influences the contexts. Such air-like architectural practice brings a sense of dynamic, lightness and freshness into the space, along the development of parametric tools, this qualities can be achieve through form-finding.

Objective 7 Foundational understanding of computational geometry, data structures and types of programming has obviously been developed, websites for instance, food4rhino and grasshopper3d are extremely useful when I’m facing problem and looking for solutions. Also discussion with classmates can produce even more creative outcomes sometimes.

Objective 8By getting familiar with computational techniques, I am aware the importance and potential of this field, using parametric tool is definitely a short-cut, however, understanding its pros and cons, knowing what/when/where to apply are rather essential. Moreover, although computation introduce a brand new way of designing in architectural field, beside using it expertly, becoming the programmer of programming is what we’re aiming for at a higher level.

B.4 B.5 B.6

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B.8. Appendix - Algorithmic Sketchs

CRITERIA DESIGN 73

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BIBLIOGRAPHY

1. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61

1. Dragicevic, Pierre, “Gaudí’S Hanging Chain Models | List Of Physical Visualizations”, Dataphys.org, 2015 <http://dataphys.org/list/gaudis-hanging-chain-models/> [accessed 20 April 2016]

2. “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 19 April 2016]

3. Contemporary, Thyssen-Bornemisza, “The Morning Line – Matthew Ritchie Aranda\Lasch Arup AGU”, Issuu, 2015 <https://issuu.com/tba21/docs/the_morning_line_book_with_cover> [accessed 16 April 2016]

IMAGE REFERENCE

1. http://www.iwamotoscott.com/VOUSSOIR-CLOUD

2.3.4.5 http://www.spans-associates.com/hidden-3/

6. http://arandalasch.com/works/the-evening-line/

7. http://thecreatorsproject.vice.com/creators/arandalasch

8. https://issuu.com/chaosp/docs/air_studio?e=11281466/34263073

10. 11. 12. 14. Credit to Haotian Wu

CRITERIA DESIGN 79

C80 PROJECT PROPOSAL

CPROJECT PROPOSAL 81

C.1. DESIGN CONCEPT

C.1.1. Materiality

C.1.2. Key Notes

C.1.3. Site Consideration

C.1.4 Flow Chart

C.1.5. Diagram

C.1.6. Lighting

C.2. Tectonic Elements and Prototypes

C.2.1. Prototype 1

C.2.2. Prototype 2

C.3. Final Detail Model

C.3.1 Prototype 3

C.3.1. UV Value and Price

C.3.2. Further Development


84

86

87

88

90

92

96

100

104

110

112

116

Perspective

82 PROJECT PROPOSAL

CPROJECT PROPOSAL 83

C.1. Design Concept

Photo of the mid-term proposal

84 PROJECT PROPOSAL

DESIGN CONCEPT (MATERIALITY)

Twisting Test

PROJECT PROPOSAL 85

Derived from the midterm presentation, our idea was inherited from proposal - the “Wo-Cloud” and has been developed further. Initially, the previous proposal focused on the internal feature of the chosen material - paperback timber veneer, and has been inspired by several successful projects, for instances, “DragonSkin”, such connection like “notch” was used to interrelate the individual components, though it was successful in using some aspects of the timber veneer material property to create a single integrated surface. However the we were limited by the simulation of the overlapping and notching between panels, also the design language diwe realized that this logic might not be suitable to a complex curved surface and has relatively low potential to make further development.

Simultaneously we still believe that this material based logic should be incorporated, this time we started by playing with the timber panels in a 3-dimensioanl way to extremely exhaust its potential. From the above images, we discovered that twisting the strip can produce diamond shapes from different angles which can be tessellated on any surface, also the grain along the bending direction creates a naturally flowing pattern. As what we did in the previous proposal, we now found the starting point of the micro-scale tectonic, we went back to the macro-scale formfinding.

86 PROJECT PROPOSAL

Fusion

Stream Line

Collision

This time we attempt to achieve the three key notes mentioned in the mid term presentation:

1. Streamline, the overall form is tessellated into single members which is made out of timber veneer, to present a smooth surface with geometrical nuance in the office meeting room.

3. Collision: the form should compose two contrasting parts or different tectonics in order to enhance and to vibrate the atmosphere

CONCEPT (KEY NOTES)

2. Fusion: the ceiling is extended to the wall to integrate the design into experience, allowing users to have a close look and closely touch the material.

1:50 @ A4Plan

PROJECT PROPOSAL 87

Plan Morph Front Elevation Morph

Side Elevation Morph Entrance

CONCEPT (SITE CONSIDERATION)

Again we started from the site analysis. The meeting room is wrapped with glass wall is the central piece of the office, it has a strong sense of transparency and communication. Since the office is located on the ground floor, visually speaking the space and the interior design should be shared by the whole floor and even by the outside passers-by, the open floor to ceiling height of the meeting room also has great potential to be exhausted. However, the solidity of the side supporting columns and the back wall breaks the spatial transparency. So we think it would be a good opportunity to infuse our design on the three elements

88 PROJECT PROPOSAL

Generating Form TectonicsCONCEPT (FLOW CHART)

U V

Use base of column as origin point

Generating site model

Interploate curves

Micro adjust left ceiling via graph mapper

Lunch box diamond strcutrue

T a p e r i n g

P i p i n g @

B o o l e a n i nto j o i nt s accounting for depth

Digitalised handdrawn artistic clip

P a n e l

Extracting alternate

Cost control measures

Update on site constrcution

B i z e r S p a n

Mateirla testing

D at a o f m ate r i a l ' s t w i s t i n g

L o f t

M i c r o a d j u s t r i g h t c e i l i n g v i a g r a p h

M ove cur ves to s i te

Site analysis

S I d e v i e w

F r o n t v i e w

P l a n v i e w

Structure

Joints

Panels

S t r u c t r u a l

PROJECT PROPOSAL 89

Fabrication Installation

T a p e r i n g

P i p i n g @ O f f s e t f o r I n d e x i n g Cutting and labeling structure segments

Create central hole for 3 D p r i n t w i t h

Laser cut brass sheet

Moduleassemblage offsite

All module assemblage

Attach ceiling hook to X joints

Onsite final Assembly

C o s t

Adjust extend of bend L o f t I n d e x i n g U n r o l l Laser cut timber veneer sheets

90 PROJECT PROPOSAL

PLAN MORPH

Overlapping WingsUnity Division Twist & Coil Swirl

So based on key notes and criteria mentioned before, we started morphing the form from three views. From the top view, we initiated the two sides from the two columns and collide them in the central lighting space. Then based on feedback from Finn, instead of creating two mere surfaces, we should overlap or even swirl the two wings so that the design can conduct a more spatial and 3 dimensional sense. On the side view, we started off by pushing the form inwards closer into the column giving more un-secluded glass area for the meeting room. Later from user circulation and form analysis we moved the ending point for the veneer tapering high along the column. This despite the extending area, we taper the curve below the ceiling to save more free space for users and because of the clockwise circulation, we lift the left side a bit to strengthen the unbalance and to create an more lively asymmetrical design.

And from the front view, we intentionally add some angular or bulge nuance where the space will not hinder users. So the design will be viewed as a deliberate jewellery in the glass box and even the outside passer-by will be attracted. And then we accentuate the spatial swirl on the back wall so when users enter the room the space is relatively open but in the end of the vision point the two streams twist and blend.

PROJECT PROPOSAL 91

SIDE ELEVATION MORPH

FRONT ELEVATION MORPH

Geometrical Antisymmetry &

Circulation

Open Up View

Viewing Adjustment Spatial Nuance Inverting Surfaces

High FragLow FragFragmenting Edges

Emphasising Central Spiral

Central Split Shear Split

92 PROJECT PROPOSAL

LIGHTING (ARRANGEMENT I)

ARRANGEMENT II

Against Edge

Along EdgeSoftening Edges

PROJECT PROPOSAL 93

Lighting system is also considered in this case due the functional aspect of the project, to serve the meeting room where requires enough light. Generally speaking, lighting needs to either be able to illuminate, or to create an atmosphere, in this case the lighting incorporate into the whole design. We plan to launch the lighting for the central area and to be consistent with the design language.

Arrangement 1: As the starting point, we smoothed the edges of two sides, fragmented the new “edges” according to the directions of the structure.

Arrangement II: Derived from arrangement I, the new “edges” are now enclosed, and form a loop with offsetted smaller loops.

ARRANGEMENT III

Arrangement III: Learned from previous arrangement, this type of lighting has both the characteristic of fragmentation that continues the design language, and the sense of fluidity which we aim to deliver. This arrangement is used in rendered image.

In order to achieve the effect, we consider LED stripe as one of the option, with two mode to adjust intensity. However, this needs to be further discussed with the firm(see page 114).

Front V`iew

94 PROJECT PROPOSAL

PROJECT PROPOSAL 95

C.2. Tectonic Elements & Prototypes

Talking about the story of prototyping, essentially we tried to balance the sense of presence of both panels and supporting structure, the model experimented different means of fabrication optimization in conjunction to design finalization.

96 PROJECT PROPOSAL

PROTOTYPE I

Structure

PROJECT PROPOSAL 97

Panels

Overall Composition

Edged JointSlotting & Slicing Panels

98 PROJECT PROPOSAL

Slotting & Clipping

PROTOTYPE I

Adjustable

PROJECT PROPOSAL 99

High Stress Region

Additional Clips

Adjustable

The first prototype, the panels are attached via slot and slice method. In order to test the requirement of firmness we designed relatively large joints, we utilized metal strips to clamp the timber panels and trim the panels after adjusting the position, this generation is very flexible and allows a high level of error tolerance during installation, results the minimized difference from digital version to physical performance.

However we found two main problems, firstly, because the panel is clamped between the diamond edges, the timber panel tectonically cannot cover the metal strips or joints and gives an undesirable exposure of structure. Secondly, both the structure and joints are designed in a rigid sense which didn’t response to out design criteria very well. Following problems for instance, the 3D printed joints are too fragile to handle the heaviness and high stress of the structure, the additional clips that are required.

100 PROJECT PROPOSAL

PROTOTYPE II

Back View

PROJECT PROPOSAL 101

Front View

Overall Composition

Smooth JointSlot & Anchor


PROTOTYPE II

Pla Standard Connection

Metallic Connection

Panel Connectors

Piano Wire 2.0mm


Piano Wire 2.0mm

The second prototype, with previous experience, we reduced the size of the joints that are connecting the structure and redesigned them with a smooth language. We also changed metal strip to 2.0mm thick piano wire as rods to achieve a lighter, more subtle effect. Moreover, we customized panel connectors to hold the timber panels so that the panels could cross above the structure like an offset and cover the back.

But concurrently the issues were obvious, the unrolling step from digital model to the physical laser-cut panels is not so accurate, we had to increase the number of connectors to match the punched hole which means we lost our intention at the first place. In addition, we realized that the panel connectors are in fact quite standardized components that could be easily purchase from the market, therefore from an economical aspect 3D print is not necessary.

Unrolling issueExposed connectors


PROTOTYPE III (low density)

Structure

For the final prototype we modelled two section based on different areas of the ceiling. The Low-density was chosen from the bottom part while the High-density was chosen from the upper part.

C.3. Final Detail Model


Panels

PROTOTYPE III (high density)


Back View


Front View


Paper Clips

Aluminium Strip + Rivet

Aluminium Strip + Bolt

Aluminium strip (hand cut) - Laser cutter could involve if develop further - Various choices of material, brass, copper, etc.- Customized shape


Aluminium Strip + Bolt

Aluminium strip (hand cut) - Laser cutter could involve if

- Various choices of material,

The final prototype, we designed and fabricated the metal clamps in a traditional mechanical way of jointing, we picked screws from this three version to fasten, the development also concerned about economical effectiveness because the previous 3D printed clamps are apparently relatively expensive and unnecessary.

And we also used 3d printed joints to connect structure, we printed them in black to allow them easily blend in the background, and in a smooth language in response to the aesthetic aspect of the whole design. Lastly to ensure the timber panels in position, we punch the hole during installation.

3D Printed Joints (Labelled)

Laser Cut Timber Panels

Piano Wire (cut to size)

Clamps

Bending strip - Two stripes on each piano wire - Safe but relatively labour-intensive

Assembling - Prefabricated components - Fast and organized

Installing Timber Panel - Insert timber panels into clamps - Use screws to fasten


Timber Veneer Area: 37m2

Cost: $1,961Joints No.: 178 Pcs

Cost: $1,424 (black plastic) / $1,780 (metallic plastic)

Rod Length: 182mRod Cost: $646



Cost: $ 2,560 (black plastic) / $ 3,200 (metallic plastic)

Rod Length: 253mRod Cost: $896



Cost: $6,336 (black plastic) / $7,920 (metallic plastic)

Rod Length: 419mRod Cost: $1,486

U25, V6 U35, V8 U60, V12

Total Cost: $4,031 Total Cost: $6,071 Total Cost: $12,189

UV VALUE AND PRICE


Aiming to bring architecture from paper to real life, three key elements to be taken into account- cost, time and labour. Calculated by adding the retail/wholesale prices which are provided by “Ventech” for timber veneer, “Albion Alloys” for piano wire, and “Shapeways” for 3D printed joints. We came up with three options, apparently with the lowest cost, the ceiling lacks certain aspects of the overall form, and with the highest UV value, the ceiling requires to be built highly labour-intensive. Therefore, considering visual effect, budget and completion time, the second iteration - U35 V8 is the optimized option at this stage.

FURTHER DEVELOPMENTOVERALL FORM, SITE, AND GENERAL CONSIDERATIONS


OVERALL FORM, SITE, AND GENERAL CONSIDERATIONS


With great pleasure, our project was selected to be built after the final presentation, therefore the following finalizations need to be accomplished very carefully.

1. Overall Form: refer to the “UV value an d cost” section, comparing the visual effect and buildability, we reset the value to U50 V10, brought up the whole ceiling to leave more room for users and to further open up the space. After visited the construction site, we realized there is a major issue we have to deal with - the sprinkle, which goes through the meeting room at roughly 300mm away from the ceiling slab. Therefore we adjusted the design to avoid the sprinkle, without changing most parts. 2. Details Finalization: from the feedback, we redesigned nearly everything however still with the same principle. (refer to section “Structure and Tectonic Details”)

2. Ordering Materials and Cost: considering delivery time, we should order material concurrently with design finalization. However we found it is actually hard since at a scale like this we are more likely to buy materials from retailers instead of wholesalers, and another problem is due to the complex of the project, local retailers couldn’t supply enough materials. So we ordered materials like carbon fibre rods, Chicago screws from China (reduced the price also), for timber veneer, we ordered them from our usual supplier Ventech. Considering delivery time, they should be arrived at around the same time. And for laser cut, we contacted laser cut company which has the larger cutting table, and plan to cut the smaller components at university.4. Timeframe: we are assigned to finish the entire installation by the end of June, the process of assembling is relatively easy and fast, however the preparation was a lot more time consuming than we expected. Fortunately upon the time of submission we nearly confirmed everything.

Column

STRUCTURE AND TECTONIC DETAILS


As discussed in the previous LIGHTING section, we met with Finn to finalize the light in the meeting room, he suggested a simple diamond geometry to go along with the basic of the design, we also agreed with the simpleness of the new shape. Moreover, in order to make the bending of the light tube possible and also bring enough lights into the room, a radius of 15mm neon light tube is chosen with two intensity for specific uses.

12mm 15mm 50mm

Manufacture

Overall Shape

Detailed Section


1. Structure: 3mm carbon fibre rod was chosen, due to the consistency of color and the light weight of the rods. The rods are capable to be bend at a desirable level, and can resist enough compression and tension in this case.2. Joints: the new joints could blend in the structure better, and also more subtle, emphasis the design language. 3. Clamps: the clamps were redesigned in a unique form, and chicago screw which has the same finish on both sides took place of the previous screws. However, we couldn’t find the one with the right length, so we decided to add washers on both sides. We imported chicago screws and carbon fibre rods from china, and plan to laser cut clamps in brass, washers in polypropylene locally.

Axonometric

Section

Front

Back View

Carbon Fibre 1mm

Joints

Piano Wire 2.5mm

Carbon Fibre 3mm

Diagrams of clamps:


View From Inside



The design project is about an architecture that is rather site specific, it responses to the conditions of the site in relation to specific clients, such as our client - Hachem, their clients, and potentially anyone else that could engage with the design directly or indirectly. The complexity and the level of detail requires the use of parametric tool to simulate, to generate with certain parameters that are associated with our considerations, such as materiality, street view and user experience. Derived from interim presentation, initially our ideas was quite different according to individual intention, however the group as a whole, found the common values and desires that we could develop further. After endless tests of materiality, we have not only found the right one but exhausted its potential, and through this process my model making skills were significantly improved. Moreover, I found the communication with Finn and his feedback is rather important, this enable us to think critically and fix the issues of the project, also to prevent potential problems from happening.

When taking it further after final proposal, with the group, we concerned more about how to bring the design into the reality, therefore, the selection of materials is crucial. Overall, Studio Air has given me a great opportunity, to analyse and think critically about contemporary architectural practises, to develop understandings of computation and to improve my technical skills, and the most important, to work as a team and solve problems as a team. I would like to thank my Tutor Finn who is always so supportive. And thanks to my groupmates Chao and Haotian, working together for nearly the entire semester plus extra time to build the ceiling has been a priceless memory.


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