PART B DESIGN APPROACHB.1. DESIGN FOCUSIn the previous discourse section, I ar-gued that architecture regards nature as a resource rangine from structure, pattern and shape. Nature itself is full of various irregular shape and form which is capable to develop through parametric design. The area of design interest is to explore the self-supported structural skin inspired from tree trunk and the petal of flower. They have relative large span and cantilever-like structure.

Way of generating structural skin varies. In this case, I will specialise in Tessella-tion which is one of the skin generative techniques. Tessellation is a installation approach that breaks up of complex surface into multiple repetitive ele-ments. As a curvy organic geometry is hard to create and out of efficiency, it is feasible to develop a surface us-ing the method of panellization. These segments provide lots of possibilities

and flexibility of creating continuous geometry. Tessellation can generate free-transformed geometry that is twisting, bending or folding. The perfor-mance criteria for tessellation skin are seeking the balance of form making and structure optimization.

In the Wyndham City Gateway project, we are proposed to design an eye catching installation that provides an obvious contrast to the flat even free-way using uneven geometry which is why we are choosing tessellation as a surface produced method.

However, the fabrication of tessellation model requires special consideration of the connection of different panels.

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FERMID by Behnaz Babazadeh

To start with the project, we take some tessel-lation design as precedent to gain a general concept of what tessellation exactly refers to.

Fermid is a kinetic sculpture created by Behnaz Babazadeh that uses technology and parametric design principles to explore the natural movement that can be found in living organisms and its relation to human percep-tion. We found the overall geometry is quite interesting as the surface can be deformed by human movement. It seems like the geom-etry is breathing. The movement of one small piece leads to the move of adjacent piece is right because it is using tessellation technique. The flexible connection of each small piece gives us a better perception of Tessellation.

In parametric design principles, it is efficient to design a panel-based installation. The result-ing movement is seducing and engaging a viewer to explore.source: http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/

ICD/ITKE Research Pavilion 2011

source: http://icd.uni-stuttgart.de/?p=6553

The project explores the archi-tectural transfer of biological prin-ciples of the sea urchin’s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computer-controlled manufactur-ing methods for its building imple-mentation. The cell sizes are not constant, but adapt to local curvature and dis-continuity. They stretch and orient according to physical stress.The research pavilion offered the opportunity to investigate methods of modular construction using free form surfaces representing differ-ent geometric characteristics while developing two distinct spatial entities: one large interior space with a porous inner layer and a big opening.

These modular cells give us a great starting point to study.

Hexigloo is a fully parametrically designed pavilion resulting out of a seven day workshop in Bucharest RomaniaThe design process was based on putting a hexagonal grid on the igloo surface typology, and then extruding the mapped hexagons along the Z axis in order to create a binding surface. It uses attractor point to change the offset size of hexagon. It is the point which we can use in our Gate-way Project to create various size cells. And fabrication pro-cess is based on each unit of the volumetric cell.

Hexigloo Pavilion Bucharest, Romania

Image Source: http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-an-drei-radacanu/

B.2. CASE STUDY 1.0Voussair Cloud IwamotoScottLos Angeles, CA, USA

The installation ‘Voussoir Cloud’ is a landscape of vaults and columns consisting of clusters of three dimesional petals, which are formed by light wieght folding thin wood laminate along curved seams. It is a site specific installation designed for the Southern California Institute of Architecture gallery, Los Angeles.1 The curvature produces a form that relied on the internal surface tension to hold its form testing by Kangaroo in Grasshopper.

It uses the form of petal as basic element of the structure. Each vaults rely on each other and the three walls to present its natural compressive form which need to precisely calculate the edge length, area and curvation of the petals. Also, in the Gateway Project, we are proposed to design an organic surface which is use panelisation parametric tool. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics — greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity.2

B.2.1. PARAMETRIC DIAGRAM

POINT CURVE SURFACE MESH

In this parametric case study, we focus on the design process of parametric computation. It starts from points to create voronoi pat-tern which forms the base structure of the design. Then, it uses offset to create the difference between the volume that the section area varies from height. And it turns the lofted surface into mesh where we can apply various pattern on it by weaverbird.

We study the parametric design using matrix to explore the similar-ity and the relationship between each variable. In the initial design intent, it create the base structure first and then apply the pattern on the surface.

B.2.2. DESIGN PROCESS

MATRIX EXPLORATION

Kangaroo is a Live Physics engine for interactive simulation, optimization and form-finding directly within Grass-hopper. In this case, we use Kangaroo to imitate natural loads which create deformation of the geometry. Force can be exerted onto the geometry in any direction by changing the vari-ables on x-, y-, z- axis. This definition help us to find the optimizing solution.

To change the number of se-lected point can lead to the change of ‘tree trunk’ structure and creating the arch shape which is in two support-ing dense base.

Offset all the rect-angle to create some possibilities for connection between each ‘panel‘ (negative area)

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Offset all the rect-angle to create some possibilities for connection between each ‘panel‘ (negative area)

Attempt to change the op-tional cell radius to change the curve. The form looks like petals.

use the definition of weaverbird to cre-ate various pattern which show various effect of light and shadow. Test the uneven surface tes-sellation.

Subdivide the space using a 2D voronoi and trim with a various curve represent-ing the perimeter of the room.

Change the offset curve location to create different base structure.

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B.3. CASE STUDY 2.0

RMIT FAB PODIn the second part of case study, we take RMIT project called FAB POD as an example to continu-ously study how design intent control the paramet-ric design. It was initiated in response to anecdotal evidence from musicians that the newly complet-ed interior of Gaudi’s Sagrada Família Church has a surprisingly diffuse acoustic.

And we also inspired from the connection and materiality of each module. The idea of the trimmed whole for light can take into further con-sideration in the later stage. The installation is wor-thy to explore because it use parametric design technique to break the surface into multiple irreg-ular voronoi modules which is suitable to produce a curvy organic surface. Furth more, it applies the techniques for evaluating reverberation and absorption of sound as it proposed to locate in a study area which is unnecessary to use in gateway project as it locates on the freeway.

source: http://www.independentsgroup.net/rmit-fab-pod

It is to cre-ate a pile of 3D metab-all and then extract the hyperbolic surfaces.

parametric diagram from FAB POD, RMIT

My first attempt is to create a series of 3D metaball, yet there is just 2D metaball definition in grasshop-per. Then I use 2D metaball and 2D voronoi cell to create volume that has hyperbolic surface inside and flat surface outside.

My second attempt is to create three dimensional volume containing sphere which is the hyperbolic surface extract from and 3D voronoi for the collection point. In this case, just a few modules have one hyperbolic surface in one cell.

Attempt 3: We were seeking other methods to break up a surface into different types of pattern and geometry.

STEP 1Create planar grid which can be triangular, rectangular or hexagon. These are the basic geometries that is used to form the surface.

STEP 2Give the regular grid of geometry some variety, such as some defined point and the change around these points by Graph Mapper. As we are proposed to design a structural skin which requires a dense base and a light cover on top.Associate offset with point attractor which locates on the bottom of the geometry. These attractor can lead the cell toward a direction and cre-ate dense and loose/different size cells.

STEP 3Offset the grid to create the thickness of the hexagon ge-ometry.

STEP 4Use Surface Morph defini-tion in Grasshopper to morph planar geometry into three dimensional surface. The size of the grid will ‘squeeze’ ac-cording to the curvature of the surface.

STEP 5extrude the surface to gain a volumetric surface. These step provide us the opportunities to manufacture by physical material.

B.4. TECHNIQUE: DEVELOPMENT

Basic Geometry

Morph an object which is the basic geometry we want to apply on the surface into a twisted box. But they are some how not connect togeth-er

basic surface

Morph(box morph/surface morph)

These two attempts are the rather satisfied iterations so far. They multiple the basic geometry to the surface and each basic geometry can fix each other and vary from the slope of the surface. I aimed to explore the potential of associat-ing form with effect through different grids hell which can create different light manipulation through the variation of sun path. We can manipulate the basic geometry

As we may need to carefully consider the connection of each panel of the surface created from box morph, we turned to use surface morph to create continuous pattern.

B.5. TECHNIQUE: PROTOTYPES

In terms of materiality, to as-semble and fabricate in fact is one thing we need to consider. Because the surface doesn’t have thickness is rhino, we need to make the thickness of the 3D model to reduce the error while manufacture.

B.5.1 DETAIL SECTION DRAWING

This model will be fabricated the surface breaking into small cells. We would want to use plywood and steel frame for each hexagon module. We nail and bolt two hexagon to-gether.

It is rather difficult to fabricate the 1:100 model because we should make the sequence of each hexagon. We can label the unrolled hexagon surface into number sequence in the rhino.

As we choose plywood and steel as structure frame which is not transparent, we will create a very interesting shadow onto the ground which is trying to contrast the bright and dark by the change of the density of the hexagon.

B.5.1 DETAIL MODEL

B . 6 . T E C H N I Q U E P R O P O S A L &B.7.ALGORITHMIC SKETCHES

To proposed Gate way project for Wyn-dham city communicating a sense of exciting and eye-catching. To impress people through this junction of highway, our group wants to highlight the contrast of the organic form and geometry with the even flat ground. To fulfill this curvy form, we use geometry to tessellate the surface by repeated panels.

We take the use of double arch structure covering two main freeway connect to Wyndham city and Geelong. It aims to engage as much as possible for people to explore and experience the design. To create a welcome geometry, we en-large the end of the ‘tunnel’.

If we want the design to be self support-ed, we can take advantage of natural structure, such as a petal of flower. It has a dense strong base and relatively light for the upper structure. This refers to the density of the hexagon cells.

This overall form is structural driven and dynamic. It uses hexagon tessellation to form a floating surface as a page paper.

B.6.1. DESIGN PROPOSAL

B.6.3. DESIGN RENDER REPRESENTS THE MATERIALITY

B.8. LEARNING OBJECTIVES AND OUTCOME

After these week’s research, we found that there is a lot fantastic performance using parametric design technically produce a structural surface with volumetric tessellating geometry.

After the mid semester presen-tation, we commented to ap-ply Kangaroo to test the actual physical load to alter the optimal form performance. We also need to improve the idea of contrast of our Gateway Project which means that the outcome we have now is not enough to ex-press the sense of contrast. We might start with the geometry which can show the contrast from regular to irregular using voronoi cell. And we also can im-prove the materiality using timber or other artificial material such as reflective paper. We still need to further explore the connection of

each cell which can present the what tessellation exactly is.

As a group we are able to de-velop a prototype of tessellation and give a logical response to the Wyndham CIty development. We now understand how to fab-ricate a computational model into a physical one.

As my personal experiment of parametric design, I found that parametric design is a logical process. The parameter should response to the particular condi-tion.

In the following week, we should further develop our group design by using regular and irregular ge-ometry to reinforce the concept of contrast.

REFERENCE

FERMID by Behnaz Babazadeh, designplaygrounds,2013, viewed on May 9, 2013, <http://designplaygrounds.com/deviants/fermid-by-behnaz-babazadeh/>

ICD/ITKE Research Pavilion 2011, Universitat Stuttgart, viewed on May 9, 2013,<http://icd.uni-stuttgart.de/?p=6553>

Hexigloo Pavilion, ArchDaily 2008-2013, viewed on May 8, 2013, < http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-radacanu/>

‘Voussoir Cloud’ by IwamotoScott with Buro Happold, 2013 Archivenue, viewed March 30 2013, <http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/>

RMIT Fab Pod, THE INDEPENDENTS GROUP © 2012, viewed on May 9,2013, <http://www.independentsgroup.net/rmit-fab-pod>