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STUDIO AIR2015, SEMESTER 1, TUTORSJin Dai 726716

2 CONCEPTUALISATION CONCEPTUALISATION 3

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Bird’s Nest Stadium, Beijing,

-Jacques Herzog and Pierre de Meuron

Designed by the Swiss architects-Jacques Herzog and Pierre de Meuron, the Olympic stadium built in 2008 lives up to its aspiration as global landmark. Known for its epical latticework shell, the stadium was known as the Bird’s Nest.

The design started out with the concept of rethought the relationship between solitary human and the crowd, the common and the heroic. However the structure attests to a great ambition, it is aesthetic at the same time functional.

Herzog and de Meuron were chosen for the stadium in Beijing partly on the strength of their design, their ability to emerge high-tech into the design and creating a much more comfortable space as a result.

For the Bird’s nest, the architects were clearly striving for something more manifestation. The matrix of criss-crossing columns and beam was conceived as a gargantuan work of public sculpture. From a distance, the contrast in between the bent steel columns and the bulging elliptical form gives the stadium a surreal appearance, as if they were straining to contain the force that are pushing and pulling it. Philosophically, it suggests the tensions beneath the

surface of a society in constant turmoil. Structural wise, the architects and engineers designed a series of cantilevered trusses to support the roof, and shades the seats. The secondary pattern of random criss-crossing beams is woven through the frame, creating the illusion of a big web of rubber bands straining to hold the building in place. Like the Bird’s nest the grass strips hold the whole structure together.

The new concept of separating the beams from the main concrete structure inside the stadium is to enhance its structure stability. The criss-cross’ shell structure’ was meant to act as a frame support, so that if an earthquake shake or break the concrete structures, the frame will stop the roof from collapsing.

Herzog and de Meuron strived to break down the purity of late Modernism; they turn to asymmetrical forms and mysteriously translucent materials.

The Visitor’s path is also guided by those iconic structures. From the ground level concourse, they could go down to the lower level seats or climb slender staircase through the matrix of beams to the upper concourse. The criss-crossing columns create an effect that one ascends through the structure.

a.1 Design futuring

The project has opened a new technology gate way of approaching modern architecture design in china. Til these day the ‘Bird’s nest’ Stadium still remains appreciated by people all over the world. It remains as a landmark in Beijing, has became one of its most famous tourist attraction point.

In conclusion the Bird’s nest can be courted as an parametric architecture as it successfully repudiate the look and function of the Bird’s nest, the shell structure on the outside work as a strong support to hold the structures together, prevent it from shaking, moving or collapsing. The design of the outer shell will not be possible with out the use of parametric design techniques and software, from the generation of the exact angle for each column and beam, assembly logic and actual fabrication. The Bird’s nest has achieved both the aesthetical look and functional abilities.

FIG.1 CRISSCROSSING STRUCTURE ‘SHELL’ OF ‘BIRD’S NEST’ STADIUM

ZA11 Pavilion ; Romania

The ZA11 Pavilion started out as an student base endeavour to design and built at 1:1 scale the flagship pavilion for ZA11 speaking architecture event in Cluj, Romania.

The design faced challenges such as specific materials and limited resources. Therefore the design approach was scalable in terms of materials and fabrication techniques. The final product consists of 746 unique pieces, which formed a free form of curvation, which can also subdivided into hexagonal shapes. Every panel is connected to anther with a hexagonal shape clip. As hexagon is the highest-sided tessellable regular polygon, these hexagonal shapes allow

-Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan

The flexibility in the form of the final product. The realization of the design was made possible by the

Use of parametric design techniques and software, from the generation of the exact geometry panel to the piece labelling, assembly logic and actual fabrication.

The ZA11 Pavilion has successfully emerged as algorithmic design as it make full use of the tessellable natural of hexagonal shapes and created a design that has so much flexibility for all kinds of space use. It created a comfortable space for different events pertaining to the Pavilion, such as temporary bookshop, open-air cinema, sleeping in the sun etc. to unfold. Furthermore, it also achieved its initial propose, to attract people from all levels to the place.

a.2 Design computation


These two words make up a huge component in our design process these days. Computation as a tool did not and could not replace the most important part of architectural sincerely which is the creativity of human kind. Architects generate ideas in their mind and computer software simply help to present them out to others. However having said that computer aided design are no longer limited to just a form of presentation of digital drawings. Computation had broken the barriers in modelling especially in complex typologies. With the aid of the right program, certain design that weren’t possible to be shown/drawn by the human hand are now buildable. Advanced computation mechanics enable the simulation anisotropic materials and hence the differentiation and diversity of its elastic properties. The scientific natural of computers are superb and analytical. It could provide with extreme precision to calculations, predict the outcome after following a series of specific instructions and commands, fast and accurate. With the aid of such computational techniques, lots of resources could be reduced. The communication in between project members such as builder and designer facilitates a more holistic way of achieving the realization of a complicated design.

Computerisation VS Computation.

FIG.3 THE GHERKIN FACADE CONSTRUCTION

and labour needed for structure testing experiences.

Computation as generative design is a logic driven processes. It is ruled by logic and science, by mathematics and commands. It is detached from emotions, feelings, and creativities. Kalay described it as “puzzle making rather than problem solving.” The role of designer had changed from the creator to the helper. Yehuda’s concept of design process emphasis on the ability to differentiate the current and new situations and most of all purposefully evaluate the latter. It is without argument that the architectural practice in the world these days depends on a large extend on this computational programs. However, just as modern technology could not completely replace natural human instincts, computation techniques or software would not replace creation of general inspirations.

The Gherkin

-Norman Foster

The Gherkin is one example how these computation techniques help to realization seemly impossible design.

The building was designed by Norman Foster of Foster and Partners architectural firm. The design concept was the innovation in building and form come from development of new technologies and techniques of building. The form of the building proven to allow maximum amount of air flow around the building. The seemingly expressionist façade was developed through air flow testing. To construct this facade the building used 5,500 pieces of glass panels joint together in diagrid structure. The ‘Diagrid’ system comprised of steel pieces coming together at triangular nodes to support the outer weight of the structure. This design will not be possible without the help of computation. Using of advanced digital techniques the angle of rotation for each steel pieces controlled to the very precision, ensure the general rotation of overall facade. By utilizing the precision of programming the project saved time

FIG.2 ‘DIAGRID’ STRUCTURE OF THE GHERKIN

GuangZhou Opera House

-Zaha Hadid

The Guangzhou Opera house by Zaha Hadid is one of the largest and most complex computer-generated design. The building takes an organic curvature form, the architect utilize computational programs that could provide precise calculations and analysis. The design will not be achievable as architects are unlikely to figure out the meticulous angle in between joints and the curvation of individual constructing geometric which all together provide the building with a smooth flowing organic design. Computational programs could not overtake the role of an architect as such programs are unable to fulfill both the rational and creative abilities in

designing. They act as bridges that help the designer to communicate their ideas to others. In this project, Zaha Hadid began with her concept of interaction between architecture and nature. The design takes form of two enormous pebbles that had been washed up on the shore to connive the ideas of erosion, geology and topography. The designer had the design concept in mind, the digital techniques help to realize them.


FIG.4

A.3 Composition/Generation

Subdivision Column

-Michael Hansmeyer

Gwanju Design Biennale 2011

close to the design, more and more details will be reviewed. This articulation exceeds the threshold of visual perceptions that would not be possible using the traditional means.

However, the shortcomings of the generative process eventually showed when translating the digital ideas into reality. Hensmeyer faced difficulties in fabricating these columns due to the complexity in subdivisions. The concern was that the technology could not reproduce the design accurately.

The Doric column open a new gateway for design approaching. The idea of focusing on the formulation of process as opposed to actual form is supported by the amazing ability of the computation design. The parametric modeling has proven to have potential to exploit the new design direction and allow more experiencing on the form and details of architecture.

application of the process, with distinct local parameters settings. In addition to distinguishing among tagged components, the process parameters can be set to vary according to the input form’s topography as well as its topology.Expeweakness in order to achieve the best result.

An abstracted Doric column is used as an input form to the subdivision processes. Unlike the minimal input of the Platonic Solids project, the abstracted column conveys significant topographical and topological information about the form to be generated. The input form contains data about the proportions of the the column’s shaft, capital, and supplemental base. It also contains information about its fluting and entasis.The input form is tagged to allow the subdivision process to distinguish between individual components. This allows a heterogeneous

FIG.5 COLUMN AND SECTION SLICING PLANE FIG.6 SECTION OF COLUMN


Architecture today is experience a shift from the physical drawing to algorithmic as the method of capturing and communication design concept and ideas.

Furthermore, the parametric modelling technologies make it possible for designer to explore their design and simulate performance, in term of both of physical and experimental. This means that the architects’ design are no longer limited to 2D imagination, construction of complex 3D models to communicate ideas are now possible.

The composition and generation are both strategies used by the designer during the design process. Composition is a process of creation, whereby the architect has the form of the concept of design in mind. With the aid of computation techniques such as AutoCAD, they can then present them to other. This Process tend to be more time consuming as the final design has to went through series of test after the design process to ensure its practically. On the hand parametric design is a process of discovering. The architect usually do not have a specify form or design in mind. Experiencing different possibility in the software slowly develops the design. The ‘process-based forces’ process encourages complexity, flexibility, logical thinking, performance control and efficiency. However, it could also mean the engender division from the design objective by being immersed with the forms that are formed by scripting. Neglected the functional use and practicality of design favor the new from of digital aesthetic.

This project involves the conception and design of a new column order based on subdivision processes. The design intent is to explore how subdivision can define and embellish this column order. To maintain the iconic fluting form in classic roman columns parametric inputs are tagged along subdivision process. Countless numbers of permutation are generated through customized algorithms. Culminating in a geometric mesh of 260 million individually, this process generates much architecture aspects, from the overall form to the local surface development, down to the minute textures. It is no doubt the generative process of designing has surpassed our thinking. It is no longer just design the imaginable but endless design alteration possibilities. Computation breaks the limitation of physical constrain, such as 2Dimensional designs as the architect no longer develop forms using pen and paper or 2D drafting program such as AutoCAD, instead the design process can now be ‘shifted’ on to an abstract level. Forms can be generated with the complexity that would not be possible to drawn by hand. The use of such techniques has stretched the possibilities of future design.

Different from the usual computation uses in architecture, which usually creates smooth volume with edgeless surfaces. The design maximized the articulation of the surface, creating a volumetric depth whereby light can reflect in a million different directions, blurring the boundaries of architecture. Like the classic roman columns, as user get

Arum

-Zaha Hadid

Venice Biennale 2012

Arum by Zaha Hadid is a project displayed on the Venice Biennale 2012. The theme of the Biennale was ‘common ground’ which refers to the currently architectural culture relied on rich historical continuity of divers ideas instead of talented individual. The designers applied computation with algometric thinking, parametric modeling and script creating. Form finding deriving inspiration from nature and addressing it with structure integrity and materiality explored in process.

In relation to form finding through parametric modeling, the designers take adapting natural forms into consideration while designing the structure. The designers adopted the algometric thinking to achieve the shift from composition to generation, as they explore shell structures and tensile structures with the idea of integrating the architectural system and the subsystems in order to form complex and coherent spatial arrangements.

Conclusion

Like everything, architecture evolves over time. Architecture today is no longer limited to the functional use of providing shelters for human kind. The further we look into the future, the more we realized that the focal approach of designing in digital has shifted from simple logic computerization to complex methods of computation. Computerisation allowed designers to present their design in various aspects to communicate ideas and assist with further design possibilities. While on the other hand, computation takes design to another step by providing the possibilities of physically unifying the building design and the structural aspect through form generation and material studies. The design approach would be exploratory in the context of computational design that emphasis on construction or generation rather than pre-conception and planning. It is no doubt that computation is a new step forward in new design culture that is based on efficiency, aesthetic of design by opening up more possibilities to find a comparatively desired solution. However despite all the benefits bought by advance technologies, one should not one shall not rely completely on it and forgo the sincerity in architecture design, which is the creativity that are unique to human kind.

This integration of weight shells and tensile structure was one of the many breakthroughs achieved by this project. It had shown that through algorithmic modeling, a simple shell can be transform into a master piece of architecture innovation both structurally and aesthetically.

Furthermore, technologies such as parametric Semiology were used to analysis the model’s complex design and realized the prototype in reality. Learning outcome

FIG.8 ARUM ARTIST IMPRESSION


With a polytechnic background I did not have any encounters with parametric designing or algometric thinking. Comprehending the precedence and trying to understand more about architectural computing has been an ‘eye open’ chance for me. The projects opened up my knowledge about scripting, digital design, algorithm and parametric design. It is astounding how digital design can push design to so much further state and carry on progressing. It leads me on a new direction of future designing, by providing more possibilities about designing and realising the design through learning. Design are no longer to draw or illustrate what I already have in mind, but to generate something that may be beyond my imaginations. I am keen to explore this new medium and hope that studio air could assist me for the extension of the boundaries of design.

Algorithmic sketches

Without any piorner knowledge with rhino and grasshopper, these are a few attempts i made trying to explore the forms and shapes that could be created by the software. One of the first things that i learnt in rhino and grasshopper is Lofting. Lofting in rhino or grasshopper could generate similar results. Hoever, when lofting in rhino the surface can not be changed, whereas in grasshopper, there is a function to active and edit the selected curve to allow further reshaping. this makses the amendment of the shape much easier.

These are some shapes created by mesh reunion. 3 dimensional cell patterns within the geometry through ‘Voronoi 3D’. Altering the density of ponts and deleting various cells created many interesting iteration. Also, attractor points to affect height.

Combining the ‘Sbox’ componet, a mesh is set as the base to ‘Morph” function with the box grids as its threshold to project a pattern onto the surface, within the box grids.

Reference:

1. Kalay, Yehuda E. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design ( Cambridge, Mass : MIt Press, 2004), pp,6

2. Kalay, Architecture’s New Media, pp, 5

3. Rosenfield, Karissa. “ venice biennale 2012 : Arum preview/Zaha Hadid Architects” 20 Aug 2012

4.Rosenfield, Karissa. “ venice biennale 2012 : Arum preview/Zaha Hadid Architects” 20 Aug 2012

Image Reference:

Cover - Retrived form Lemanoosh parametric design (http://lemanoosh.com)

Fig 1 -Bird’s nest stadium steel structure; retrived from Old world steel (http://old.worldsteel.org/?action=galleryphoto&id=187)

Background image of Bird Nest- Overall image of Beijing stadium; retrive from Homesthetics. (http://homesthetics.net/the-chinese-national-stadium-in-beijing-the-birds-nest-stadium/)

Background image of Za11 Pavilion- Retrieved from design playground. (http://designplaygrounds.com/deviants/clj02-za11-pavilion/)

Fig 2 Diagrid structure of the gherkin- Retrieved from Wordpress (https://andrewlainton.wordpress.com/2011/07/08/fosters-snarks-at-ken-shuttleworth-over-who-designed-the-gherkin/)

Fig 3 Facade installation & background image -Retrived from the guardian’ (http://www.theguardian.com/artanddesign/architecture-design-blog/2013/jun/18/gherkin-protected-views-unesco-skyline)

Fig 4 unfold layout of steel struture -Retrived from Archdaily(http://ad009cdnb.archdaily.net/wp-content/uploads/2011/03/1299011223-unfolded-layout-of-the-secondary-steel-structure.jpeg)

Background image- Retrieved from Nytimes (http://www.nytimes.com/2011/07/06/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.html?_r=0)

Fig 5,6 and background image- Retrieved from Michael-hansmeyer offical website (http://www.michael-hansmeyer.com/projects/columns.html)

Fig 8 Artist impression of Arum - Retrieved from Dezeen (http://www.dezeen.com/2012/08/18/arum-by-zaha-hadid-architects-at-venice-architecture-biennale-2012-2/)

Background image-Retrieved from (http://www.archdaily.com/269061/venice-biennale-2012-arum-zaha-hadid/)


b.1 research field

BIOMIMCRYBiominmcry in architecture, to put it simply, is the looking to nature to find inspirations for new innovations. Architects have frequently drawn inspiration from nature particularly in regard to form and structure. However, biomimetic architecture is much more complex than just copying the shape of natural forms. The innovation within the architectural realm and becoming viable with the aid of computation and parametric modelling, is the ability to imitate the inner logic of nature’s morphological processes. It is the understanding of structural processes and the rethinking of our traditions in these fields of design that could potentially lead to more efficient, sustainable and profitable building practices and innovations. By looking closely at natural systems we can determine the underlying principles nature uses and possibly use this to imply form, or a way to inform structural logic. Additionally with the use of computation and specific parametric logic we can imitate and create a multitude of complex design solutions in a similar approach to nature.


The Morning Line Aranda/Lasch

Architects tend to pursue complexity through new geometric relationships, however the morning line illustrates that generating this coveted quality is possible from a single processed form. It also illustrates how these ends may be reached through playful computation.

The morning line is a dramatically sprawling metal frame structure that functions as an interactive, engaging public art display. It is an experimental project that has innate features of simultaneously generating itself, falling apart and creating a sense of enclosure through its interactive structure. The architect employs fractal principles in order to truncate a regular tetrahedron, breaking down the larger formal components into progressively smaller ones. Its rigid, small components have allowed it to be deconstructed and resurrected numerous times in different locations. To add to complexity of multi-scalar repetition, varying curves were pulled across the hexagonal surfaces, connecting them at the mid points of their edges, the base geometry was then removed resulting in an ‘unexpected’ visual and experiential effect.

The structure of the project is based on the idea of geometry taken from fractals. These fractals are recursive and follow a repetitive definition, which can be joint to one another to form the product. In order to realized the design , the designers base the design on the theory on cosmology by Paul Steinhardt and Neil Turok[1], to produce a celluar like structure. By using an equilateral tetrahedron and the process of truncating with the fractal processing techniques, the project can then be realized.

FIG.9 ZONING OF THE MORNING LINE

FIG.10. FOLDING OF Z

b.2 case study 1.0


The definition begins creating the polygons and specifying the size of the geometries by varying the radius, and the number of sides. The Segment input of the polygon component can only take minimum of 3 and maximum of 5. If the number input exceed maximum, the algorithm will not show any resulting outcome.

To create the fractals on each of the polygons vertices a scalar slider is applied and from the graph above, it can be seen that as the scalar factor is increased, the complexity is as well. In the matrix ,scale 0.50 and 0.25 were used. At 0.50 scaled polyhedral exert enough influence on the overall arrangement to avoid appearing subordinate and arbitrary.


Volta Dom The VoltaDom designed by using parametric design technology to generate a surface panel that intensifies the depth of a double curved, vaulted surface. The design was reinterpreted through the use of computational design. It looks specifically at recreating the vaults in a sculptural approach in order to produce an elegant and contemporary design, adopting an organic and modern structure.

Relating back to the ideas of biomimicry, the vaults are created by the grasshopper command voronois; divide space into regions base on a specific set of points. A passageway is formed with the inclusion of oculi on each of the cones in the vault to allow light to penetrate through as well as creating views. Although the process and final geometries are unique and complex, the firm created a simplified fabrication process. This is achieved through the simplifying of the cone structures and “unrolling” them into strips to be manufactured.

There are two major focus to the project. One involves the investigation of the density of the volume and the other one explores how to apply the same definitions via testing other geometries.

The Voronoi pattern can be created by finding the intersection of a cones within a plane that have been developed and trimmed and results with an “oculus”. These can then be unrolled and are all developable as strips.

Under the first category, the increasing number of cones would generate an increasing expression of pattern intensity.

Random gaps or overlapped surfaces would occur as the numbers reach a higher range. Using the existing boundary to create 3D Voronoi outcome provides another distinct outcomes, more comprehensive layers are generated through the increasing number of points. However, difficulties of trimming mesh joints created a rather chaotic expression, which in turn makes the geometry more complex[1].

The main variations for this project are looking at the height of the cone and the variation of points. When altering the height of the cone to be cut at a plane, the size of the aperture also varies. The use of a component to create a randomly populated region is applied.

These experiments can be utilized when undertaking future investigations of biomimetic patterning. The controlling of various point-driven geometry allowed for a more flexible and customized outcome. It is also a flexible combination that can be implemented on specific surface or adding on

aesthetic features for structural components. The definition of trimming the top of the cone to openings of the frame can be applied at a later stage when installing functional features or fabrication techniques.


The Spanish PavilionThe Spanish Pavilion was displayed in the Aichi International Exhibition in Japan in 2005. The main goal was to explore the potential of “central hybridization” as part of Spanish history as an overarching theme through the form of architecture. Particularly, Islamic and Christian cultures were being used as inspiration for the design forms; using arches, vaults, lattices and traceries. The design applied hexagon panels on the façade. The hexagon grids perform as both skin feature and structure support. It allows sunlight and wind to penetrade the building creating a relationship in bewteen the exterior and interior spaces. The combination of structure that is able to self-support and the ornament or skin with cultural expression is what the project is going to achieve.

The envelope of Pavilion is incorporating the ideas of these past cultures to create an innovative design. Utilizing grasshopper to create a non-repetitive pattern as a fearure of design, the project combines hexagonal shapes with a variety of colours to create this non repetitive pattern.

The realisation of the hexagonal geometries require a lot of skill as each of the pieces are joined in a different manner;

ensuring the irregular aesthetic of the eternal membrane.

For the Spanish pavilion, the hexagonal shaped being the fundamental shape that has been replicated to form a pattern. In this particular case, varying the offset distance and the heights of the hexagons using grasshopper could create different result.

To begin with, the slider, allow offset distance to be varied in order to create different effects. These images as seen above are taken from an aerial view to show clearly how the offset component creates varying sizes for apertures in the hexagonal shapes.

However to create a more interesting pattering, within this definition, by using an image sampler component there is the opportunity to offset the cells to create a more dynamic surface.


The main criteria for selecting geometry was the balance between complexity and simplicity. Furthermore , there is a concern with how the geometry could be stacked or attached to eachother. I wanted ensure that the structure would be relevant and appropriate within the context of the site. To do so, one of the main aims was to blend the design in with its current surroundings but at the same time, being able to attract users with interesting and unique design morphology. These ideas would be inspired by the history of the site as well as the past precedents and exploration of biomimicry.

Following the initial ideas of biomimicry playing an integral role in our design, to create potential design that could borrow ideas from nature. It also had to be an interesting space for users to occupy through evoking curiosity and interest from visitors who would then be inspired to interact with the space. Some of the larger and more complex geometreies are discarded, the simpler ones that could be resolved when stacking are kept.

Above are the most relatable and successful outcomes in terms of the selection criteria. For iteration 1 and 2 the variation of geometries were most desirable as it is balanced and look plausible to be fabricated. The 3 sided tetrahedron generally being preferred. While ot os the least complex in terms of tractals, it could result in the most interesting collective form.

The second iteration is based off the Voltadom definition and looks at these cone shapes with the opening at the top. The variation and number of points considered is not overwhelming and provides enough space in between each of the cones, the interesting form it can form with the combination with other geometries.

The third iteration taken from the Spanish Pavilion looks at the variation of heights which is able to transform a form into something more interesting and dynamic.


The Water Cube Inspired by the minimal surface structure of bubles, the award winning project by PTW,CCDI and ARUP for the official swimming stadium of the 2008 Beijing Olympic Games is no doubt a modern marvel of architecture. The Iconic box is not just an analogy for form of the bubble but also structure. Behind the seemingly random pattern of the façade laies a strict geometric system of structure informed by natural systems such as crystals, cells, molecular structure and bubbles. The steel structure and the façade act as one autonomous element providing the dual function of structure and ornament, a common theme parametricism is keen to explore[1].

The exterior bulges out due to its materiality being a transparent ETFE cushion (ethylene-tetrafluoroethylene), which like bubles, provide excellent thermal efficiency. A unqiue object in itself the project was a great success as it eloquently expresses its biomimetic design intent reflecting water and is responsive to the broader social urban and cultural context by integrating traditional Chinese symbology and architecture elements with the courage to explore cutting edge technology and material.

There were two different attempts to create the parametric model. Initially, I attempt to recreate the model using 2D grid points. The first step involves drawing a box from 2

points, then create planes upon each face as the facade panel. Popluate 2D grid of point among each of the five created faces, each populated point grid has a different seed number to ensure no two faces are the same. Lastly offsect the voronoi to produce edges thick enough for the structure beams then extrude them away from each respective facade planes.

After several research on the building, I understand that the design actually use weaire-phelan structural system to produce the watercube design.Unlike the arbitrary voronoi lattice, the weaire-phelan structural system goes beyond purely aesthetic benefits. The Weaire-Phelan allow for structural and economic efficiency for the construction of the water cube as the joints were all close to tetrahedral angles resulting in structure to fills a large volume of space with a reduced amount of material. [2]

My second attempt to create this model begins with downloading plugin for grasshopper called BullAnt/Geometry. Gym has a component specifically to tessellate Weair-Phelan Geometry. Using this component and a series of translations to the packing system I was able to reproduce a model which bears close resemblance to the watercube,As seen in the first attempt of tessellation, the model did not protrade the facade of the original design.The voronoi like exterior was not shown. Only after several attempts of rotating the geometry, the similar outcome was obtained.There were lots of difficulties producing this model, for example, reducing the size of the tessellation. It was a vigorous process for the computer which often lead to the laptop to crashing several times, I was unable to produce the similar model for the second time. The finishing touch was piping the curves on the exterior.

While the both parametric model was gerenally similiar there are some key difference from the original design.For example,both defination only take to the design on a 2D level. The bubbles do not protrude outwards, as in the original design. In this model the facade remain flat on the surface with no bubble like bulges.

1.WEAIRE-PHELAN PACKING-TESSELLATION

2. ADJUEST ROTATION ANGLE

3. ADJUST THE SCALE OF TESSELLATION

4. PIPING AND END RESULT

1.POPULATED 2D GRID ON CREATED PLANES

2. OFFSECT THE VORONOI

3. ADJUEST THE ANGLE OF ROTATION

3. ADJUEST THE SCALE OF ROTATION AND END RESULT

b.3 case study 2.0


b.4 technique developement


One limitiation of the Watercube is its basic simple form. To break away from the cuboid shape, I applied the packing system to fill solids such as cones, sphere and arbitrary geometry. the result that can be achieved by the packing system was unexpectly interesting.

The second attempt was with Boolean. Intersecting the geometries to produce a Voronoi like pattern on the surface as well as further distorting the geometry by manually removing the sections from it. However, there was a general consensus that the most exciting outcome was when the form was approximated rather than directly cut out. This approximation is an avenue we wish to extend and explore and has the potential to provide a very unique solution.


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