研究限制與未來研究

本研究實作部分礙於課堂時間進度的配合與單人實作規模的限制而選 擇以目前已被普遍使用的電腦輔助設計與製造的工具操作，例如常見的 Grasshopper、AutoCAD 與雷射切割機，並將實驗範圍限制在裝置藝術 部分，最終完成作品則因規模過小以致無法含括更多建築表皮所需之建 築結構、環境控制、建築構造等不同專業領域之實證。未來研究將以此 軟性表皮設計流程為基礎，把實作案例大小擴大延伸至實體建築運用部 分，進一步探討此軟性表皮設計流程，使此設計操作流程更臻完善，以 增加軟性表皮設計流程的參考性，進而提高操作軟性表皮的可實踐度。

再者，礙於專利與軟性表皮操作技術發展尚未成熟，本研究方法中 的案例分析研究部分仍舊有未知的不透明操作流程，例如結構工程的運 算、表皮材質的精密加工合成過程與多元的表皮結構運用，並且在第四 章的設計實作中亦產生了不少的表皮材料問題與張力支撐結構的解決 方式，此需要更為專業的結構運算研究與軟性表皮之科技研發，並以更 為長遠的研究計畫來進行釐清。因此，可依據本研究之結果流程，更進 一步的進行軟性表皮設計與施作流程發展。使得軟性表皮的應用範圍得 以擴大至建築軟性表皮，成為更為有效與實際的建築使用。

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個人簡歷

現為交通大學建築所碩士班數位組學生，大學畢業於台北科技大學建築 系。碩士研究著重於 CAD/CAM 領域中的參數式設計、仿生建築與軟性 表皮自由形體之議題，除了研究之外，更進而致力於數位模型實體化之 實踐。學術著作如下：

Chiou, Y Y 2010, How to make the soft skin? A soft free form without the bones, CAADRIA 2010, Hong Kong.

Chiu, Y Y 2010, How to make a soft skin? A preliminary framework for the parametric design of the bionic soft skin, eCAADe 2010, pp.188-192, ETH, Switzerland.

（參見附錄）

HOW TO MAKE THE SOFT-SKIN?

A soft free form without the bones

YUNG-YING CHIOU

Graduate Institute of Architecture, NCTU, Hsinchu, Taiwan [email protected]

1. Introduction

Until now, most of the finished free form cases consist of skin and bones, or only the bones. The finished soft-skin cases are fewer and the process remains untold. Besides, biological systems are self-assembled, using mainly quite weak materials to make strong structure (Hensel, 2006). The natural balance of forces and corresponding geometric solutions was found in living beings (Couceiro, 2005). Furthermore, parametric design is the process of designing with parametric models or in a parametric modeling setting (Barrios, 2005). The geometric object under examination, is tested using a system of varied parameters inputted into the program Grasshopper, an explicit history graphic plug-in for Rhinoceros (Hnizda, 2009). Based on the parametric environments and biology, how could we possibly design a soft free form without the bones? This research seeks to record the bionic soft-skin design process in Grasshopper and production process, as a helpful reference for designers who deal with similar cases.

2. Research Process

The soft skin design and production process are shown as following steps:

1. Construction research: Making a conceptual model and twisted it to investigate the construction of soft-skin. The soft skin consists of the bio-flakes, and each of them is unique per se (Figure 1).

2. Form Finding: Digitalizing the cocoon-shaped geometry in the Rhinoceros according to the data defined in Grasshopper. With the application of the component system, which connected the component and parameter, the geometry skin is transformed into the bio-flakes looks (Figure 2).

3. The 3D CAD Model and 1:20 Scaled CAM Model: 81 unfolded bio-flakes skin units were detailed in AutoCAD, and then they were uploaded onto the laser cutter to constitute 1:20 model by the bristol board (Figure 3).

4. Material Experiment in 1:10 and 1:2 Scaled CAM Model: Change the input data into the parameters and examine the result to make 1:10 by 144 pieces of 0.15mm transparent polypropylene bio-flakes and staples and 1:2

附錄

2 YUNG-YING CHIOU

CAM model by 324 pieces of 0.15mm red polypropylene bio-flakes and brass eyelets(Figure 4 and 5).

5. Final 1:1 Soft Skin Free Form CAM Model: The third time to adjust the data in Grasshopper applying constant digital 3D geometry for final model comprised of 324 bio-flakes in bristol board, each cut and labeled by laser cutter. Every flake is connected to its neighbors at four points using brass eyelets but still weak and lacking of supportability. And the last move:

hang up the cocoon-shaped soft skin at the ceiling with tensile fishing lines, and the design is all set .Finally, the finished work looked just like the initial computer visualization (Figure 6).

3. Conclusions

At the end, attributing to the explicit history graphic and reductive functions of Grasshopper, the work is finished. However, the supportability and the weight of the net remain discussible and challenging. First up, the soft skin units of 1:20 model can interlock each other to form the cocoon shape easily due to their self-organization of the biological system. Secondly, the bio-flakes of 1:10 model eventually started to roll up and crush because of the soft material, then the weight of net is another problem to face in 1:2 model.

Thirdly, the bigger and heavier structure is hard to form the cocoon shape.

To sum up previous points, they will be the future work in this research. And this research study will be a reference for the making soft free form without the bones.

Barrios, C.: 2005, Transformations on parametric design models, CAAD Futures 2005.

Couceiro, M.: 2005, Architecture and Biological Analogies, eCAADe 2005, pp. 599-606.

Hensel, M., Menges, A. and Weinstock, M.: 2006, Techniques and technologies in morphogenetic design, Academy Press, 26-33.

Hnizda, M.: 2009, System-Thinking: Formalization of Parametric Process, ASCAAD 2009.

How To Make The Soft Skin?

A preliminary framework for the parametric design of the bionic soft skin

Yun-Ying, Chiu

Graduate Institute of Architecture, National Chiao Tung University, Taiwan [email protected]

Abstract: This paper is a presentation of the preliminary framework for the design and fabrication of the soft-skin. Today, the digital technology applied in the architecture field is everywhere. However, there are still lots of fantastic free form architecture uncompleted and remained on the paper architecture or only the digital visual simulated model. Until now, most of the finished free form cases are consisted of the skin and bones, or only the bones.

The complete soft-skin cases without the bones are fewer and the process remains untold.

Based on the parametric environments and biology, how might you design a free form without the bones? How could you make the soft skin stand up? The research starts a series of exploration of the design and fabrication for the soft skin, and seeks to propose the preliminary framework as a helpful reference for the designers who deal with the soft skin project.

Keywords: Soft skin; bionic architecture; parametric design; grasshopper.

Introduction

Being part of the architecture, the building skin plays an especially important role as a transition between inside and outside - between building and the urban space. As the building skin was separated from the load-bearing structure, it became a pure skin. This pure skin defined our urban environment for so long (Schittich, 2002). Once the skin of building became independent of its structure, it could just as well hang like a curtain or clothing. The relationship between structure and skin has preoccupied much architectural production since this period and remains contested today (Leatherbarrow and Mostafavi, 2005). Furthermore, in both fashion and architecture, the skin and bones take as its point of departure design from the beginning of the 1980s (Hodge, 2006). Based on the above mention, the research redefines the structure of the building skin as the skin and bones.

Following the redefinition, surfaces have been explored extensively by architects and designers of the digital era as topologically fascinating models of spatial organization (Hensel and Menges, 2008). A link between the operations of the computer and structural behavior can therefore be established and a theoretical paradigm can be set up for thinking about the possibility of understanding structural behavior through computer simulations (Leach, Turnbull and Williams, 2004). Until now, most of the finished free form cases are consisted of the skin and bones, or only the bones. Fewer free form cases without the bones are completed in reality and remains on the digital visual simulated model. The free form only consisted of the skin is difficult to build up, especially the soft skin one. This is a challenge to face. For the specific issue, the paper starts with a series of exploration of the design process and fabrication for the soft skin.

Related Work

Much recent architecture work and design take inspiration from the bio-morphology and operate in the parametric design systems, such as Frei Otto's project, Greg Lynn's animate form and so on. These organic forms were transformed from biological paradigm, and constructed through three-dimensional plots from computer files. Further discussion will be the following statement.

Patterns and forms in nature, such as the spiral and fractal, are products of internal laws of growth and of the action of external forces. Architects learn to use natural forms from observing living structures: trees, bones, shells, petals and microscopic creatures (Pearson, 2001). Related studies have shown that biological systems are self-assembled, using mainly quite weak materials to make up strong structure. Plants resist gravity and wind loads through variation of their stem sections and the organization of their material in successive hierarchies, using small quantities of 'soft' materials in each organizational level to archive their structural goals (Hensel, Weinstock and Menges, 2006). And, the recursive source of architectural inspiration due to the tight relationship between form and function. The natural balance of forces and corresponding geometric solutions were found in living beings (Couceiro, 2005). In order to advance soft skin design and fabrication, the bio-morphology constructions are available for consideration.

Moreover, parametric design is the process of designing with parametric models or in a parametric modeling setting (Barrios, 2005). The geometric object under examination is tested using a system of varied parameters inputted into the program Grasshopper, an explicit history graphic plug-in for Rhinoceros (Hnizda, 2009). Parametric modeling has been understood as instrumental for its ability in improving workflow, its rapid adaptability to changing input and its delivery of precise geometric data for digital fabrication and performance analysis (Hensel, Weinstock and Menges, 2006). Through the previous introduction of the bionic architecture and parametric design, the soft skin of the free form would be the primary parameter in the evaluation of a structure. The related discussion and application would be the part of the design process.

Based on the research of the parametric environments and biology, how could we possibly design a soft free form without the bones? This research seeks to record the bionic soft-skin design process in Grasshopper and the manufacturing process, to propose the preliminary framework as a helpful reference for the designers who deal with similar cases.

Research Methodology and Steps

To propose a design prototype, here we start a series of exploration of soft skin design in Grasshopper and CAM process. Prototypes are the first on which others are modeled (Gero, 1990). Accordingly, the design process of this paper follows the schedule of the digital design studio at National Chiao Tung University, Taiwan. This course outlines a future state of digital fabrication through a studio-based critical exploration of process of contemporary freeform architecture in digital design. This research paper is one of the studio projects to redefine the structure of skin and manufacturing process. As the soft skin is the only character of the free form cases, the structure of the soft skin will become a key characteristic of the feasibility of making the soft skin.

For the specific goal to figure out how the design and fabrication of the soft skin will be, the soft skin design and manufacturing process are shown as studied by the following 5 steps:

1. Construction Research: Making a conceptual model in weaving system and twisted it to investigate the structure of soft-skin (Figure 1). Weaving is the synthesis of two different systems, interlocking in order to give self-supporting from to their combined whole (Aranda and Lasch, 2005). Unfortunately, the weaving system couldn't fit the smooth curve that the research needs, even though it was adaptable system. For more approach to the smooth curve and self-organization of material systems, the each skin unit should be more small, tenacious and flexible. On the basis of the experiment, the soft skin consists of the bio-flakes in a gradual change follows the smooth curve of the free form, and each of them is unique per se (Figure 2).

2. Form Finding: Digitalizing the cocoon-shaped geometry in the Rhinoceros according to the data defined in Grasshopper. The data includes the division of the surface, the shape of the skin unit, the joint of skin unit and the detail of the crossover. With the application of the component system, which connected the component and parameter, the geometry skin is transformed into the bio-flakes looks, adjusting the data of operators to make sure every skin unit intersects each other for forming moment connections. The shape of the skin units follows a similar logic to the differentiation of the cocoon-shaped - all have the similar form and geometric logic but the size is varied through a number of parametric changes in the Grasshopper. These few parametric changes allow the form of the skin units to adapt to the changing curvature and varying density of the bio-flakes structure through a simple algorithm (Figure 3).

3. The 3D CAD Model and 1:20 Scaled CAM Model: Through the definition of algorithm in the Grasshopper, the cocoon-shaped digital model was converted into AutoCAD to unfold and detail. 81 unfolded bio-flakes skin units were detailed and numbered in AutoCAD, and then they were uploaded onto the laser cutter to constitute 1:20 model by the bristol board which is the common material in architecture physical concept model (Figure 4).

4. Material Experiment in 1:10 and 1:2 Scaled CAM Models: Change the input data into the parameters and examine the result to make 1:10 CAM model by 144

4. Material Experiment in 1:10 and 1:2 Scaled CAM Models: Change the input data into the parameters and examine the result to make 1:10 CAM model by 144

在文檔中 仿生軟性表皮參數式設計與施作流程研究 (頁 48-0)