STUDIO AIR 2015, SEMESTER 1, TUTOR SONYA YUXIANG ZHOU
Contents
INTRODUCTION
4
PART A CONCEPTUALISATION DESIGN FUTURING
7-9
A.1. DESIGN COMPUTATION
10-14
A.2. COMPOSITION / GENERATION
15-17
A.3. CONCLUSION
18
A. 4. LEARNING OUTCOME
18
A. 5. APPENDIX - ALGORITHMIC SKETCHES
19
REFERENCES
20
INTRODUCTION ABOUT ME My name is Yuxiang Zhou and I was born in China. After graduated from high school, I got a chance to come to Melbourne for international education. Choosing Architecture is purely because of my interests of designing and building. All the concepts and knowledge have given me wonderful but challenging experience since I stepped into the area of architectural design as a totally fresh man. For two years, I have studied architecture and environments undergraduate subjects in University of Melbourne. During this time I have gained some experience about digital design by Rhino from the subject ‘Virtual Environments’. The experience in that subject makes me aware the convenience of form design using software and the importance of the balance between idea digitization and own idea control.
FIG.1: DIGITAL MODEL OF THE LANTERN
Studio Air is an ideal chance for me to approach parametric design and gain the skills of visual communication. I hope the study of digital architectural design could contribute a lot to my future design and career.
FIG.2: PHYSICAL MODEL OF THE LANTERN
PAST WORK The task of subject ‘Virtual Environments’ is aim to digitalize design our concept of natural element into an actual form of paper lantern. The process of the transferring the ideas into the forms on Rhinoceros is the most memorable time in my study. Both the 3D modelling software learning and the technique of fabrication by laser cutter are fresh tools in my designing study. The final form of my lantern is not the same as my initial design. Because the original structure of my model failed to keep stable
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INTRODUCTION
and too complicated to stick up. During the process, I changed the structure of the model several times on Rhinoceros and even further modified my ideas to adjust the new models. The experience reminds me of the importance that the design should be efficient in real life or fitting into the physical environments. That also makes me realize using software and modern printing methods have the potential force to change the outcome of designers.
PART A : CONCEPTUALISATION
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CONCEPTUALISATION
DESIGN FUTURING “Answering the ‘design futuring’ question actually requires having a clear sense of what design needs to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design...Whenever we bring something into being we also destroy something - the omelette at the cost of the egg, the table at the cost of the tree, through to fossil fuel generated energy at the cost of the planet’s atmosphere.”1
As Fry pointed out, the development of technology in late years has driven the modern design into a defuturing condition of unsusitainability. The modern designing tools such as the rapid prototyping in industrial design; rendering programs in architecture; photographic retouching programs in graphic design and fashion to the full-blown design “democratic” software might have been abusing on an unhealthy level. In order to work against the backdrop of increasing instability of environments condition, we need to put the environmental impact on the top awareness of design consideration and try to minimize it as possible as we can. That is, the designers should keep a balance between what we can create and what we will break on the targeting site. Furthermore, it is important to understand then achieve the true value of the computational approach to the futuring design challenge we facing today. Generally knowing what materials we use and what energy we consume for our design is a straight way to a sustainable design. By using parametric design we architects can deal with the precise calculation and complicated modelling related to our sustainable design more visually and simply . It is time to apply a more green and constructive design on future architectural projects rather than a “fast food” artefact under industrial design.
1. Fry Tony, Ethics and New Practice (Oxford Berg), retrieved from LMS, 7 Mar 2015. CONCEPTUALISATION 7
PRECEDENT STUDY: SWAYWAY DESIGNER: LISE MANSFELDT FAURBJERG, STINE REDDER PEDERSEN, CHRISTIAN NYGAARD SØRENSEN LOCATION: NEW YORK
FIG.3
The name “SWAYWAY” is the vision of addressing energy literacy in a phenomenological way: By embracing both the energy potential, the structural challenges and the local habitat of Freshkills Park SWAYWAY conveys a spontaneous understanding of renewable energy production. “
The aesthetics and properties of the feather structure define the structural narrative. Its wireframe structure is inspired by the anatomy of the feather with shaft, barbs and barbules. This design fit into the topography properly that the lightweight foundations suitably land “feathery” on the landfill cap.
This project locates at the Freshkills Park on the Staten Island in New York. Staten Island is the junction of several of the migration routes of the Atlantic flyways: The vast habitat of this park offers the perfect place for the birds resting, breeding and finding food. Most idea of this project is inspired from this flyway.
Wind force can be absorbed into lightweight structure, where the piezoelectric components convert it to electricity. As the installation is aeroelastic it sways in the wind, thus constituting a controlled structural vibration that utilizes the natural frequency of the installation to convert wind power to electricity.
FIG.4
Another method to produce energy is converting the controlled structural vibrations into electricity through piezoelectric components. The “vane” of the feather consists of organic photovoltaics (OPVs) that convert solar power into electricity. The AC from the wind power and solar power is converted into DC by the inverter1. The renewable energy has been converted to electricity by lighting the installation, serving the grid and later storage. 1. SWAYWAY, http://landartgenerator.org/LAGI-2012/aN5513ae/#, retrieved from LMS, 7 Mar 2015. 8
CONCEPTUALISATION
As stated above, although the materials use and functions of SWAYWAY are not revolutionary on the current level of techonology, its reasonable and logical design carefully composed with regards to weight, aesthetics and life cycle. The renewable wind and solar energy it produced alternately are very efficient on this flat windy area and these clean power sources really contribute a lot to to the birds and vegetations.
PRECEDENT STUDY: CALORIE PARK DESIGNER: MORTEZA KARIMI LOCATION: COLUMBUS
FIG.5
Compared to SWAYWAY, the project is more focused on the interaction between the design and users. Calorie Park aim to not only collect the solar energy, also mechanical energy gathered from people. The scheme is consisted of clusters of interconnected pods that house different fitness equipment. Built-in equipment collect the mechanical energy produced by users and converts it to electricity which later will be connected to city’s infrastructure1. The most inspirable element of this design is the combination of each pod. Pods are approximately 15 feet in diameter and are juxtaposed in a three dimensional manner. Series of these pods will create a habitrail-like maze of which the activities inside will be visible from the outside and the clusters themselves are large enough to be seen from surrounding highways.
1.Calorie Park, http://landartgenerator.org/LAGI-2012/6713KE13/#, retrieved from LMS, 8 Mar 2015.
The openings of the pods play several functions we can observe: the visual connection, the natural lighting and the shades inside. The maze made of the pods provides great experience of the users and allow the form continue being appreciated. Also the methods of collecting energy is suggesting that not the solar power, wind power or hydroenergy can stand for the most clean energy buildings can produced. Man power can be one of leading sustainable energy that can be considered. As Fry stated 2 , the political, social and economic changes, also the technologies, ones design should be sustained to fit the humans and environments need in a longerterm perspective. The design of Calorie Park reminds us to think more about the relationship between the users and architectural design in order to keep the balance over aesthetics and pragmatism. 2. Fry Tony, Ethics and New Practice (Oxford Berg), retrieved from LMS, 8 Mar 2015.
FIG.6
CONCEPTUALISATION 9
A.1. DESIGN COMPUTATION Nowday computers and techonology offer our designers more options and possibilities in expressing our creative designs. Computerisation has gradually replaced some of the traditonal architctural practices such as sketching and physical modelling. With the help of computers, initial ideas can be generated into forms quickly. Then the results are easy to modify by different softwares, convenient to present or communicate with others through different media and got precise data for references. In the other hand, computerisation provides various levels of simulation for design specification, verification and evaluation. With the adequate programming tools, a designer who can quickly generate working models of his ideas can get the feedback necessary for real design improvements. Some would argue that the computational design is the result of dependent of designers on computerization. But it actually moves as a new and contemporay design method to meet the requirement of modern and future architecture. Becasue architects today will not be just satisfied in practicability and aesthetics of the buildings. Every designer would be like to challenge the innovation on materials use and visual communication. The reason why computational design has gradually taken over the traditional design is that like the parametric design, it allow the geometries of the building strictly following the structural principles of load bearing. The risk of traditional performance-oriented design process such as calculation error or complex moulding limitation has been avoided. So I think parametric design is like a evidenced- oriented design. It is preconceptualized. It can collect as much as possible data, like the temperature, the humidity and the indoors illumination and so on from the environments and modify its outcome. On this point, I agree with the Peters’ idea that parametric design has the potential advantages to simulate and predict the actual experience and feeling from people than the traditional designing methods1. And later there are several works becoming evidences.
1. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 13. 10
CONCEPTUALISATION
FIG.7
The Hangzhou Tennis Center is completed in 2013 in China. The design of project mainly consist of the main stadium and the tennis finals court on the site. The exteriors of both facilities got the clever petal shape out forms which enclosed the stadium bowl. The design of the stadium envelope is based on a modular system of sculptural steel trusses which provide shade and house the arena’s technical systems.
PRECEDENT STUDY: HANGZHOU TENNIS CENTRE DESIGNER: NBBJ AND CCDI LOCATION: HANG ZHOU, CHINA
An integrated parametric system has been created in Grasshopper to conceptualize, simulate, and document the complex geometric systems. The system was set up to explicitly define the control surface geometry and study formal variations as the step of computational conceptualization .
Geometry Design The process of parametrically defining and controlling the exterior geometry can be divided into several steps. According to Miller1, the modular system was defined parametrically by establishing a point cloud system which would serve as control points to define the edge curves of the surface. A ruled surface is then spans between the edge curves. Thie method allow the designers to evaluate the overall appearance while the computational performance can be improvde as well.
Form Variations Under the control of written parametric system script, variations of the form are available for the designers to rapidly refine of the building form and testing out the most satisifed result of the exterior geometry. 1. Pablo C. Herrera, THE HANGZHOU TENNIS CENTER by Nathan Miller, NBBJ, 2011, http://issuu.com/pabloherrera/docs/28122011_hz_tennis_issuu_original _2011?e=1550707/2627663, retrieved from LMS, 9 Mar 2015.
FIG.8 CONCEPTUALISATION 11
FIG.9
Structural Collaboration
Conceptual Simulation
Structural Collaboration is the systems for producing analysis-ready structural models has been used in this project. In order to offer the engineers a structural centerline model to use for analysis. The Grasshopper algorithm would automate the generation of a wireframe structure which was compatible with the tolerances of the engineer’s analysis software. This save a lot of time for the team to rebuild an engineering-specific model.1
The structural centerline model is tested to simulate gravity loading on the steel truss structure using Kangaroo physics engine. The engine was used to provide an intuitive display for how forces moved through the structure. Tensile and compressive forces could be visualized to areas of maximum stress. Having this capability embedded into the design model at a conceptual level allowed the design team to make more informed decisions and engage in a more nuanced dialogue with the structural engineering team.
1. Pablo C. Herrera, THE HANGZHOU TENNIS CENTER by Nathan Miller, NBBJ, 2011, http://issuu.com/pabloherrera/docs/28122011_hz_tennis_issuu_original
_2011?e=1550707/2627663, retrieved from LMS, 9 Mar 2015. 12
CONCEPTUALISATION
FIG.10
PRECEDENT STUDY:ICD-ITKE RESEARCH PAVILION 2013-14 DESIGNER: ICD-ITKE UNIVERSITY OF STUTTGART
Compare to the Hangzhou Tennis Centre, the scale of this project is smaller but got a much more complicated design process. The focus of the project is a parallel bottom-up design strategy for the biomimetic investigation of natural fiber composite shells and the development of novel robotic fabrication methods for fiber reinforced polymer structures. The aim was the development of a winding technique for modular, double layered fiber composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom.1
LOCATION: UNIVERSITY OF STUTTGART, GERMANY
In this project, the Elytron, a protective shell for beetles’ wings and abdomen, has been used as reference model. The performance of these lightweight structures relies on the geometric morphology of a double layered system and the mechanical properties of the natural fiber composite. The designer team spent a lot time on the analysis of the intricate internal structures of the beetle shell. Then the glass and carbon fiber reinforced polymers were chosen as building material, due to their high performance qualities (high strength to weight ratio) and the potential to generate differentiated material properties through fiber placement variation. In order to fabricate the extensive and complex formwork, both the computational design and simulation tools are needed to integrate the robotic fabrication characteristics and the abstracted biomimetic principles into the design process.
FIG.11
FIG.12
1.Archdairy, http://www.archdaily.com/522408/icd-itke-research-pavilion2015-icd-itke-university-of-stuttgart/, retrieved from LMS, 14 Mar 2015.
CONCEPTUALISATION 13
FIG.13
The fabrication is achieved by using two collaborating 6-axis industrial robots to wind fiber in a coreless winding way. The specific robotic fabrication process includes the winding of 6 individual layers of glass and carbon fibers.The generated winding syntax is transferred to the robots and allows the automatic winding of the 6 fiber layers. And the order in which the resin impregnated fiber bundles are wound onto the effectors is decisive for this process and is described through the winding syntax. The specific sequence of fiber winding allows to control the layout of every individual fiber leading to a material driven design process. Even in computational design, these reciprocities between material, form, structure and fabrication defined through the winding syntax is preceding the architectural theory.
Parametric design allow the geometries strictly following the structural principles abstracted from the beetle elytra. The computation method enable designers to individually control the data of each fiber layout in order to keep an efficient load-bearing system during the designing process. The whole project shows how the computational synthesis of biological structural principles and the complex reciprocities between material, form and robotic fabrication can lead to the generation of innovative fiber composite construction methods. And the project itself is some point that traditional architectural designing can not reach on the technology and concept level. As an evidence-oriented designing, computational design contributes a lot to the current sustainable architectural projects.
FIG.14 14
CONCEPTUALISATION
A.2. COMPOSITION / GENERATION Why compositional architectural design has been taken as the main part of the history of Architecture? Because the essence of compositional architectural design is just like the nature progess of traditonal building method: As long ago as we have got knowledge how to build a shelter, we are understanding and applying the planned arrangement of parts to form a whole. Although different building styles and building materials keep showing as a building evolution, architects still physically or intellectually apply the compositional architectural design in different way for their ideal final forms. But the computation bring the designers a brand-new design method, algorithmic design. The stage of final form beomes no longer decisive to the design process. The order of designing has been overturned , that is, more focused on the relationship between the parameters during calculation. Architects using algorithmic design, is more like a mathematician, trying to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials in parametric design. But the cheap access to complicated and magnificent form by softewares is not actually a good designing circumstance. Having a sufficient understanding of algorithmic concepts is necessary to master the computation design method. Otherwise it is just a modern tool to increase efficiency in generating the empty outcome of the forms with no meaning inside.
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PRECEDENT STUDY: SHELLSTAR PAVILION DESIGNER: ANDREW KUDLESS AND RIYAD JOUCK LOCATION: HONG KONG
FIG.15
The Shell Star pavilion designed by Mastys in Hong Kong can be easily identifed as parametric design by its unregular and faired appearance. The design concept is use the spatial vortex shape to maximizes its spatial performance while minimizing structure and material. The designer use Grasshopper and the physics engine Kangaroo to let the form self-organizes into the catenary-like thrust surfaces that are aligned with the structural vectors and allow for minimal structural depths.1 The outcome of the structure is composed of nearly 1500 individual cells that are all slightly non-planar. In reality, the cells must bend slightly to take on the global curvature of the form. However, the cells cannot be too non-planar as this would make it difficult to cut them from flat sheet materials. That tells us whether the computer worked out is the best option or not,
1. MATSYS, http://matsysdesign.com/category/projects/shell-star-pavilion/, retrieved from LMS, 14 Mar 2015.
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designers still need to judge the result to see if is appropriate to take. Beause there’s still a great chance that the way designer itself think or simply just the scripts designer wrote down is the the source of the problem. Return to the project, the designer us a custom Python script to enable each cell optimized so as to eliminate any interior seams and make them as planar as possible, greatly simplifying fabrication. And more custom python scripts have been used, for fabrication. The cell flanges and labels were automatically added and the cell orientation was analyzed and then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface. From here we can find that the possible problems such as over complicated form by parametric design can be solved by parametric design itself.
PRECEDENT STUDY: DRAGON SKIN PAVILION DESIGNER: EMMI KESKISARJA, PEKKA TYNKKYNEN, KRISTOF CROLLA (LEAD) AND SEBASTIEN DELAGRANGE (LEAD) LOCATION: HONG KONG
FIG.16
FIG.17
The idea shown above that from grid to curve is a very typical evidence that parametric design are capable to transfer the 2D pattern into a meaningful 3D form short process. But the most notable thing in this project I would like to discuss is the material use. The team use mould to cut out pieces of wood board . Then the algorithmic procedures were scripted to give every rectangular component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved form.1 Though it looks familiar with the former project that designers use the algorithmic designs to solve the problems again the design itself created. But rather than using plywood as a hard materials to form curving shape, plastics or steels are more easier choices for designers. 1.ArchDaily, http://www.archdaily.com/215249/dragon-skin-pavilion-emmikeskisarja-pekka-tynkkynen-lead/, retrieved from LMS, 14 Mar 2015.
FIG.18
Why? I would argue that it is the computation designing changed the designers’ way of thinking. Peters in his article2 argued that computation is not simply a designing tool but somehow improve the designers intelligence and increases our capability to solve complex problems, even go beyond the intellect of the designer and got potential to provide inspiration by unexpected results. With the help of technology, architects are able to dig out more properties from the materials once we thought we were familiar with. The outcome is encouraging, the highly expressive and porous skin of Dragonskin Pavilion questions the notion of boundary: as light and views are filtered, softened and dampened towards the interior, the interior is slowly and more hesitantly revealed outwards.
2. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.
CONCEPTUALISATION 17
A.3. CONCLUSTION As an architectural designer, our circumstance for practices are always changing. The current needs for designing is always related to environmental sustainable development. As the technology grows, we have no excuse to lose focus on the possible impact of the buildings on nature environments. Now we have all countered the digital revolution that algorithmic design thinking has integrated into the process of our design deeply. It either can be a convenient tools for designing, or become an high wall in front of computation design. Thus it is important for us to take a fully understanding of ‘algorithm driving form’ as an evident-oriented design. The SWAYWAY project and the ICD-ITKE Research Pavilion is really very useful example for my design intention. Considering the biomimetic design as my research field, I will try to figure out what living organism I can observe and study from in Merri Creek. And using it to create a sustainable resource or habitat structure there to achieve the value of architecture at some point.
A.4. LEARNING OUTCOME Parametric design is very different from the concepts I learned in other subjects. Designing something in Grasshopper always encourage algorithmic thinking through your design logically. But the experience of parametric design is wonderful. Because the ideas keep coming out of your thought when you are trying different options to modify your object. By learning though this subject, I think I can generate my ideas about the concept on my previous work in Virtual Environment and design a lantern that can define itself by the methods the strips joined.
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A.5. APPENDIX - ALGORITHMIC SKETCHES
FIG.19
The tutorial task is making a 3D model to mimic the sea sponge. From the sponge image I have got, it is generally a series of pipes. Thus my initial idea is to create an uneven surface and build pipes on it. Then I have learnt to use “Random” component to adjust their lengths and “Graft Tree” to distribute the data.
FIG.20
During the process, I have learned that something is different in Grasshopper. Unlike normal Rhino surface, the shape you want to create need several basic elements to support it, points, coordinates also the ranges. It’s important to arrange the data tree into a proper manner and make sure the inputs are logic and reasonable, otherwise the outputs will become a mess. The process of these algorithmic sketches really demonstrates that parametric design is reliable on the script programming. Concept will not achieve if you do not have an idea how to build the structure. When discovering and generating the objects, the designer need not only abstract thought and precise reasoning, but also abundant imagination and strong esthetic judgment.
CONCEPTUALISATION 19
REFERENCES Archdaily, http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead/, retrieved from LMS, 14 Mar 2015 Archdaily, http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/, retrieved from LMS, 14 Mar 2015 Calorie Park, http://landartgenerator.org/LAGI-2012/6713KE13/#, retrieved from LMS, 8 Mar 2015. Fry Tony, Ethics and New Practice (Oxford Berg), retrieved from LMS, 7 Mar 2015. MATSYS, http://matsysdesign.com/category/projects/shell-star-pavilion/, , retrieved from LMS, 14 Mar 2015 Pablo C. Herrera, THE HANGZHOU TENNIS CENTER by Nathan Miller, NBBJ, 2011, http://issuu.com/pabloherrera/ docs/28122011_hz_tennis_issuu_original_2011?e=1550707/2627663, retrieved from LMS, 17 Mar 2015. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 SWAYWAY, http://landartgenerator.org/LAGI-2012/aN5513ae/#, retrieved from LMS, 7 Mar 2015.
IMAGE CREDITS FIG.1-2: own image FIG.3-4: http://landartgenerator.org/LAGI-2012/aN5513ae/# FIG.5-6: http://landartgenerator.org/LAGI-2012/6713KE13/# FIG.7-10: http://issuu.com/pabloherrera/docs/28122011_hz_tennis_issuu_ original_2011?e=1550707/2627663 FIG.11-14: http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/ FIG.15: http://matsysdesign.com/category/projects/shell-star-pavilion/ FIG.16-18: http://dragonskinproject.com/ FIG.19: own image FIG.20: from Google Image Search Engine
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CONCEPTUALISATION 21
PART B : CRITERIA DESIGN
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B.1. RESEARCH FIELD Silk Pavilion Parametric design is an evident-driven design method which emphasis the process of how the data can inform and control the overall design practice. And it often tend to input specific data to create several possibilities. Most of the precedent projects listed are using this technique to play with lights and shades. And it is very inspirable to get a close look how these parametric designs have been fabricated. Silk Pavilion is inspired by the way silkworms weave delicate cocoons from a single strand of silk, the pavilion was created using a base of robot-woven threads wrapping a steel frame, completed by 6,500 live silkworms which were let loose upon this primary structure. Through a combination of careful design of the primary structure and the silkworms’ instinctive preference for darker areas of the pavilion’s surface, the pavilion’s mottled skin finds the mid-point between a scaled-up version of the insects’ own cocoons and a functional space for humans.
Designers deeply research into the way silkworms interact with their environment; from testing out different 3D spaces under different ambient conditions, to using minuscule motion tracking equipment to examine the cocoon construction process. These findings then informed the construction of pavilion itself – determining both the path of the CNC machine which wove the panels and the density of the thread which served as the foundation for the silkworms themselves. Perhaps the most fascinating aspect of the Silk Pavilion is the way it connects the dots between the world of information technology and biology. The research shows how the blind instinct of silkworms is sometimes revealed as almost machine-like: “parallel basic research explored the use of silkworms as entities that can “compute” material organization based on external performance criteria”. This is then mirrored in the use of a CNC machine to construct the 27 panels which make up the primary structure of the pavilion. The rich details of the facade elaborate the thoroughly thought of the designers. And I think it is a very powerful precedent to fuse an unusual form with practical function. From this project and other precedents. I realise strip and folding not only can make complex variation, also have the great potential ability to be functional and practical.
CONCEPTUALISATION 23
B.2. CASE STUDY 1.0 SEROUSSI PAVILION This biothing parametric project is designed by Alisa Andrasek Design team: Ezio Blasetti, Che Wei Wang, Fabian Evers, Lakhena Raingsan, Jin Pyo Eun, Mark Bearak Computational geometry: Michael Reed. The self-modifying patterns of vector fields behave under the logic of distribution in electro-magnetic fields. It use computational design to follow the logics of attention/repulsion. The pattern will be generated and got lifted into number of structural arches. Those arches are lifted section through different frequencies of the sine function. The proposal of the project is to insert itself as a “ground implant”. It is claimed to have the ability to “grow” around the existing large trees or adjust its orientation allows for finer
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nesting into particular host conditions of the site. Extended radius of influence can weave the fabric of new implanted ground into existing landscape pathways. For the scripts in grasshopper, strips and folding technique is used to transform the curves to mimic the behavior of electromagnetic fields. Curves are folded as strips following the parameters that the graph mapper component given to form into complex shapes. Seroussi Pavilion is ideal case for me to try different create approaches to understand the behavior of strips and folding technique. And the matrix below shows how I got different forms by changing the basic shapes and the parameters for field line and graph mapper.
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MATRIX
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BEST FOUR OUTCOME
By changing enough numbers of strips to the structure, the form becomes shell-like or cocoons closely piled up. It got the potential to be designed into a organic corridor which can bring the visitor great experience.
Lowering the scales of each pattern can make them individual. This one got the potential to be arranged in a better manner. And these cells can be made of very light materials such as plywood or plastic. They can be scattered around in most of the landscape and be applied some interesting functions.
Based on a ring shape, I shrink the strips so that it can be a tentlike structure. This iteration is rather normal but it will be very practical to be assembled with energy efficient methods to enrich its function inside, And with its gathering centre structure. The scale of it can be very large and got the potential to be a gallery or any exhibition space.
This iteration itself is like an organic community. Unlike the other ones, it is rather designed into a sculpture than an activity space. I am thinking to make it glow in the dark when nights come. And it will be also a good approach to challenge the traditonal structure by its unique connection.
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