Studio Air - Alison Fong 830833 Part B-3

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Figure 23. Section (Task 6)

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Figure 24. Perspective (Task 6)

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B.5 Technique: Prototypes

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ur prototype features the use of minimal surface to explore the research field of Geometry, as we are interested in the relaxation of material. We focused on using flexible material to provide the tensile strength that our prototype would be made from. Time constraints and budgeting were definitely an influencer in this choice, and the material we chose was paper.

Our initial prototype featured several flaps on the outside, in hopes that we would cut out what was left (not joined).

However this turned out completely disastrous in not only that we mixed up the joineries, but some flaps were completely difficult to cut in the position that they ended up in. To add, the final structure was joined and so the curving membrane made it even more difficult.

Initial Prototype Template

The model is made from paper, to which we unwrapped the digital model and printed them out to cut out.

Over time, we modified the template cutout, adding flaps to try and make hidden joineries between the material.

It is true that computation allows for quicker communication and efficient experimentation, however when in the process of physical fabrication, it is almost as if nothing is as perfect as the parametric design. The fabrication process was meet with many destructions, for example the unpredictable line weights in reality, compared to the computer screen or the thought of joineries that in the parametric model seemed seamless (a bit too seamless to the point where we forgot the one flap). Sticking the model together also required great attention, which was handled by number the sides of the model, so that we were able to piece together the model with greater accuracy (initially we were only guessing based on the Rhino model on a screen).

2 pieces of the template complete one modular unit - this shows the fabrication process, which begins with piecing the two together, before folding

Figure 26. Prototype - Rhino model (Left: interior of model/ Right: 2 modular units) As shown the flaps become part of the exterior function and in the process alters the appearance of the model

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Figure 27-29. Initial Prototype Fabrication Process

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For our second prototype, we refined it further with less flaps, however flaps to connect each modular was not calculated correctly and thus resulted in faulty joineries (made from glue and tape)

Second Prototype Template

4 modular units

1 modular unit 6 modular units - Final Product

2 modular units

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Figure 30-34. Second Prototype Fabrication Process

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“ Design is ubiquitous - everyone designs everyday..the black area is to have the courage and knowledge to make a difference in the design world... nomalities are something imposed on ourselves.”

- Greg Lynn, MSD Lecture Series (2017)

B.6 Technique: Proposal INTRUSION Our given bird was the ‘Blue bonnet’, which from research shows that has an agressive behaviour and when put into a cage with other birds, will kill those that are weaker than it. ‘Intrusion’ is inspired by this and features a spiky design that intrudes the surrounding environment. We propose that this piece could be a bird cage, where the birds are not locked within an enclosure but would instead become an enclosure for passbyers as they would feel trapped within the space, whilst the birds become the observer instead. Similarly, it also portrays the conflicts between architecture and the natural environment - these two do not always compliment each other.

Behaviour is not only seen from organisms, but also through non-organic objects. Appearances can portray different forms and shapes and this entitles us to perceive different emotions - in this case, the spiky forms exude isolation and danger.

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Figure 35. Drawing of Bluebonnet (n.d.) Chestofbooks

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Figure 36. Plan (Task 7)

Figure 37. Section (Task 7)

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Figure 38. Perspective (Task 7)

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B.7 Learning Outcomes

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riteria design heavily involves aspects of parametric experimentation as we engaged in reverse engineering and fabrication techniques.

Through the design tasks assigned to us, there is a certain bonding between the individual and computational that is felt here, however this is only on an emotional level and not necessarily technical.

Grasshopper is hard to grasp technically and is not something as simple as the design thought process that goes behind when drawing - our hands are easily controlled by us, but grasshopper seems to have a mind of its own. Further more, technical difficulties and time consuming waits made the learning process a lot harder to endure; picking up skills of patience and alternative thinking (back- up plans) along the way as a bonus.

Despite the negativity, I am beginning to understand why Grasshopper is used abundantly in parametric design - its unpredictability yet logical mathematical order allow for the designer to create something completely abstract but use rational methods to iterate and reproduce it. It gives birth to unlimited possibilities and in some ways becomes a process of self-learning; growing from the knowledge gained whilst modeling. It is also arguable in architecture, that parametric software such as grasshopper is creating 'art' and not 'architecture', but what are the borders between these two? Scripting enables us to develop craftesmneship in the digital world, yet, these designs can become both physical and functional, which could possibly be one of the two main features of architecture - to be in form and to be useful.

To propose a parametric design is complex in that not all credit tends to go to the designer. No matter how much control we have of the digital design, parametric software always tends to disrupt or rejuvenate our ideas. On the other hand it also increases accuracy and simulation of existing environments and materials, making design proposals more time efficient with less physical experimentation required, but at the same time increasing the immersion of designer and design in terms of material or structural realism. Though saying so, it is often that physical prototyping is essential as the computer can never be trusted to the full extent and materials are never all similar.

It is with parametric software that we are able to experiment unlimitedly, but also aid in the critical analysis and product development - becoming a secret member of the design process.

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References Hackethal, Anita. ‘Toyo ito: taichung metropolitan opera’, Designboom, 23 March 2010 ,<https://www.designboom.com/architecture/toyo-ito-

taichung-metropolitan-opera/> [accessed 4 September 2017] Kolarevic, Branko and Klinger, Kevin R. eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York: London Routledge), pp.6-24 Moussavi, Farshid and Kubo, Michael, eds (2006). The Function of Ornament (Barcelona: Actar), pp.5-14 Peters, Brady ‘Computation Works: Building of Algorithmic Thought’, Architectural Design, 83.2 (2013), 8-15 Woodbury, Robert. F (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp.166-167w(London; New York: Routledge), pp.166-167

Figures Chest of Books, ‘Blue Bonnet’, Chest of books (revised 8 September 2009) <http://chestofbooks.com/animals/birds/Parrots-In-Captivity/Blue-

Bonnet-Parrakeet-Psittacus-hcematogaster-Psephotus-hoematogaster-Gld.html> [14 September 2017] Danceon, West Side Story - Prologue - Official Full Number - 50th Anniversary (HD), 2011 <https://www.youtube.com/watch?v=bxoC5Oyf_ss&t>

[accessed 31 August 2017] Gromm, Michael, ‘Any Malls’, Flinders Lane Gallery (revised 1 May 2015) <https://www.flg.com.au/artist/michael-gromm/contemporary>

[14 September 2017] Franken-architecten, ‘Bubble Pavilion’, Franken-architecten (revised 13 October 2011) <http://www.franken-architekten.de/index.php?pagetype=

projectdetail&lang=en&cat=6&param=cat&param2=21&param3=0&> [1 September 2017] Furuto, Alison. ‘Flashback: Signmao Box/ Herzog & de Meuron’, Archdaily, 24 July 2012 ,<http://www.archdaily.com/256766/flashback-signal-

box-herzog-de-meuron> [accessed 1 September 2017] Hackethal, Anita. ‘Toyo ito: taichung metropolitan opera’, Designboom, 23 March 2010 ,<https://www.designboom.com/architecture/toyo-ito-

taichung-metropolitan-opera/> [accessed 4 September 2017] Henson, Bill. ‘Any Malls’, National Gallery of Victoria (revised 16 September 2016) ,<https://www.ngv.vic.gov.au/exhibition/bill-henson/>

[accessed 9 September 2017]

Pinterest, ‘C-Wall Project’, Pinterest (revised date unknown) <https://www.pinterest.co.uk/pin/336433034633208832/> [1 September 2017]

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