Ng tze way (amos) 737960 journal AIR

A I R

AMOS NG TZE WAY S1 2017 Tutor: Christopher Ferris

CONTENT LIST| PART 00 // INTRODUCTION PART A // CONCEPTUALISATION A1. Design Futuring A2. Design Computation A3. Composition & Generation A4. Conclusion A5. Learning Outcomes A6. Appendix- Algorithmic Sketches PART B // CRITERIA DESIGN B0. Scenario B1. Research Field B2. Case Study 1.0 B3. Case Study 2.0 B4. Technique : Development B5. Technique : Prototypes B6. Technique : Proposal B7. Learning Objectives & Outcomes B8. Appendix - Algorithm Sketches PART C // DETAILED DESIGN C1. Design Concept C2. Tectonic Elements & Prototypes C3. Final Detail Model C4. Learning Objectives & Outcomes

00 INTRODUCTION LIFE

I am Tze Way Ng (ID: 737960), goes by Amos , 3rd year student of University of Melbourne currently pursuing a Bachelors of Environments degree , majoring in Architecture. Born and raised in Malaysia, Melbourne becomes my second home as i take on this journey of architectural world.

Architecture was something that has only grown onto me back in high school when we were discussing about career goals and what kinds of satisfaction do i look for in a job - and Architecture has intrigued me and strike me as a discipline that really integrates all sorts of discipline inspiring creativity and problem-solving skills. Thus begins the architectural journey as i seek to have a say in the architectural discourse of the world.

In the Bachelors Degree, i have been exposed to studio culture that has helped me to grow as a student of architecture in understanding the architectural thinkings,growing and discovering my own ideas as well as developing the skills to be able to fully converse the ideas into actual design. As important as the design may be , it would not be complete without its conceptual thoughts behind it. Striking a balance in the intertwining requirement for functionality and aesthetic will always be the challenge down the road.

Digital design and tools as i have always known, is something that is to aid our design process, making it more efficient and improving the workflow. As oppose to pen and paper on 2D, we could now produce 3D model that allows for better understanding as well as easier documentation. Approaching the future, more projects are now utilising digital design tools that could do predictive models reactive to the environments which i find it intriguing and essential to an architect’s arsenal.

Digital design has always been a big part in designing studios as experienced through Water Studio and Digital Design and Fabrication. Rhino was introduced in first year introducing 3d modelling to me , followed by DDAF which expanded my knowledge in using Rhino for fabrication. Water studio helped me to reinforce my knowledge in 3D modelling as well as improving my rendering knowledge through v-ray. The integration of digital design into the designing process has allowed me to explore further possiblities in designs that i would otherwise never imagined.

I will be looking to further my knowledge through this subject with the guidance of tutor Christopher Ferris.

INTRODUCTION

00

WATER STUDIO

DIGITAL DESIGN & FABRICATION

CONCEPTUALISATION PART A

|A1 DESIGN FUTURING ICD/ITKE RESEARCH PAVILION ICD/ITKE, Stuttgart, 2012

2012’s ICD/ITKE Research Pavilion

This project sets the foundation for further

takes on an approach that utilises

researches

advanced

and

, where in second stage (Research

fabrication technologies to understand

Pavilion,13-14) ,was based on principles of

& transfer the natural principles of fibrous

hardened yet lightweight, double-layered

system in biology (Arthropod Exoskeleton)

forewing of flying beetles.Whilst the third

to

stage(14-15’)focused

design,

simulation,

performative

architectural

fibre-composite

structure.

By

of

‘natural

on

construction’

procedural

taking

logics of fibre layup processes in biology

principles of the self-forming capabilities

with focus on water spider 3. What this does

of fibres composite fabrication , the needs

is challenging people’s way of thinking of

for elaborate mould are eliminated.

architectural construction through critical

Arthropod’s composite fibre orientation

deisgn4 ,opening up conversations on

adapts to variety of structural and

future possibilities for other kinds of natural

functional requirements is also as basis for

construction that could contribute to

its performative design .

architectural structure.

This results in robotic production process

The further researches carried out puts

of coreless filament winding of carbon

forward the idea of sustainment that

and

exhibits

unfolds in a continuous process as the

concept of design intelligence in using

design intelligence behind always seek

computational modelling to understand

for a sustain-ability solution that helps

the

redirect

1

glass

fibres.

materiality

The

that

team

contributes

to

performative design based on the natural

the

future

from

deepening

disaster of unsustainability.

principle to make crucial judgement in reversing the defuturing state 2.

1. Jan Knippers et a., “ICD/ITKE Research Pavilion 2012: Coreless Filament Winding Based on the Morphological Principles of an Arthropod Exoskeleton,” Architectural Design 85, no.5 (2015): 48-53, http://onlinelibrary.wiley.com/doi/10.1002/ad.1953/epdf.

2. Tony Fry , Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg,2008): pp. 1–16.

3. Jan Knippers and Achim Menges, “Fibrous Tectonics,” Architectural Design 85, no.5 (2015): 40-47, http://onlinelibrary.wiley.com/doi/10.1002/ad.1952/epdf.

4. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming ,(MIT Press,2013): 1-9, 33-45.

Fig 1.Achim Menges, ICD/ITKE Research Pavilion ,2012 , Photo, http://www.achimmenges.net/icd-imagedb/Web_ICD_ResearchPavilion_2012.jpg.

CASE STUDY 1

[fig 1]

|A1 DESIGN FUTURING MUSEO SOUMAYA

Fernando Romero Enterprise (FREE), Mexico City,2011

Museo Soumaya’s two mission

Another unique point to Museo Soumaya’s

was to ; host one of the largest private

design is the collaborative and integration

art collections in the world ; and to

design that is based on

reshape old industrial area of Mexico

model that helps in understanding and

City. The exterior form consist of a double-

communicating the complexity of the

curved surface. Unlike previous case

project. This

study, this architecture utilises digital

made in real time by the whole team

process to come up with a solution to a

when crucial moments come. Different

facade that has already been decided

aspects of buildings could be designed

upon(hexagonal aluminium panels).

simultaneously ,iterations of designs can

a central 3-D

allows for decisions to be

be quickly studied. Central 3-D model The design intent was to have consistent

also makes for easier understanding of

gap between the panels , thus they used

complex forms of building in an integrated,

Gaussian analysis to identify areas with

holistic way where all elements are visible

most curvature & to ease the grouping of

including their connections.

similar sized hexagons from the complex ones used at areas with high curvature.

The

The data are then applied to the surface

environment in engaging complex design

for adjustment until result of gaps between

would turn out to be an effective world

them are achieved

shaping force that help secure the future

5

. This approach

brings about the idea of optimising a

collaborative

and

through design 6.

design idea requirement using the digital process.

5. Fernando Romero and Armando Ramos, “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design 83, no.2 (2013): 66–69, http://onlinelibrary.wiley.com.ezp. lib.unimelb.edu.au/doi/10.1002/ad.1556/epdf.

6. Tony Fry , Design Futuring,1-16.

Fig 2.Yannick Wegner , Museo Soumaya 4k ,2015 , video, https://vimeo.com/102240710.

inclusive

[fig 2]

|A2 DESIGN COMPUTATION LIVING CORE

by Grimshaw Architect, Miami , 2017

The Living Core is a part of

the Patricia & Philip Frost

Museum of

The design process also goes through puzzle making

8

, where the designers

Science in Miami that resembles the hull

develop statement of goals as they

of a ship

. Computational modelling

search for solution. This can be done by

like Rhino,Grasshopper and Revit were

considering spatiotemporal context of

used to develop the complex doubly-

design problem to help come up with an

curved form whilst, also helps in creating

narrowed down and particular solution.

building element that allows the form to

Miami’s

be realised based on parametric datas.

the tile facade to considerable heat

7

fluctuating

climate

exposes

difference. Grasshopper is used to script The building needs to contain back

the algorithm to find the optimal balance

of house with living support system

between structural & cost parameters

integral to welfare of species as well as

in designing large joints that will ; i)

museum’s programming flexibility . This

Strengthen dynamic nature of facade

statement of intent by the client defines

(structural) & ii) Satisfying the dimension

a general framework which requires

of netting roles (cost). Panels were

additional constraints to guide towards

optimised for the form’s double curvature

an easier search to satisfactory solution

8

using meshing methods through a pattern

which in this case refers to the aesthetic

process. Script was also used to make the

constraints applied which is to reinforce

process of digital to fabrication easier as

the monolithic nature of living core. The

the control joint pattern were simplified to

smooth

scenes of duplicate parallelograms.

7

double-curved

,vertical

and

inclined walls in seamless transition form of structure is produced by NURBS within

The Living Core represents a building that

computational program that undergoes

harness the power of parametric design

optimisation

that is able to present its intention of

and

rationalisation

of

parametric data input.

design whilst responding to the nature.

7. Seth Edward, “Embedding Intelligence: Architecture and Computation at Grimshaw, NY,” Architectural Design 83, no.2 (2013): 104-109, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1563/epdf.

8. Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press,2004), 5-25.

Fig 3.Grimshaw Architects , Living Core entrance , photo, http://www.archdaily.com/343719/patricia-and-phillip-frost-museum-of-science-grimshaw-architects-2/514223b3b3fc4b43eb000033-patricia-and-phillip-frost-museumof-science-grimshaw-architects-2-image.

[fig 3]

|A2 DESIGN COMPUTATION HOUSE FOR CELIA & DIANA

by Facit Homes, Hertfordshire, 2011

Facit

Homes

uses

parametric

To ease the assembly process, the

design known as ‘D-process’ to create

machine

sustainable, 21st-century houses . What

the

makes this house different from previous

incoporated

prefabricated

Facit’s

custom manufacturing tool such as the

system allows every project to be entirely

production code for the components.

bespoke(made to order). Oxman states

This brings direct relationship between

that parametric design ‘focuses upon

design information

a logic of associative and dependency

components, thus reducing occurence

relationship between objects and their

of information lost in translation. Timber

parts-and-hole relationships’

which is

chassis used for roof, internal and external

what Facit Homes does as the constraints

walls are all fabricated in 8 weeks

of the site ,brief , environmental conditions

shortening the whole construction period

and local planning requirements drives

to 7-8 months.

9

house

is

that

10

sizes

and

techniques

of

components

production as

parameters

for

for is the

and construction

the design( through the parametric data) rather than a ‘standard’ template.

Facit Homes’ approach in domestication Facit Homes shows design intelligence in

of parametric design represents the value

making crucial judgements that increases

of computational design which will bring

futuring potential

new incoming changes within designing

11

. Facit has proprietary

system that links BIM to small-scale digital

and construction industries of houses.

manufacturing tools. The team produces 3D

computer

model

that

harnesses

information for every aspect of the building which is then directly translated into physical components. This reduces material wastage ( lean manufacturing).

9. Bruce Bell and Sarah Simpkin, “Domesticating Parametric Design,” Architectural Design 83, no.2 (2013): 88-91, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1560/epdf 10. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge,2014), 1–10.

11. Tony Fry , Design Futuring,1-16.

Fig 4. Facit Homes , Celia & Diana Hertfordshire , photo, http://facit-homes.com/clients/celia-diana.

[fig 4]

|A3 COMPOSITION / GENERATION NATIONAL ART MUSEUM OF CHINA

by Robert Stuart-smith, Roland Snooks & Studio Pei Zhu, China , 2011

A shortlisted competition entry ,the

A swarm of micro, individual elements

National Art Museum of China explores

based

the diffuse nature of form through the

architectural

analogy of cloud using generative set of

components and programmatic space

algorithms(that is made up of finite rules)

self-organises to create a coherent yet

12

13

,scripting and optimizing the geometry.

on

the

interactions

between

tectonic,

structural

complex form at macro scale. The nonlinear algorithm used that underlies the

What the designers had done using

cloud formation makes for fractal affects

generative

design

of flow where similar patterns recur in

‘detail’

generator

as

was of

repositioning form

and

partly random or chaotic phenomena.

complex system of formation through a

This creates a perceptually different

process that operates in repetition . The

reading of the interior gallery programs

result is an amorphous form in opposition

, exterior form and facade articulation

to monumental nature of surrounding

even though using the same algorithmic

Beijing Olympic site. It uses a swarm-

methodology.

14

based algorithm similar to BOIDS system explained by Elias(in lecture week 3) as

The

generative

design

system

flock of birds relying on bottom-up local

here made ‘detail’ relevant as a form

interaction where it forms collective

generator rather than just a articulation

intelligence and emergent behaviour

of a larger form or finer articulation.

of flock.In this case , the algorithm was developed from turbulent and chaotic systems underlying cloud formation 15.

12. “national art museum of china”, Roland Snooks , March 17 2017, http://www.rolandsnooks.com/#/namoc/ .

13. Robert Wilson and Keil Frank, Definition of ‘Algorithm’ (London: MIT Press,1999), 11-12.

14 “Detail as procedural information”. Roland Snooks, ArchitectureAU, Last modified May 26, 2012, http://architectureau.com/articles/detail-as-procedural-information/#img=4.

15. “national art museum of china”,Robert Stuart-Smith Design, March 17 2017, http://www.robertstuart-smith.com/rs-sdesign-namoc-national-art-museum-of-china.

Fig 5-8. Roland Snooks, national art museum of china, 2011 , http://www.rolandsnooks.com/#/namoc/.

used

[fig 5]

[fig 7]

[fig 6]

[fig 8]

|A3 COMPOSITION / GENERATION PROTO TOWERS

by Zaha Hadid and Patrick Schuhmacher, Austria , 2010

The

Proto

Towers

is

a

thesis

When

specific

site

information

are

project aimed at developing ‘adaptive

known ,the proto-tower can be further

generative design blueprint’ for towers

differentiated along the vertical axis

which are able to intelligently vary

and

general

later

other subsystems to produce a single

on through parametrically specifiable

parametric model that is highly adapted

site condition and briefs

. Generative

individually. The concurrent information

design is argued to be able to optimise a

relayed between geometric , structural

structure that is satisfying the geometric

and materiality information during the

definition , structural

generative process optimises the form as

topological

schemata 16

beahviour , and

materiality in a single coherent system in

a

non-linear

process

where

circumference

alongside

the

well as having an organic aesthetic to it.

the

outcome of the growth process is open

There will always be skeptics on their

ended due to continual change and

position as creative designer for the

subsequential dependencies generation

project as they are left to choose between

method(process that reinteprets the rules

set of options but the generative design

with respect to current shape)

process is a super power tool that allows

17.

designer to push the boundary of shape The generative design blueprint constructs

and functionality further acting as a

the primary body plan of the towers which

curator that is able to focus more on the

deals with the fundamental subsystems

creative aspects of the design more than

such as the skeleton,floors , core ,void

ever thanks to time saved from having to

and skin of large scale building focusing

rationalise specific shapes for realisation

on an unified generic structure. This is

due to function and materiality 18. Instead

likened to nature’s evolutionary design

,geometric definition ,structural function

structure that contains a fundamental

and materiality all comes together as

body plan ,each with a complementary

one coherent system that is generatively

environmental niche to it .

designed.

16

16. “PROTO TOWERS -Generative Architecture and Design”,Christoph Hermann, March 17 2017, http://www.christoph-hermann.com/parametric-architectures/generative-design-proto-towers/.

(2013): 104-109, http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1563/epdf.

17. Achim Menges, “Polymorphism,” Architectural Design 76, no.2 (2006): 79-87, http://onlinelibrary.wiley.com/doi/10.1002/ad.243/epdf 18. “ Generative design software will give designers “superpowers”” , Dan Howarth, February 6 2017, https://www.dezeen.com/2017/02/06/generative-design-software-will-give-designers-superpowers-autodesk-university/.

Fig 9-10. Christoph hermann , PROTO TOWERS Thesis project- Generative Architecture and Design, 2010, http://www.christoph-hermann.com/parametric-architectures/generative-design-proto-towers/

[fig 9]

[fig 10]

|A4 CONCLUSION Conceptualisation is the first step to understanding the evolution of digital design process, of what and how the future of design can be secured and be brought about a new era of designing where

the

computational

power

is

utilised to its max potential. Shifting from composition design of merely creating digital output based off of a fixed design idea in mind , generation opens up new possibilities in design as it pushes boundaries of shapes and structure whilsts still accomodating to the programmatic function. All of these requirements work together interdependently to produce a single coherent output of optimised efficiency whilst satisfying the designer’s creativity input. The industry will greatly benefit from the material cost saved due to light-weighting /optimal design as well as working out the most efficient way to manufacture and fabricate it. We will be curating the requirements to design through deeper understanding of design.

Fig 11. Roland Snooks, national art museum of china, 2011 , http://www.rolandsnooks.com/#/namoc/.

[fig 11]

LEARNING OUTCOMES

,

A5|

In the short span of 3 weeks Conceptualisation

helps

set

the

foundation about the the theory and practice of architectural computing .

Through theoretical background and research on Design Futuring, Design Computation Generation

and ,

Composition/

architectural

discourse

needs a new type of design intelligence to be developed in efforts to redirect practice towards idea of sustainment. A critical design approach in the form of generative design process challenges the way people think about everyday life .

Generative design,an algorithmic-based design process that allows designer to extend their abilities to deal with highly complex situation resulting in an emergent form that takes in considerations of the tectonics,structure and materiality ,allowfing for more responsive design.

My past designs would greatly benefit from being able to set parametric value from the start of the design that allows for greater depth in terms of its structural integrity and design aesthetics.

|A6 APPENDIX // Algorithmic Sketches VASE WEEK 1

6 CURVES LOFT -DEVELOPABLE TYPE

VORONOI 3D + LOFT

6 CURVES LOFT

OCTREE + LOFT

APPENDIX // Algorithmic Sketches

A6|

POINT | CURVES | SURFACE WEEK 2

POINT

EXTRUDE POINT

VORONOI POINT(S) GRAFTED

RADIUS BOUNDARY GEOMETRY

DIVIDE CURVE COUNT

BREP EDGES

CRITERIA DESIGN PART B

|B0

SCENARIO

TO BEE OR NOT TO BEE that is the question

Bellowing winds hailing from the lands, gone are the future left in human hands, when all the crops are dry and bare , can the humans bear to stare?

Sky full of flying cars , yet not one buzzing bee in sight, maybe mother nature was crying in plight?

Baby blue banded bees larvae, how lucky you are , tucked within the cells of love, in winter your parents try to stay above.

Homosapiens long for immortality, losing all of their morality, while the BB Bees keep the crop alive by pollination, why cant we give longetivity to the real champion of the nation ?

10 angry men in a room, venting out the heat and anger, warmth is in the burrow’s cells, may the larvae blossom earlier.

Plant stems for you to roost, burrows in soft and dried soil of solace, keep it hidden from human’s menace.

Red,green, blue is all i see , but ultraviolet beam is what guides me, through your thousand lenses vision, are we to see the God’s dream ?

SCENARIO

HABITAT

FOOD

THREAT

UMWELT

LIFECYCLE MODIFICATION

winter death

prepupae in cells

biological human heat sped-up pupae development

B0|

|B0

SCENARIO

REFERENCES soft sandstone formation

burrows in old clay homes

plant stem’s cross section

microscopic view of tomato

SCENARIO

upside-down volcano explosion

lava tree of lava chilled against tree trunks

Bee’s UV vision of flowers

Human’s biological heat fueled air-balloon

B0|

|B1

RESEARCH FIELD

STRIPS & FOLDING

Strips

& foldings has always

STRIPS

LOOP_3

been an Japanese art form ,known as Origami

which involves paper

folding. Origami proccess can be said to have inspired the architecture discourse in its form-finding process as it allows for a great number of variability and richness using a simple technique.

From a single planar sheet, forms ranging from sharp-edged foldings to curved- crease folds can be easily done. The spatial volume of the form can be manipulated by varying the number of folds of the sheets. In Grasshopper, anemone plugins with

[fig 1]

FOLDING

CURVED FOLDING PAVILION

jitter seed could produce a repetition of folds & strips that could vary in terms of its dimensions & positions.

With

the

modern

computational

geometric modelling tools, foldings can be easily exploded into strips for ease in fabrication process , employing quad-dominant meshes with planar faces

to

achieve

developable

surfaces for curved folds1. Constraints of the related production technique can be embedded in the algorithmic

[fig 2]

definition to make the fabrication process

easier2.

The

materiality

used will dictate the degree of deformations allowed for strips.

1. Martin Kilian et al., “Curved Folding,” ACM Transactions on Graphics 27, no.3 (2008): 1-9, http://graphics.stanford.edu/~niloy/research/

2.Mario Carpo, “Morphogenesis and the Mathematics of Emergence,” in The Digital Turn in Architecture 1992 - 2012 (London: John Wiley

Algorithmic Definition: Honeycomb Morphologies”, https://books.google.com.au/books?id=sc9B3mxLCUcC&pg=PA178&lpg=PA178&d Fig 1. Simone Rinaldi, Lycra Skin Wrapping; Installation Assembly , 2012, https://www.facebook.com/loop3installation Fig 2. Yan Xie, Curved Folding Pavilion by Danny te Kloese,2012, https://insilicobuilding.files.wordpress.com/2011/09/img_3595.jpg

/folding/folding_sig_08.html.

y & Sons Ltd,2013) under “Generative

dq

RESEARCH FIELD

B1|

// This installation has all of its component derived from planar elements. Lycra strips are used to form the facade skin of the installation which sits on a lightweight rail structure which is plywood. The strips are done in curvature and it has expressive as well as structural purpose behind it.

The strips arranged in voluptuous ripple

were able to strengthen the whole shape too.

// For this project, Aluminium sheets were used to form curved folding patterns that were folded along a curvy curve. All the the individual pieces are connected each other with toothy edges. The individual pieces are unique in itself as the cuts done are unique to fit the other piece’s different curvature. In terms of fabrication and assemblage, toothy edges were done with ‘male’ and ‘female’ joints in mind for the connection of the metal pieces.

|B2

CASE STUDY 1.0

BIOTHING SEROUSSI PAVILION

BY BIOTHING

[fig 3]

[fig 4]

[fig 5]

CASE STUDY 1.0

The

Mesonic

Fabrics

Seroussi Pavilion 2

exploration different

of

Biothing

takes on the transcoding

algorithms.

The

3

main

algorithm that produces the form is the Electro-Magnetic Field(EMF) custom

plugin

Biothing

for

that

developed

by

Rhino(grasshopper)

dictates

the

structural

trajectories for the roof condition.

The resonating pattern is used for subsequent algorithms that utilises radial wave interference pattern to articulate the ground pattern3.

In this case study , we will only be looking into the EMF plugin that helps obtain the roof form.

The

structural pattern is to be obtained using point charges and fields in grasshopper to generate the pattern .

3. “/////MESONIC FABRICS/2007/09//,� Ezio Blasetti, BIOTHING, last modified 24 March, 2010, http://www.biothing.org/?p=51.

Fig 3-5. Ezio Blasetti, Mesonic Fabrics, 2010, http://www.biothing.org/?p=51.

B2|

|B2

CASE STUDY 1.0

SPECIES & ITERATIONS

SP 1

spin force replacing point charge

sf replacing pc

circle pts decr. (=3) Fline steps incr. (=612)

fspin radius incr. (=10)

fspin decay incr. ( =8)

SP 2 spin force + Point charge SF + PC

z mvmt vector incr. (b=-8.5) Fline steps incr. ( =300)

SP 3 graph mapper= gaussian

graph type = gaussian

Fline’s crv’s divide pt’s no. decr. (=2) z vector mvmt incr. (b=-4)

z mvmt vector incr. (=-10)

CASE STUDY 1.0

circle radius incr. (=1)

Fline divide points incr. (=98)

Fline’s crv’s divide pt’s no. decr. (=2)

Fline no. of steps decr. (=25)

invert z vector

z vector mvmt decr. (b=-2.0) initial crv pt count incr. (=15)

B2|

Z vector mvmt changed to positive & increased (b=+10)

interpolate crv’s periodic curve =true

Fline Steps incr. (=210)

|B2

CASE STUDY 1.0

SPECIES & ITERATIONS SP 4

Gaussian graph + ptcharge decay set to negative Gaussian graph + ptcharge decay (=-2.0)

circle radius incr. (=0.5)

+set ptcharge’s charge to negative

ptcharge’s charge to negative (=-2.0)

circle radius incr. (=0.5)

SP 5 rotate initial curve 90 ° along z axis + spin force

90 ° rotation along z axis

Fline steps incr. (=200) Z vector mvmt incr. (b=-10)

rotate the 2 external fspin pt 90 ° to horizontal w/ model

SP 6 graph mapper variation parabola

perlin

CASE STUDY 1.0

Fline steps incr. (=265)

Fline steps incr. (=265)

Spin Force added to all initial pt crvs

square root

B2|

z vector mvmt incr. (B=-10)

z vector mvmt incr. (B=-10)

Spin Force added to single external pt

Spin Force @ 2 external pt (top & bottom of model) in opposite spins

|B2

CASE STUDY 1.0

SELECTION CRITERIA

C1

EXPANSION POTENTIAL The aim of the design is to increase the rate of growth of the pupae and possibly increasing the lifecycle of the bees, therefore the species are projected to increase in number counts throughout the years, meaning that a nest design that has growth and expansion potential is required.

The exploration will be guided towards a design that could allow for easy expansion.

C2

FAMILIARITY When talking about familiarity, it is referring to the bee’s familiarity to the design as a place of comfort, and as a place to roost. Researchers has observed that the BBB usually lives in solitary nest in burrow soils as well as clinging to stems to roost,and thus with this in mind, the design seeks to achieve something that could bring that sense of familiarity to the BBB so that it would attract them there to nest.

CASE STUDY 1.0

C3

AESTHETIC This criteria caters more to the human perspective of the design as the design aims to connect and engage the rich history of the building site whilst still having a clear delineation of the new and old design. This is all while still communicating the idea of familarity of home to the bees. This criteria allows for more creative freedom and it is more of a subjective criteria albeit, to make sure that the design is evocative, engaging whilst being able to tie in all the other criteria.

C4

INTERACTIVE POTENTIAL Human & bees interactions in this sense may not mean direct touching contact but more of the previously mentioned idea of human’s heat fumes released to aid the pupae’s growth to becoming of bee. This guides the search for a design that could allow channelling of human’s heat fumes towards the pupaes as well as a design that encurages active bodily movement(ie. music performances, weddings - emits more heat).

B2|

|B2

CASE STUDY 1.0

SUCCESSFUL ITERATIONS SP2

ITERATION 4 This iteration is a result of the evolution process. The Fline steps & divide points makes the lines longer thus allowing for clearer expression of the intricate force caused by the spin and point force. This iteration was selected for its complexity yet logical reasoning when viewed from the plan.

Design

potential

speculations:

This iteration shows familiarity when viewed from the plan view as how the soil burrows would look from the outside with the holes on surface. The spin force used brings a sense of dynamism to the aesthetic aspect which represents the modernity of society ,always moving. This also opens up for interactive potential in representing the dynamic movement with ultraviolet lights that only the BBB could see.

SP4

ITERATION 8 Also the final iteration of the SP, this takes on the negative decay of the charge making the design to be a more linear looking design. The z vector mvmt was given a big increase showing the shape better.The negative ptcharge causes the the individual strand to all pile up in a single a single collective , split into a few.

Design

potential

speculations:

This iteration’s overlapping individual element could allow for interesting & complex interior movement space for the bees with the bottom of the curve to be where the bees reside whilst the straight top line to be where the movement directs. It also has the potential to be able to direct the heatfumes easily through the connecting elements .

CASE STUDY 1.0

SP3

B2|

ITERATION 6 The final iteration of SP3 evolution process, it was chosen as it retains the gaussian graph chararcteristics with longer fline and bigger z vector movement. The sole ptcharge gives it a more uniform pattern.

Design

potential

speculations:

This design takes on the idea of relative ease in expansion as new elements could easily be added just by adding new curves whilst keeping the overall design approach. The holes created due to circle divide points makes for a good aesthetic design that could represent how the uv light on flowers acts like a landing strip that guides the bees, educating the people of how the bees work.

SP5

ITERATION 6 Rotated initial curve 90 ° along z axis, this gives a more spatial design relatively to others. The spin force utilised at horizontal position makes the curves movement more erratic looking but again showing clear logic when viewed from top view.

Design

potential

speculations:

In terms of familiarity, the same logic from SP2 can be applied here. The different swirling patterns on both sides caused by external horizontal ptcharge brings on the idea for expansion as the ptcharge’s charge could be enlarged so that the future size of the swirls can be projected.

The pattern could also allow for external design element to interact through the swirl’s centroid(ie. a lift that allows people to move up and down through it ).

|B3

CASE STUDY 2.0

EXOTIQUE

BY PROJECTIONE

[fig 6]

[fig 6]

[fig 7]

CASE STUDY 2.0

CS2.0

B3|

A 5 day project , Projectione was invited by the Ball State’s College of Architecture to come up with a quick design through fabrication installation with 3 main constraints which are :- a) timeline of 5days , b) budget of $500 , c) Site - Ceiling above foyer at west entrance of the building .

In that 5 day , the first day was devoted to the design , one day in Rhino/ Grasshopper modelling and material testing , while the last 3 days spent in fabrication ,assembly, and installation.

EXOtique used the computational tools initially as tools for the purposes of fabrication however realised that to achieve the complexity and different component of the design, they were dependent on thesee digital designing processes .

The goal was to design a hexagonally based lit “drop ceiling” for the space. All fabrication data was based on a surface in rhino whilst the other processes are done through grasshopper. They used the knowledge of bending and folding to achieve nonplanar geometry with correct choice of material, creating hexagonal groups that were based on triangulated surface. Joinery , labelling ,patterning for distributed lighting,tolerance adjustments, and other fabrication techniques were mapped out in grasshopper for fabrication.

[fig 8]

4. “EXOtique,” PROJECTiONE, last modified 2009, http://www.projectione.com/exotique/ Fig 6-8. PROJECTiONE, EXOtique, 2009, http://www.projectione.com/exotique/

The project contains both the technique of tesselation of panels as well as patternings on the surface of panels which the reverse engineering process will attempt to replicate those techniques used.

|B3

CASE STUDY 2.0

REVERSE-ENGINEERING PROCESS

1

5

REFERENCE CURVE & LOFT SURFACE

DISPATCH INTO 2 PANEL ARRANGEMENT

2

6

CREATING HEXAGONS GRID

CULL POINTS FROM TOUCHING BOUNDARIES

CASE STUDY 2.0

3

TRIMMING EDGE PANELS

7

CREATING CIRCLE SIZE VARIATIONS BASED ON DISTANCE TO CENTER CIRCLE

4

SCALE HEXAGON DOWN

8

AREA CULL PATTERN FOR PERFORATION

B3|

|B3

CASE STUDY 2.0

PARAMETRIC TOOLS STEPS DIAGRAM

1

REFERENCE CURVE + LOFT SURFACE variable controls:- Curve control pts

2

START curves surface END

5

DISPATCH INTO 2 PANEL ARRANGEMENT variable controls:- Cull pattern START cull x 2 END

CREATING HEXAGON GRIDS variable controls:- UV Divisions START Lunchbox’s hexagonal cells END

6

CULL POINTS FROM TOUCHING BOUNDARIES variable controls:- shape of edges; scale START surface divide shift path clean cull ; pattern based on :edges join scale point in curve END surface closest point (for uv points) evaluate surface ( normal @ uv)

CASE STUDY 2.0

3

TRIMMING EDGE PANELS variable controls:- n/a

4

START explode/ Brep edges + List Length OR area evaluate+ panels ( expression) cull END

7

CREATING CIRCLE SIZE VARIATIONS variable controls:- scale factor ( distance)

SCALING HEXAGONS GAP variable controls:- Scale factor START area scale END

8

AREA CULL PATTERN FOR PERFORATION variable controls:- n/a

START circle distance circle division & min. scale srf split END

START area evaluate+panels (expression) cull extrude (z-axis w/ factor) END

B3|

|B3

CASE STUDY 2.0

RE-ENGINEERED OUTCOME SIMILARITIES & DIFFERENCES

The EXOtique project is a tough one to re-engineer as it is done on a doubly-curved surface which has caused a longer solution notably to find the normal of plane ,uv points on the surface. Doubly curved causes a problem for unrolling too which makes the perforation patternings on panels to be even longer process. In general , the variable controls lies in scale factor, cull pattern as well as the input curves which greatly changes the form.

Overall, the re-engineering achieves the general form & pattern of the original with the perforations patterns & tesselations of the hexagonal panels in curvy form.

However the re-engineering outcome did not have the connection joint, the triangular perforation size pattern, and the lighting connections.

Going into B4 Development, the Case Study 2.0 definition will be used to explore more variable controls available to use with the engineered definition.

Different forms will be explored through input curves as well as components to generate the form itself. The patterning on the panels will be looked into to create an interesting pattern that has a logic behind it.

CASE STUDY 2.0

B3|

|B4

TECHNIQUE: DEVELOPMENT

SPECIES & ITERATIONS INITIAL CURVES & PERFORATIONS

SP 1

reference curve variation

SP 2

circle radius: curvature of surface

circle radius: Gradient flow based on pt distance

perforation patterns

Anemone (gradient flow = srf closest pt based on z vector )

Anemone ( srf closest pt based on fspin@ 2 external pt

TECHNIQUE: DEVELOPMENT

Circle Arrangement(from here on):Anemone ( srf closest pt based on xyz vector)

Fline ( srf closest pt based on Fspin @ empty hexagons )

Anemone (srf closest pt based on fspin) (incr. repeat)

Fline ( srf closest pt based on linecharge through middle)

B4|

anemone ( Srf closest pt based on fspin@ center of hex) ( incr. repeat & decr. strength)

Curvature of surface to determine radius of circle as well as arrangment pattern ( cull away pt w/ curvature < 0.05)

|B4

TECHNIQUE: DEVELOPMENT

SPECIES & ITERATIONS PANELS & OVERALL FORM

SP 3

extrude tesselated panels (x,y & z)

z-axis

z-axis followed by x-axis ( f=10)

z-axis (f=56)

x-axis followed by z-axis (both f=56)

SP 4

random tesselated panel movement

all panels, random z axis

Random Z mvmt followed by Y mvmt

center hexagons pattern,random z axis (+ & -)

Random Z mvmt followed by Y mvmt & Seed=6

TECHNIQUE: DEVELOPMENT

x-axis (f=56)

x-axis followed by z-axis and y-axis ( f=56)

based on SP3IT10(same for others ), random z-axis mvmt

Random Z mvmt followed by Y mvmt & Seed=8

y-axis (f=56)

z-axis followed by both x & y axis (f=56)

(Domain= -300 to 300), Seed=13

Mvmt Z ,y then X

B4|

z-axis (f=56) reversed

join edges,then extrude (f=56)

SP4IT4 whole ,rotated 90 degrees

Mvmt Z ,y then X (seed=8)

|B4

TECHNIQUE: DEVELOPMENT

SPECIES & ITERATIONS PANELS & OVERALL FORM

SP 5

Rotation of tesselated panels around an axis

Based on SP4IT4, random rotate around an axis

orientate the whole iteration to sit horizontally

SP 6

Geodesic curves shifted & Fspin

shift=4

shift=16 , equivalent of set of lines

SP 7

Random Scaling of tesselated panels

random scaling & moved in z axis

grafted centroid to scale

TECHNIQUE: DEVELOPMENT

straight line’s rotation axis= through middle

angled line’s rotation axis= through middle

geodesic curve divide fspin fline

graft both geometry and centroid for scale

Circle based on geodesic pt divide, fspin fline

B4|

straight line rotation axis through outside the design

cont., graph mapper besier graph for z-axis mvmt

loft the scaled surface

|B4

TECHNIQUE: DEVELOPMENT

SUCCESSFUL ITERATIONS CRITERIA ADJUSTMENTS & DESIGN POTENTIAL

SP2

ITERATION 8 This iteration explores the possiblities of a logical reasoning that dictates the pattern on the panel. Fspin were placed at alternate hexagon that influences a centroid point on the panel that then follows the path of Fspin. This iteration was successful for its aesthetic result in the pattern as well as quicker workaround using Fline to map out path rather than Anemone.

Design

potential

speculations:

With this technique, it allows for many reasoning behind the pattern rather than just a pattern itself. The current spins can represent the wind direction that affects Melbourne area during winter season which will ‘attract’ the bees through the wind.

SP4

ITERATION 3 As for this iteration, it was deemed successful for the big deviation from the original form and while still provide an interesting form. It is based off of SP3’s final iteration that extrudes in all x,y,z axis. T Its verticality answers the selection criteria of interactive potential where the heat travels upwards allowing for better heat transfer to the pupae hibernating in the nest.

Design

potential

speculations:

The randomised seed used to move the panels means plenty more of variations are available as well. A expansion could also be possible by varying the domain value used for z-axis movement.

TECHNIQUE: DEVELOPMENT

SP7

B4|

ITERATION 2 This iteration was based off of SP1’s last iteration’s form, scaling & moving (z-axis) the panels on random. However the centroid pt used is grafted & the random ‘s N is set to the same number of centroid pt coming up with this form. This form may be inherently complex, but it contains aesthetic characteristics as well as better heat trapping capabilities with its big surface area facing downwards.

Design

potential

speculations:

Due to its nature messiness & complexity, the form has plenty of room for exploration in terms of cleaning it up to come up with a refined and clean design yet maintaining the complexity. Its potential as familiarity to bees comes due to the mass shape as is the groundsoil.

SP7

ITERATION 4 In the same species as above and based on same iteration, this iteration’s shape stands like a canopy that positions the nest directly above the visitors whilst being the only iteration that has proper space for the pupae to hibernate making it more pragmatic than others through the lofted surface enclosure hanging above.Its aesthetic also resembles the abstract form of bee.

Design

potential

speculations:

The random seed used for the surface movement in z-axis can be varied to produce different kinds of nest whilst the form could be further explored to generate whilst maintaining the pragmatic-ness by generating different logic for the panels cull pattern.

|B5

VIRTUAL PROTOTYPE

A BEEâ&#x20AC;&#x2122;S PERSPECTIVE SCREENGRABS OF UNITY WORKFLOW PROCESS

Rhino model imported as mesh, and in meters.

Materials applied to it using bump and normal map.

To populate the scene , figures and skybox were obtained from the unity store.

Point light was used to figuratively represent the ultraviolet light the bees sees.

VIRTUAL PROTOTYPE

The directional light is adjusted to obtain the preferred â&#x20AC;&#x2DC;sunâ&#x20AC;&#x2122; light on model.

when the scene is built as .exe, the video is played and recorded with Xbox recorder within the computer.

The camera was used to record the scene using rotation and position in animation Camera near clip plane was set to minimal so that it doesnt clip the surface when the camera is near it.

B5|

|B5

VIRTUAL PROTOTYPE

A BEEâ&#x20AC;&#x2122;S PERSPECTIVE STILLS OF COMPLETED VIDEO

[1]

[2]

[5]

[6]

[9]

[10]

[13]

[14]

VIRTUAL PROTOTYPE

[3]

[4]

[7]

[8]

[11]

[12]

[15]

[16]

B5|

|B6

TECHNIQUE: PROPOSAL

ABBOTSFORD CONVENT Sacred Heart Courtyard

TECHNIQUE: PROPOSAL

B6|

SITE CONTEXT PHOTOMONTAGE

|B6

TECHNIQUE: PROPOSAL

abbotsford convent The Abbotsford Convent, located at 1 St Heleirs St, close to the Merri Creek, used to be the Convent of the Good Shepherd which holds significant historical importance in Victoria. The buildingâ&#x20AC;&#x2122;s heritage value also lies in the architectural building qualities which includes the medieval French ecclesiastic architectural character, historical importance of Magdalen Asylum and its scale and grandeur.

sacred heart courtyard The site chosen for the project is the sacred heart courtyard , which is enclosed by the buildings making it not visible beyond the surrounding large gates. From 1863 till 1975, the Sacred Heart building was known as Magdalen Aslyum , operated by the Good Sheperd Sisters for many young women in their adolescence.

Currently the management frequently hosts events throughout the year at the courtyard including the popular Summer festival , Shadow Electric outdoor Film Festival. On top of that , the building at the southern end of the courtyard,the Oratory, was restored in 2013 as a space for music,theatre ,installations , projections and immersive experiences which generally attracts large crowds to the courtyard itself.

For that reason itself, the site would suit the idea of accelerating the growth of the Blue Banded Bees pupae with the large amount of heat generated by the crowd congregated at the courtyard. Nevertheless , the design will also seek to reach an bridging response between the historical heritage value of the building and the modern aesthetic interpretation whilst being able to attract Blue-banded bees to the nest design.

the bees,humans & events?

As the bees generally dies during the winter and the pupaes hibernates in the nest, most of the interaction with human will take place during winter. As oppose to Summer Shadow Electric Film Festival, a more energetic concert-esque Festival could be held during winter at the courtyard, which actually generates more heatfumes for the pupae whilst also keeping the visitors warm.

The bees will not be disturbing the visitors as they are known dormant species that doesnt attack humans unless aggresively disturbed and they are solitary bees instead of hivegrouped ones.

TECHNIQUE: PROPOSAL

B6|

ABBOTSFORD CONVENT SACRED HEART COURTYARD

|B6

TECHNIQUE: PROPOSAL

FLOW CHART WINTER HIBERNATION PHASE

HUMAN HEAT CHART

HUMAN CONDITION CORRELATION WITH HEAT

TECHNIQUE: PROPOSAL

B6|

INTERACTION DIAGRAM HUMAN X BLUE-BANDED BEES

CROWD’S HEATFUME INCREASES TEMP. BY 2-3 °C.

DESIGN FACILITATION

GROWTH ACCELERATED BY 2-3MONTHS

|B6

TECHNIQUE: PROPOSAL

HEAT ABSORBING COLOR BLACK SURFACE TERMOPHILE

WIND DIRECTION PERFORATIONS PATTERN DETERMINED BY WIND PATH

DECEIT PERFORATIONS FAKE ENTRANCE MISLEADING OTHER INSECTS

CURVATURE PERFORATIONS PERFORATION SIZE BASED ON CURVATURE

SELECTION CRITERIAS FAMILIARITY INTERACTIVITY AESTHETIC EXPANSION

TECHNIQUE: PROPOSAL

B6|

DESIGN RESPONSE

ANNOTATED ISOMETRIC DRAWING

HEAT ABSORBING ORIENTATION

CURVED SURFACE FOR MAXIMISED EXPOSURE

AESTHETIC INTENTION BEE’S FORM

HEAT CHANNELING PHYSICS HEAT’S UPWARDS PROPOGATION

|B6

TECHNIQUE: PROPOSAL

The pattern of perforations is based on Force Spin component placed at the position of empty hexagons. It loosely maps out the 2 main wind path and direction in Melbourne, in the form of points,made into circles. This fulfills the criteria of ‘Familiarity’ & ‘Aesthetic’ where the possible path the bees were ‘brought’ by the wind to the nest, were shown as an aesthetic element of design.

The perforations done on the metal sheets represents the intensity of the curvature occuring on the surface through varying radius of circles with higher intensity of curvature represented with bigger radius. Conceptually, bigger radius helps with the materiality’s curvature nature.

TECHNIQUE: PROPOSAL

B6|

DESIGN RESPONSE

TECHNIQUE APPLIED DESIGN - PERFORATIONS

HEXAGONAL PANEL PLAN VIEW

|B6

TECHNIQUE: PROPOSAL

EXPLODED AXO DRAWING

TECHNIQUE: PROPOSAL

B6|

MATERIALITY & FORM DETAILED DESIGN DRAWINGS

M1

TEMPERED GLAZING ENCLOSURE

M2

M3

BLACK OXIDE COATING STEEL

BUSHFIRE RESISTANT ‘BLACKBUTT’ TIMBER

|B7

LEARNING OBJECTIVES & OUTCOMES

PART B REVIEW LEARNING OBJECTIVES & OUTCOMES

In Part B , the class started off by having to come up with a scenario for the design based in Merri Creek and the Blue banded bee was the animal/insect chosen for me. Being exposed to a scenario this early allows for a better articulation and reasoning behind the design proposal that is made in B6. In my case , i was able to come up with a proposal that utilises human’s heat presence to accelerate the growth of the bee’s pupae, showing the research done in understanding the bee itself and looking towards the site itself for opportunities to exploit for design.

After Part A’s understanding of the computational techniques, Part B’s the practical session where i had to start engaging the program Grasshopper in a more intense manner. In case study 1.0 , it was more of figuring out the tree branches ,the data flow, what each command does, and what it could not do , followed by case study 2.0 where i have become more familiar with the program, allowing for deeper exploration of algorithmic construction such as utilising plugins such as anemone , lunchbox or chromadoris to further the exploration in reverse engineering the precedent and implement technical solutions to it.

With the understanding comes the ability to generate a variety of design possibilities for a given situation, which in this case, the selection criteria that i have come up with for the site and bee itself.

With the selection criteria; expansion, aesthetic, familiarity & interactive potential, in mind, it became the guiding principle as i come up with iterations by manipulating the parameters & doing a thorough analysis to pick out the more ‘successful’ ones to further develop.

Once the form finding , design exploration is done , our studio focuses on Virtual Reality Experience instead of physical fabrication and assembly. I was able to learn quickly of the program Unity to be able to generate a virtual environment where my design sits in and virtually map out what the scenario would be like as an experience itself. The issues of scale can be resolved too by having human next to it or even building up the surrounding. The task of making a 1-2 minute video allowed me to deepen the understanding of the program itself and the workflow in general as well as linking the design itself to the scenario narrative.

In conclusion, both the computational exploration of Grasshopper in B1 to B4 as well as Unity in B5 has guided me in my B6’s Design Proposal , making sure of the selection criteria is met and ensuring the experience is right for the client and site.

LEARNING OBJECTIVES & OUTCOMES

B7|

|B8

APPENDIX

ALGORITHMIC SKETCHES WEEK 4-6

W4

Recursive Definition input curve is scaled , rotated and moved at random factor. when the output of a function is used as input , the pattern is repeated. Random number value used is more than the geometry input thus more than 1 result is produced even though only 1 geometry is inputted.

W5

Recursive Anemone

Following the l-system loops video using hoopsnake, i used the anemone repetition to get the loops instead using the same predefining definition.

The variable parameters are the x,y,z coordinates . The figure on the left is the result of tweaking the said parameter to a non-similar value of each x,y,z.

APPENDIX

W6

B8|

Unity perspective view of FPS

directly underneath FPS

PART C

DETAILED DESIGN THE INCUBEE ft. ANDY

|C1 DESIGN CONCEPT PART C PRESENTATION PHOTOMONTAGE

THE INCUBEE Bee larvaeâ&#x20AC;&#x2122;s winter incubator

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT PART C PRESENTATION DESIGN FACILITATION

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT PART C PRESENTATION DESIGN FACILITATION

HEAT ABSORBING ORIENTATION FLATTER ANGLE PANEL FACING DOWNWARDS (TO HUMAN HOTSPOT)

STRUCTURAL STEEL FRAME RIGIDITY WHILST ACCOMODATING THE OVERALL FORM W/ 3D-PRINTED JOINT

NEST HOLES

LARVAE INCUBATOR

WIND REDIRECTION AERODYNAMIC ROTATED FOLD EDGES PATTERN

SELECTION CRITERIAS FAMILIARITY INTERACTIVITY AESTHETIC EXPANSION

DESIGN CONCEPT

C1|

HEAT ABSORBING ORIENTATION

ANGLED PANEL ELEMENT FACING UPWARDS (TO SUN ORIENTATION)

AESTHETIC INTENTION KANGAROO’S FORM FINDING WITH ANCHOR POINTS

HEAT CHANNELING PHYSICS HEAT’S UPWARDS PROPOGATION

|C1 DESIGN CONCEPT PART C PRESENTATION EXPLODED DETAILING

OVERALL EXPLODED AXO DRAWING

DESIGN CONCEPT

INDIVIDUAL ELEMENT EXPLODED AXO DRAWING

C1|

|C1 DESIGN CONCEPT CRITS FEEDBACK PART B & C PRESENTATION

PART B MOVE AWAY FROM THE STEREOTYPE OF HEXAGONAL PANELS DO MORE EXPLORATIONS OF THE PARAMETRIC TECHNIQUE CHANGING THE BRIEF FROM VIRTUAL REALITY TO PHYSICAL PROTOTYPING

PART C DO MORE EXPLORATIONS OF THE OVERALL FORM MORE ELABORATE DIAGRAM/ILLUSTRATION TO REPRESENT THE DESIGN RESPONSE

THE FOLLOWING CHAPTER’S WORK ARE WORKS THAT HAS TAKEN PART C’S PRESENTATION’S CRIT INTO CONSIDERATION. THE PROTOTYPE WORKS ARE DONE PRIOR TO PART C’S PRESENTATION.

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT SITE CONTEXT SACRED HEART COURTYARD

ABBOTSFORD CONVENT SITE MAP

N

20~30km/h

NW-W-SW in winter

SACRED HEART COURTYARD

MERRI CREEK’S GRASSLANDS

The site chosen is the sacred heart courtyard , which is enclosed by the Abbotsford Convent’s buildings making it not visible beyond the surrounding large gates.The site is located nearby to the Merri Creek’s Grasslands which host many types of wildlife including the Blue-Banded Bees. These insects are often at mercy of the wind which the wind does blow in the Northwest to Southwest direction towards the site.

The management frequently hosts events throughout the year at the courtyard including the previous Shadow Electric outdoor Film Festival. However restoration is being carried out on the medieval French ecclesiastic buildings which presents the opportunity to juxtapose the medieval architectural buildings with an installation that represents the modern society’s culture as well as their architectural’s disposition.

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT SITE CONTEXT COURTYARD MODEL

20~30km/h NW-W-SW

in winter

ANCHO POINT

ANCHOR POINT

PACKING & SHEET ROOMS

ANCHOR POINT

CONCERTSTAGE

ANCHOR POINT

COURTYARD

ANCHOR POINT

ST.ANNEâ&#x20AC;&#x2122;S ANCHOR POINT

DESIGN CONCEPT

The main focus will be on the Courtyard section where the installation will be mainly based around. 3 surrounding buildings has been identified to be the building that the design will interact with for its architectural quality and where the design could possibly anchor onto.

OR

IRONING ROOM

The Packing & sheet room building would reasonably slow down the wind carrying the blue-banded bees in the direction towards the site thus allowing the settling/ nesting of the bees during winter time.

ANCHOR POINT

R

N

C1|

|C1 DESIGN CONCEPT NARRATIVE STORYLINE & POSTERS

Storyline

WINTER HIBERNATION PHASE

CROWD’S HEATFUME INCREASES TEMP. BY 2-3 °C.

GROWTH ACCELERATED BY 2-3MONTHS

Human Condition Correlation With Heat

DESIGN CONCEPT

T

NVEN

CO AN TSFORD O ABB ECT PROJ

E .0 H T N I 2 E G Z N I BREE C N A D NTERDANCE AELEOSNG I& 90’s DISCTOHE INCUB W - 80’ NDER l’ bee DJs: liyung beeunk p HIVE

TU

NIGH

ABBOTSFORD CONVENT’S ANTICIPATED ANNUAL EVENT IS BACK! COME AND JOIN THE PARTY UNDER THE INCUBEE CANOPY, DIVE INTO THE NOSTALGIC DANCE POOL OF THE 80S AND HELP WITH THE BLUE BANDED BEES WINTER HYBERNATION ACCELERATION! Free Admission 1 ST HELIERS STREET, ABBOTSFORD VIC 3067 13th JULY 10PM Dress Code (Strictly Enforced) 80s and 90s Disco attire (see poster) Limitted spots available: 200 people

Promotional poster

C1|

|C1 DESIGN CONCEPT DESIGN OBJECTIVE OBJECTIVE FLOW

CONSIDERATIONS

1

SITE

2

CLIENT

3

HUMAN

Abbotsford convent’s french ecclesiastic architectural character

Blue-banded bees(bbb) from merri creek

Gatherings for festivities of music,art & culture

MAIN OBJECTIVE

1

EXTENSION OF BLUE-BANDED BEE LIFESPAN BBB’s pupae’s growth can be accelerated by 2-3months when the incubation environment’s temperature is raised by 1-2 °C which can be chanelled from the heat emitted by the festivalgoers

DESIGN CONCEPT

KEY CONCEPT

1 2 3

AESTHETIC Juxtaposition of the existing building with modern interpretation installation FAMILIARITY Attracting the blue-banded bees to the installation INTERACTIVENESS Channeling humanâ&#x20AC;&#x2122;s heat fume to the installation

C1|

|C1 DESIGN CONCEPT DESIGN RESPONSE FORM FINDING CONCEPTS

?

PART B DESIGN

OVERALL FORM

1

JUXTAPOSITION

2

TESSELATION

3

Modern,fluid curved form that overlaps and/or engulfs the site’s angular buildings

Ensuring the overall’s covering form allows for tesselation of individual element accross surface membrane

HEAT TRAPPING A covering structure over the festival-goers that is sufficient to trap the heat released

DESIGN CONCEPT

C1|

?

PART B DESIGN

INDIVIDUAL ELEMENTS

1

WIND PATHWAY Using the repeated folding edges to slow and rechannel the wind that carries the

2 3

bees

LIKENESS Retaining holes perforations on model as it resembles the beeâ&#x20AC;&#x2122;s nature habitat entrance)

HEAT CHANNELING Increase the contact surface area with the heat emitted from underneath utilising folding design from precedents in part B

|C1 DESIGN CONCEPT FORM ITERATIONS OVERALL FORM FINDING & FINE-TUNING

SP 1

Reference mesh surface

SP 2

Mesh UV Count

SP 3

Kangarooâ&#x20AC;&#x2122;s Unary Force vector

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT FORM ITERATIONS INDIVIDUAL ELEMENTS FORM FINDING

SP 1

Number of lines used (no. of foldings)

SP 2

Distance between points used for line (Element height)

SP 3

set points chosen along the lines - 2 pattern dispatch (element length trim & opening)

DESIGN CONCEPT

C1|

|C1 DESIGN CONCEPT DESIGN IN CONTEXT THE INCUBEE IN SITE

DESIGN CONCEPT

ENGULFING

Overlaps existing buildings

90% COVERAGE maximise heat trapping

10% OPEN

at the back of d-floor for ventilation

C1|

|C1 DESIGN CONCEPT DESIGN IN CONTEXT THE INCUBEE IN SITE

DESIGN CONCEPT

C1|

DANCING IN THE WINTER BREEZE 2017

|C1 DESIGN CONCEPT EXPLODED DIAGRAM FRONT VIEW OF OVERALL FORM

JUXTAPOSITION

Curved overall form juxtaposed by foldingâ&#x20AC;&#x2122;s edge & site buildings

DESIGN CONCEPT

TESSELATION

Triangulated base surface with pods above and under -with varied dimension according to tesselated surface area

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|C1 DESIGN CONCEPT ELEMENTS DIAGRAM INDIVIDUAL ELEMENTS

HOLE ENTRANCE replicate actual nesting

WIND AERODYNAMICS dampens wind speed & redirects the swayed bees to pods

20~30km/h NW-W-SW

in winter

FOLDING

Increased contact surface with heat emitted

DESIGN CONCEPT

DISPATCH PATTERN

Dispatched into 2 pattern based on element’s plane surface angle to ground plane.

<30°

the flatter angle surface are given bigger base surface contact to ensure more heat is absorbed

>30°

Steeper angle surface are given smaller base surface contact but lengthier body to ensure more heat absorbed too.

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|C1 DESIGN CONCEPT DESIGN DEFINITION OVERALL FORM WORKFLOW

Loft out initial curves

variable: anchor points (initial curvesâ&#x20AC;&#x2122;points)

Change into mesh surface with UV to find its interior and naked edges

variable: UV count

DESIGN CONCEPT

Use the naked edges’ points as anchor points for Kangaroo & initial mesh as geometry to transform

OVERALL FORM MESH Toggle the kangaroo simulation and bake the mesh once the shape settles

Use the interior edges for ‘spring’s connection & rest length with a set stiffness as a force object for Kangaroo

variable: spring stifness & unaryforce vector

Decompose the same mesh to find vertices that is applied with UnaryForce in X,Y,Z-axis , as force object for Kangaroo

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|C1 DESIGN CONCEPT DESIGN DEFINITION STEEL ROD AND JOINTS WORKFLOW

Offset the triangulated polylines in two opposite direction based on steel rod width (3mm) & create surface

Triangulate the baked meshâ&#x20AC;&#x2122;s quad then to polylines

ROD JOINTS

Offset the triangulated polylines in two opposite direction based on steel rod width (3mm)+2mm extra width each side & create surface

ROD JOINTS Create surface based on the 4 points and trim the wider rod(joint) & cap it

DESIGN CONCEPT

RECTANGULAR ROD Extrude surface based on the length of steel rod (10mm)

Extrude surface in two opposite direction based on the length of steel rod (10mm) + 2mm extra length each side

Use the vertices to find the points 20mm distance from the vertices along the edges

Do a solid difference of the wider rod with the smaller rod to obtain holes in the joint

Do a solid union and debrep to find the vertices (where the rod intersects)

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|C1 DESIGN CONCEPT DESIGN DEFINITION INDIVIDUAL FOLDING ELEMENTS WORKFLOW

Triangulate the baked mesh’s quad then to polylines

Dispatch the boundary polylines into 2 groups based on their plane degree angle to the floor’s flat plane( Flatter vs angled)

Offset inward the rec

FOLDING PANELS Extend the top edges of each folding panels so that it can be attached to rod

Loft the rotated lines to get the folding shape (option=developable)

Shift the list of the the rotating lines w to the intial 10 poin

DESIGN CONCEPT

UPWARDS & DOWNWARDS Find the centroid and move it down/ up (700mm)

t the polylines ds(1.6mm) for ctangular rod

Draw lines from the points on polylines to moved centroid find 10 points on the polylines

e set points to get when drawn lines nts on srf polylines

Variable: elements contact srf area & length Dispatch pattern : Flatter=bigger base srf area & shorter length Angled= smaller base srf area & longer length

INCUBATOR PLATFORM loft(developable) 2 set of points that are within 3mm thickness to get a platform covering top & bottom & midpoint

find points on the lines again & list item to select the set points(triangular shape) along the pathlines

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|C1 DESIGN CONCEPT CONSTRUCTION PROCESS FABRICATION & ASSEMBLY

FABRICATION FOLDING PANELS Layout the lasercut panels in proper nesting

Numbering the cut files accordingly

PANEL’S FRAME Layout the lasercut frame in proper nesting

Numbering the cut files accordingly

BAR JOINTS 3D print the joints

Cut the steel rod to fit the panel’s frame size

DESIGN CONCEPT

ASSEMBLY

FOLDING PANELS + PANELâ&#x20AC;&#x2122;S FRAME Connecting folding panels to the frame with rivets/bolts/screw

Connecting bar joints to bar as the overall frame BAR + BAR JOINTS

COMPLETE Connect the folding panel frame to overall bar joints

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|C2 TECTONIC ELEMENTS & PROTOTYPES CORE CONSTRUCTION ELEMENT FABRICATION & ASSEMBLY

4 TYPES

After planning out the construction process, we narrowed down the 4 types of construction element we wanted to test ,namely:- panel frames ,folding panels, bar+bar joints & connections. With that said, the prototyping process intertwines between one another elements which influences the decision.

PANEL FRAMES

FOLDING PANELS

TECTONIC ELEMENTS & PROTOTYPES

BAR + BAR JOINTS

CONNECTIONS

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|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 1 PANEL FRAME

LASER CUT MDF PANEL FRAME

To be able to hold our folding panels in their angled orientation, we needed a frame to hold it up and so we devised the mdf frame on the inside ( unseen) for the quick and easy accessability to the laser cut and MDF material.

PROBLEM 1- was that the laser cut could only cut in a straight-down manner thus could not achieve the angled edges we needed for the panels.

PROBLEM 2- the frame devised for MDF was too narrow too causing it to snap easily.

PANEL FRAMES TOP & BOTTOM

2ND PROBLEM

TECTONIC ELEMENTS & PROTOTYPES

PANELS

FRAME

missing angled space

1ST PROBLEM

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|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 1 PANEL FRAME

3D PRINT PANEL FRAME v1

When the MDF lasercut did not work out , Christopher suggested us to do a 3D print frame instead and so we did 2 different version. The 1st version was a similar frame to the mdf which has higher height and thinner width comparatively. The frame was has 3 parts, top-middle-bottom.

3D MODEL RHINO

PROBLEM 1- Due to the scale of 1:1 we were going for , the 3d printing machine couldnâ&#x20AC;&#x2122;t print the frame as a whole, and gluing the parts together was not stable enough. The scale of 1:2 was too big too.

1ST PROBLEM

TECTONIC ELEMENTS & PROTOTYPES

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3D PRINT PANEL FRAME v2

In order to fit the frame within the 3d printing machine , we tried to find another vendor who could fit the design in 1:2 scale and we managed to find a vendor that could print it as a whole and in black colour.

We also made the frame to be a full platform as it serves as platform for the bee’s pupae to sit on. Another minor issue was the smoothness of the surface which is rougher on one side which we decided to put it facing inwards which is unseen.

3D MODEL RHINO

PROBLEM 1- The plastic used to print ( PLA) bends when the wholepiece’s area-to-thickness ratio is too big.

Thus we had to use thicker thickness for bigger piece which easily resolves the problem.

1ST PROBLEM - BENDING

SMOOTH SURFACE ON 1 SIDE

ROUGH THREADING PATTERN ON OTHER

|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 2 FOLDING PANELS

POLYPROPYLENE FOLDING PANELS V1

The first material we wanted to test out was polypropylene due to its availability and ease of laser cutting it. It was also a light material which reduces the load overall. The translucent property mimics the Glass see-through pod in part B’s design. The first version was done by literally etching the folding line to obtain the shape.

ETCHED POLYPROPYLENE

PROBLEM 1- As the material contains thickness(0.6mm), the folding size don’t line up with the frame’s pattern due to folds that goes in two different ways but the lasercut etching is only done on one side of the material which makes the folding (towards the unetched side) containing extra length that will cause the next fold to be too short to reach the subsequent folding

too short to reach the next folding edge

1ST PROBLEM

TECTONIC ELEMENTS & PROTOTYPES

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POLYPROPYLENE FOLDING PANELS V2

The solution to v1 was to cut the panels instead of etching it. With V2, it solves the V1 problem but has issues of its self.

CUT POLYPROPYLENE

PROBLEM 1 - The lasercut burns the material leaving unwanted burn marks as well as causing the material to bend due to the thinness of the material .

1ST PROBLEM

|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 2 FOLDING PANELS

TIMBER VENEER FOLDING PANELS V1

We wanted to test out the timber veneer material as it might represent our design well so we tried Ventechâ&#x20AC;&#x2122;s timber veneer ,maintaining the lightweightness.

TIMBER VENEER #1

PROBLEM 1- The timber veneer we gotten was purely just veneer without anything supporting it at the back thus it is very fragile and breaks too easily to be used.

1ST PROBLEM

TECTONIC ELEMENTS & PROTOTYPES

TIMBER VENEER FOLDING PANELS V2

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In response to v1, we gotten a paper-backed timber veneer and in a colour that could conduct heat better too(black). The timber veneer provides better strength than v1 and can be laser cutted without burning. The timber veneer are also bendable along the grain.

TIMBER VENEER #2

TIMBER VENEER LASER CUT

|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 3 OVERALL JOINT & BAR

ALUMINIUM BAR

We initially wanted to use carbon fibre rod, but it has only arrived the day i am writing this. So instead we have decided to use the next best thing which is the aluminium rectangular bar that is 3x10mm. The bar is sturdy and tough enough to hang & hold the individual element. The rectangular shape was easier to accomodate for the timber veneer panels too as it didnt need to roll around the bar if it was a circle rod as it might destroy the veneer integrity if its not along the grain direction. The barâ&#x20AC;&#x2122;s length was recorded based on the 3d model & labelled before cutting them in the fablab.

ALUMINIUM BAR

VS

ROLLING TIMBER VENEER ONTO CIRCLE ROD

EXTENDED PANEL LENGTH TO ATTACH TO BAR

TECTONIC ELEMENTS & PROTOTYPES

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3D PRINTED BAR JOINTS

To keep the bars in position as well as making sure the bar could change direction in z-axis, 3d printed bar joints(ABS plastic) was used which allows the bar to slot in. We size the opening to the exact dimension (3x10mm) as the bar for the first version of the bar joints.

3D PRINTED JOINT BAR SET

3D MODEL OF BAR JOINTS+ BARS

PROBLEM 1- Due to the material (ABS plastic) & the method (molten melting) used, the actual thickness varies from .5-1.5mm which affects the size of the opening greatly making the rod hard to fit in without filing it. To solve them , we remade the 3d model(V2) with tolerance of 1.35mm to each side which eventually fits without being too loose. However the 2nd batch was made in a less desirable quality control than the first batch by the 3d printer.

without the tolerance

with 1.35mm tolerance

V1 TOP , V2 BOTTOM

|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 4 CONNECTION

BAR TO PANEL

In this prototype, we ensure that there is extended length of panel coming up so that the connection could be made to the bar. We used rivet to make the connection as it provides a relatively quick process compared to bolting and screwing whilst providing a secure connection. We had to individually drill the holes for the rivets on the aluminium bar whilst using a holepuncher for the timber veneer.

RIVET FROM BAR TO PANEL PROBLEM 1- However the rivet only secures in when the expanding head is placed on the outside rather than inside as the veneer panel is on the inside and the expanding head will crack the timber veneer wider without actually securing it properly. Thus in the photo, V1â&#x20AC;&#x2122;s timber veener goes over the expanding head rather than under it whilst V2 shows it being under and connected to the bar.

V1 TOP, V2 BOTTOM

TECTONIC ELEMENTS & PROTOTYPES

ALUMINIUM BAR TO 3D PRINTED JOINTS

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As the sizing of the opening still varies a little, some of the connection is not as snug as we would like, thus we decided to use UHU Glue to give it extra holding strength. The end result maybe slightly messy but could be fixed with care when applying.

CONNECTION FROM BAR TO JOINT

GLUING IT IN

|C2 TECTONIC ELEMENTS & PROTOTYPES PROTOTYPE 4 CONNECTION

PANEL’S FRAME TO PANEL V1

In the first attempt at testing if the angle on the 3D printed frame edge would work with the panel, we were still using the failed 3D printed frame which does not have a full platform frame. We decided to test out both rivet and bolt&nuts to connect the two element together. They both require drilling into the 3d print. Bolts&nuts allows us to be able to remove and reapply the connection whilst rivet could not.The rivet’s finishing looks cleaner and elegant whilst the bolt&nut looks more industrial thus we stuck with rivet for connecting from panel to frame.

RIVET FROM BAR TO PANEL FRONT

RIVET FROM BAR TO PANEL BEHIND

TECTONIC ELEMENTS & PROTOTYPES

PANELâ&#x20AC;&#x2122;S FRAME TO PANEL V2

C2|

When we changed frame and panel to timber veneer and a full 3d printed frame , we had to rework the connection system. So instead, we came up with a L-shaped flashing system that connects the frame to panel using rivet on the flashing-to-panel connection as it is external ( elegance) & bolt&nuts for flashingto-frame as it is internal (functionality & ease of connecting). One issue we faced when fixing it was determining the height the frame actually sits at ,along the height of the panels which requires manual distance measurement from rhino to real life model .

FLASHING-TO-PANELS FRONT

FLASHING-TO-FRAME BOLTS&NUTS

FLASHING-TO-PANELS BACK

|C3 FINAL DETAIL MODEL FINAL DETAIL MODEL INTRODUCTION

For our Final detail model, we decided to use 1:2 scale to construct as it still manages to show the joints and connections in detail whilst being able to manufacture the 3D-printed joints & frames as a whole.

In this chapter, we would map out how the process was carried out to achieve the final detail model as well as how the numbering template files were used to guide our process.

FINAL DETAIL MODEL

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PERSPECTIVE DETAIL

|C3 FINAL DETAIL MODEL NUMBERING PIECES LASERCUT FILES AND ASSEMBLY GUIDES

LASERCUT TEMPLATE IN RHINO(900X300mm)

LASERCUT TEMPLATE IN REAL LIFE (900X300mm)

FINAL DETAIL MODEL

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3D MODEL GUIDE IN RHINO

The laser cut timber veneer in real life requires manual labelling of number based on the numbered pieces in rhino. The assembled 3D model in Rhino is used as guidance (alongside with the numbered piece) when attaching the panels to frame.

|C3 FINAL DETAIL MODEL EXPLODED ASSEMBLIES DIAGRAM FRAME+FOLDING PANELS+JOINTS+BARS

FINAL DETAIL MODEL

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4 FINAL DETAIL MODEL

2 BAR-TO-JOINT

Glue and join the bar into the joint

3 BAR-TO-PANEL

Rivet extended panel flap to bar

1 PANELS-TO-FRAME

Rivet flashing-to-panel, then bolt the flashing+panel to frame

|C3 FINAL DETAIL MODEL FABRICATION PROCESS PHOTOGRAPHY

1

LASERCUT PANELS

5

LABELLING THE BARâ&#x20AC;&#x2122;S LENGTH FOR CUTTING

9

DRILL HOLES ON FRAMES & BARS

2

6

NUMBERINGS PIECE

BENDING THE FLASHING ACCORDING TO ANGLE

10

BOLT & NUT THE FLASHING TO FRAME

FINAL DETAIL MODEL

3

7

11

3D PRINT FRAME

HOLEPUNCHING PANELS

GLUE IN THE JOINTS TO THE BAR

4

3D PRINT THE BAR JOINTS

8

RIVET FLASHING TO PANEL

12

RIVET THE EXTENDING PANELS TO BAR

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|C3 FINAL DETAIL MODEL FINAL DETAIL MODEL PHOTOSHOOT

FINAL DETAIL MODEL

PERSPECTIVE DETAIL 2

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|C3 FINAL DETAIL MODEL FINAL DETAIL MODEL PHOTOSHOOT

FINAL DETAIL MODEL

PERSPECTIVE DETAIL 3

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|C3 FINAL DETAIL MODEL FINAL DETAIL MODEL PHOTOSHOOT

FINAL DETAIL MODEL

PERSPECTIVE DETAIL 4

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|C4 LEARNING OBJECTIVES & OUTCOMES FURTHER DEVELOPMENT TECHNIQUE

As noted in ‘Crits Feedback’ in C1, the works presented in Part C after the ‘Presentation’ chapter are works that has been further developed upon receing Part C’s crit. The following shows the progression of the design from Part B’s presentation > Part C’s presentation > Post-Part C’s presentation:-

PART B DESIGN - Stereotypical hexagons for bees - needs more exploration of the overall form - too regular pattern of elements

PA -N -N

ART C DESIGN Needs more exploration of form Needs more explanation for design response

LEARNING OBJECTIVES & OUTCOMES

PART C AFTER-CRIT DESIGN

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|C4 LEARNING OBJECTIVES & OUTCOMES FURTHER DEVELOPMENT CONSTRUCTION TECHNIQUE

1 DIGITAL MODELLING THE HOLES In our prototyping process, we realised the process of manually finding the spot to drill/hole punch the holes on 3d-printed frames or timber veneer panels to be quite a tedious task. We believe that if the script were further developed, the location of holes can be predetermined digitally in modelling, thus speeding up the assembly process. For example, 3d-printed models can be printed with the holes itself and lasercutter could cut the holes straight away on the timber veneer.

HOLES

LEARNING OBJECTIVES & OUTCOMES

C4|

LOCATING THE SPOT

2 LOCATING THE SPOT WHERE THE PANEL MEETS THE FRAME When we were trying to put the panel onto the frame, we had to manually figure out where,along the length of panel does it meet the frame by measuring the distance off of the Rhino model and note it down on the veneer panel itself. Again, if the script is given the chance to further developed, perhaps an indication etch of curve could be done to quicken the assembly process.

|C4 LEARNING OBJECTIVES & OUTCOMES LEARNING OBJECTIVES & OUTCOMES 1 INTERROGATING A BRIEF In this process of designing from Part B to C, Part C was no different from requiring the interrogation of the design brief/narrative which we had to come up with for our own â&#x20AC;&#x2DC;animalâ&#x20AC;&#x2122;. Continuing on the narrative and selection criteria mapped out in Part B, i often revisit the 3 main occupants in question and the main objective to come up with a more intricate key concept that i could based my design on. The key concept then guided me in adding more functionality and depth to the design. The importance of a guiding principle that response to the brief was the key lesson i take from this part which allows me to achieve the final outcome which satifies the brief of incubating the bees whilst providing aesthetic purpose to the site and community.

2 GENERATING A VARIETY OF DESIGN POSSIBILITIES In part C , even though there were iterations of designs , the iterations were more of a finetuning process that utilises the parametric modeling capacity to further develop the design possiblities, pushing the boundary of the design concept proposed from the brief. When the part C feedback were given, it allowed for further exploration of design varieties that was based on constructive feedback to build on.

3 SKILLS IN VARIOUS 3-DIMENSIONAL MEDIA Throughout the whole coursework, this subject has been the one that truly tested my knowledge and skills in computational design the most ,ranging from 3D-designing in Rhino & Grasshopper, to vector-linework creation in Illustrator, to layouts in Indesign, to post-rendering in Photoshop, to Virtual-reality production in Unity , to Video edditing in PremierePro for B6 prototype,to fabrication process through Rhino allowing me to truly understand the process of fabrication from digital startpoint. All these skills learnt and mastered in a short period of time was a true test of learning&understanding skills which forces us to make the most out of the best skillset available.

4 AN UNDERSTANDING O F ARCHITECTURE & AIR RELATIONSHIP In Part C, the prototyping and detail-model making parts was the part that helped me bridge the relationship between architecture & Air where my design proposal in computational design & illustrations were only made clear when phyiscal models were created showing me what was working and what was not ,in the atmosphere,or so they called it,Air. Just like humans, architecture is nothing without air. All the architecture are only figments and ideas if Air is not a part of the design process.

LEARNING OBJECTIVES & OUTCOMES

C4|

5 THE ABILITY TO MAKE A CASE FOR PROPOSAL Part C allows us to further refine the design proposal from Part B, deepening the research to allow for more critical thinking of the case for proposal. I truly enjoyed the process of coming up with a persuasive arguments to the architectural discourse pursued ,linking them together. With that said ,the capability of making a case for proposal needs to be backed up by the ability to represent the idea in a clear manner through the various medias ,otherwise the the proposal is nothing but an idea in the head.

6 ANALYZING ARCHITECTURAL PROJECTS More so in Part A, and later Part B, i have learnt the skill to analyze a project in a critical way as well as learning to extract the key design informations from precedents that could be re-applied in my own design in its own unique way. The understanding of project helps to guide the conceptual proposal , the technical skills in carrying out the project as well as creating a thought-provoking design.

7 FOUNDATIONAL UNDERSTANDING OF COMPUTATIONAL GEOMETRY, DATA STRUCTURE AND PROGRAMMINGS When i was first faced with Grasshopper, i was really lost in terms of what each function and nodes do and how does it work but once i had a grasp of the foundation and a deep understanding of the data structure, i could figure out the reasoning behind something that isnâ&#x20AC;&#x2122;t working out and even start to think out of the box in terms trying to come up with design in a generative way. With that said, grasshopper has a steep learning curve and i believe thereâ&#x20AC;&#x2122;s more to be explored as well as plug-ins that further enhance the experience.

8 PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES With my understanding of how Rhinoceros,Grasshopper and fabrication process all links together, i feel confident enough to take forward the skills i have learnt from this subject and to apply and use those computational techniques accordingly to the advantages that each computational program brings to the designing process. Understanding the limitations of the program like Grasshopper/Rhinoceros in replicating the real life conditions is crucial to a good design whilst maximising its pros in designing.