SEOW CASSANDRA 759925 FINAL JOURNAL

STUDIO AIR Cassandra Seow Yie Fang 759925 Finn Warnock, 2017 Semester 1

CONTENT

INTRODUCTION A. CONCEPTUALIZATION B. CRITERIA DESIGN C. DETAILED DESIGN

INTRODUCTION

If you weren’t an optimist, it would be impossible to be an architect.

– Norman Foster

Born and raised in Sabah, Malaysia, where all you enjoy is beaches and tropical weather. My name is Cassandra, currently pursuing architecture as my major and in my 3rd year. Always been a bubbly and quirky character, and fond of geometrical architecture.

As seen in the quote above, I strongly agree with Norman Foster. To me, being an architect is about reaching new limits, breaking boundaries and to stay true to your roots. To be able to combine the nature of the site and incorporate it to the design, will make the building speak for itself and actually make it be one with the site. Being an optimist to me means to be able to accept critics and improve, improvise and learn.

That explains my love for reknown architects such as Frank Gehry, Daniel Libeskind and Zaha Hadid. And withe the aid of Studio Air, it’ll help me learn how to create buildings somewhat similar to theirs. Most of my past work were focused on the pure form of geometrical shapes and with the help of tilting it at different angles, playing around with their dimensions, will give me an unexpected form. I can say that most of the outcomes of my designs will somehow vary from what I expected to be at the start.

That’s why I am very excited to be doing this studio. I want to explore depeer into geometrical forms and see where it will lead me, and probably learn how to create all these forms in a faster way.

A. CONCEPTUALISATION

A.1 design futuring - case study 1 - case study 2 A.2 design computation - case study 1 - case study 2 A.3 design composition - case study 1 - case study 2 A.4 conclusion A.5 learning outcome A.6 appendix / sketches

A.1 design futuring

CASE STUDY 1 GUGGENHEIM MUSEUM BILBAO

by Frank Gehry

B

“ ilbao is truly a signal moment in the architectural culture,” says the Pulitzer Prize - Paul Goldberger.

Frank Gehry has always been my favourite architect ever since I stepped into the world of architecture, his one of a kind designs was what brought me into the architecture and design world.

Combining both computer aided softwares and traditional architecture concepts, what he has created is simply indescribable.

The Bilbao effect, has now changed how architects are thinking nowadays and also influencing new generation of designers.

This building has caused a new revolution, in Gehry’s mindset of avoiding to achieve postmodernism, to not use historical references and decorations. Using more swoops and curves into his designs, reaching a whole new limit of a buildable building. 1

Despite that, the museum’s site strongly relates to its context, sitting by Nervion River which runs south to north, making a tangible connection to the city. With its shiny metalic form that resembles a boat, it shows Bilbao’s historic industrial past.

Gehry also plays with how the light will shine on his building, and that explains the randomness of the curves.

1. Matt Tyrnauer, Architecture in the Age of Gehry, (2010), <http://www.vanityfair.com/ culture/2010/08/architecture-survey-201008> 2. Brian Pagnotta, AD Classics: The Guggenheim Museum Bilbao/Gehry Partners, (2013), <http:// www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry>

Technology is important, but computers cannot do

â&#x20AC;&#x153;

anything without the assistance of the human brain,â&#x20AC;?

- Jacques Herzog.

To create all these twisted curves would not be easy. Gehry has used a 3D design software called CATIA which aids in complex designs and calculations. 2 Knowing how he came about to create this wonderful piece of architecture made me realise how important computer softwares are in helping me design my future projects.

CASE STUDY 2 GUANGZHOU OPERA HOUSE

by Zaha Hadid

T

“ he two buildings are embedded in an artificial landscape impregnated with program and spaces,” -Patrik Schumacher The second building that I chose for my case study is this stunning opera house located in Guangzhou, China. In relation to the location and context of the place, Hadid has shaped the building to resemble two pebbles on the bank of the Pearl River. The one of a kind twin boulder design enhances the city by opening it to the River, and also being at the heart of Guangzhou’s cutural development.1 Hadid strongy involves the relationship between both architecture and nature, taking inspiration from the natural landscape, principles of erosion, geology and topography. For example, how it was affected by the river valleys and the way it has become through erosion.

Her raw talent of combining both her forms into the context is what makes this building so unique. Hadid’s ability to convey a sense of bodies in motion makes her design never static. Curves that will make you feel like accelerating and different turns that bring you to uexpected routes.2

But, to build this would require additional help, and took full advantage of the computational technologies back then.

These organic forms were achieved through logarithms, splines, blobs, NURBs and dynamic systems of parametric design. Even so, traditional techniques were used, where joints were made of wood and then embedded to sand to form moulds to which the steel for the final nodes were poured. 3 How Hadid has created her work really expands and inspire new generation architects in that motion can be represented in the building. For instance, how you would want the user to feel when they are using it and what may they like or dislike. All the complex geometrical shapes became so easily created with the aid of computational technologies.

1. Rose Etherington, Guangzhou Opera House by Zaha Hadid Architects, (2011), <https://www.dezeen. com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/> 2. Nicolai Ouroussoff, Chinese Gem That Elevates Its Setting, (2011), <http://www.nytimes. com/2011/07/06/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.html> 3. Joseph Giovannini, Guangzhou Opera House, (2011), <http://www.architectmagazine.com/design/ buildings/guangzhou-opera-house_o>

A.2 design computation

CASE STUDY 1 HARBIN OPERA HOUSE

by MAD Architects “

I want to make the building blend into the horizon so it

feels like part of the land. I took this pattern of the water flowing from the river banks, and I turned it into modern architecture.” - Ma Yansong1 This sleek lookinng building, located along Harbin’s Songhua River and surrounded by wetland landscape, is said to be the cultural centre of the future. With it seamlessly blending into the environment, as if it looks like it is sculpted by wind and water, a transfusion of local identity, art and culture.

This performative design with parametric algorithmic design will produce digital architectural form in response to the environmental context, which explains why this buulding blends in so beautifully with its surrounding landscape.

The curvilinear facade is made of smooth white aluminium panels, a tectonic system in which the material design has become a part of the digital architectural design.2

It kind of reminds of Zaha Hadid’s buildings, in which all these curves signify movement, like the constant moving river that’s situated along the building.

I

wanted people to be able to climb the building, like a mountain.”

- Ma Yansong “

1. Michele Baker, The Stunning Architectural Design of Harbin Opera House, accessed 2017, <http://www. vmistudio.com/architectural-design-harbin-operahouse/> 2. “Harbin Opera House / MAD Architects” 16 Dec 2015. ArchDaily. Accessed 12 Mar 2017. <http://www. archdaily.com/778933/harbin-opera-house-madarchitects/>

CASE STUDY 2 ICD/ITKE RESEARCH PAVILION 2012

by University of Stuttgart

Made from carbon and glass fibre composites, ICD and ITKE has outdone themselves again with this research pavilion back in 2012.

The relationship between biometic design and robotic production is explored, with the research focusing on the material and morphological principes of athropods’ exoskeletons.

With the aid of computer based design, new tectonic possibilities in architecture is made possible, with the integration of form generation, computational stimulations and robotic manufacturing.1 Starting off with a simple exoskeleton of a lobster, they took that as inspiration and as a precedent.

Intepreting it and thus creating new prototypes for intepretation, and choosing the characteristics that are similar. In this case, looking into the soft and hard parts of the exosskeleton and also looking at their arrangements in which loads are transferred.

Afterwith all the research done, then it starts with form finding and testing of materials.

The help of design computation uses the exskeleton and durther improves it and integrated into a new architectural design.

Can be said to be the “Vitruvian effect”, where both material and technology expands the relationship between computer and architecture, design to production, and from form generation to fabrication design.2

1. Arch Daily, ICD/ITKE Research Pavilion/University of Stuttgart, Faculty of Architecture and Urban Planning, (2013), <http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-ofarchitecture-and-urban-planning> 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

A.3 design composition

CASE STUDY 1 SERPENTINE GALLERY PAVILION 2002

by Toyo Ito & Cecil Balmond

This Serpentine Pavilion made of steel glass and aluminium sets its ground at London’s Kensington Gardens, comissioning reknown architects Toyo Ito and Cecil Balmond to design it.

With the use of algorithmic knowledge, which means that they can interpret and generate codes to explore new options and expand their design potentials.2

This steel frame structure is derived from an algorithm of a cube that is expanded and rotated, with numerous triangles and trapezoids. The intersecting lines are transparent and gives it a sense of repeated motion.

Like this pavilion, it is derived from a cube where random cuts are made, exploded, expanded and intersected. With the use of algorithms, it can be modified and thus generating different architectural spaces, element placements and configurations.

Ito provides Balmond with the mathematical and logical framework, where sold and light elements are balanced on an architectural knife-edge. 1

1. Serpentine Galleries, “A lesson in imagination from a Japanese master”, <http://www.serpentinegalleries. org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup>[accessed 16 March 2017] 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

CASE STUDY 2 AL BAHR TOWERS

by AHR

Energy efficient, ecogreen and sustainable, the Al Bahr Towers by AHR Architects have implemented kinetic architecture into their design.

Its Masharabiya shading system was developed computationally, using parametric description for the geometry of the facade panels. It is programmed in a way that the facade will respond to optimal solar and light conditions, in response to sun exposure and changing incidence angles for different days of the year.1

In process of turning this building into life, AHR has combined principles of bio-insporation, performance oriented technology, regional architecture and geometric composition into becoming a highly efficient integrated system2 Eventhough the success of this building can be said to be because of these computational softwares, fo it to be useful, it has to be flexible too. They have to adapt to the constantly changing parameters of architectural design.

Also, to maximise the benefits of using these softwares, knowledge about material (in this case, glass), performance analysis, tectonics and production machinery in the design drawings must be included.3

1. Karen Cliento, “Al Bahar Towers Responsive Façade/Aedas, ArchFaily, (2012), <http://www.archdaily.com/270592/ al-bahar-towers-responsive-facade-aedas> 2. AHR, “Al Bahr Towers”, <http://www.ahr-global.com/Al-Bahr-Towers>[accessed 16 March 2017] 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 0815

A.4 conclusion Throughout the whole of Part A, Iâ&#x20AC;&#x2122;ve learnt that computational softwares really come in handy in designing complex structures that require accuracy. My intended design approach will be leaning towards the geometrical side, how algorithms can change and form different structures. I look forward to exploring new design potentials and other geometrical shapes rather than just a simple triangle or square.

With the use of these 3D softwares such as Grasshopper, I can explore designs and also stimulate performance, both physical and experiential. Also, I would like to create something that has relation to the context and the user can tell what I am trying to portray through that design.

Like Zaha Hadid, for example, to portray sense of motion and moveents throught curved surfaces.

A.5 learning outcomes The past few weeks of learning a completely new software was hard at first but as I was trying to get my head around it, it seemed more and more interesting. The theory was quite hard to understand just by reasding it but made sense when I actually tried it by hand. My background knowledge for architectural computing was not deep, mainly consist of AutoCad and Rhino 3D. But now I got the chance to learn Grasshopper and I am looking forward to it.

From learning attractor points, to create a 3D surface based on pictures, it opened up my view towards what I can create and explore in terms of design for the upcoming weeks. With this set of skills, I can create more compex shapes in an easier and time efficient way.

For my past subjects that Iâ&#x20AC;&#x2122;ve learnt, I could have used Grasshopper to create the triangular patterns for my geometrical shaped sleeping pod, rather than doing it by hand.

A.6 appendix + sketches

ATTRACTOR POINT

ATTRACTOR POINT

ATTRACTOR POINTS

With the use of attractor points, it can influence any number of parameters or its surrounding objects which includeds scale, rotation, color and position. For example in my sketches, the objects nearest to the attractor points will decrease in size and increase in distance comparerd to the others.

UK PAVILION - HEATHERWICK STUDIO

We were asked to recreate the UK Pavilion by Heatherwick Studio or take it as in inspiration and make variations of it. Starting out my lofting curves and turning it into a 3D structure, it kind of set the base of how the structure would look like. Then, a BREP is placed in the middle (in this case, a sphere was used). Points were divided and then lines were inserted to create the porcupine like structure. To make it more realistic, the lines are then transformed into pipes. Both length and radius for the lines and pipes are flexible and can be changed depending on how you want the overall structure to look like

A.7 bibliography AHR, “Al Bahr Towers”, <http://www.ahr-global.com/Al-Bahr-Towers>[accessed 16 March 2017] Arch Daily, ICD/ITKE Research Pavilion/University of Stuttgart, Faculty of Architecture and Urban pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning>

Brian Pagnotta, AD Classics: The Guggenheim Museum Bilbao/Gehry Partners, (2013), http://www.arc gehry

“Harbin Opera House / MAD Architects” 16 Dec 2015. ArchDaily. Accessed 12 Mar 2017. <http://ww Joseph Giovannini, Guangzhou Opera House, (2011), http://www.architectmagazine.com/design/b Karen Cliento, “Al Bahar Towers Responsive Façade/Aedas, ArchFaily, (2012), <http://www.archdail

Matt Tyrnauer, Architecture in the Age of Gehry, (2010), http://www.vanityfair.com/culture/2010/08/

Michele Baker, The Stunning Architectural Design of Harbin Opera House, accessed 2017, <http://ww

Nicolai Ouroussoff, Chinese Gem That Elevates Its Setting, (2011), http://www.nytimes.com/2011/07/06 html

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New Y Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design Rose Etherington, Guangzhou Opera House by Zaha Hadid Architects, (2011), https://www.dezeen.c

Serpentine Galleries, “A lesson in imagination from a Japanese master”, <http://www.serpentineg and-cecil-balmond-arup>[accessed 16 March 2017]

Planning, (2013), <http://www.archdaily.com/340374/icditke-research-

chdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-

ww.archdaily.com/778933/harbin-opera-house-mad-architects/> buildings/guangzhou-opera-house_o ly.com/270592/al-bahar-towers-responsive-facade-aedas>

/architecture-survey-201008

ww.vmistudio.com/architectural-design-harbin-opera-house/>

6/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.

York: Routledge), pp. 1â&#x20AC;&#x201C;10 n, 83, 2, pp. 08-15 com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/

galleries.org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-

B

CRITERIA DESIGN

B. CRITERIA DESIGN

B.1 research field - tesselation - geometry B.2 case study 1.0 2.1 iterations 2.2 sucessful species B.3 case study 2.0 3.1 reverse engineering B.4 technique development 4.1 matrix of iteration 4.2 selection criteria B.5 technique: prototypes 5.1 individual prototype 5.2 group prototype 5.3 prototype 1 5.4 prototype 2 B.6 technique: proposal 6.1 site analysis 6.2 proposal B.7 learning objectives and outcomes B.8 appendix + sketches

TESSELLATION Voussoir Cloud

by Iwamotoscott Architecture Tessellation is the tiling of a plane using one or more geometric shapes with no overlaps and gaps. And in this case the Voussoir Cloud, ultralight wooden petals are carved and made to make this amazing structure.

With the work of Frei Otto and Antonio Gaudi, their concept of exploring the structural paradigm of pure compression using an ultra light system was their main driving force.

The overall design and placement of the structure in the gallery was limited by the entry soffit and two long gallery walls. With this being said, the vaults rely on each other and three walls to retain the structure. The context of the place has largely influenced how the structure is built, and because of this, the edges of the structure will be more dense looking.

Also, computational hanging chain models and form finding programs are used to find out the vaul shape based on compression.

Delaunay tessellation maximizes the minimum angles in the triangles, which impacts on the structurality. For example greater petal density at connections, bases and vault connections and a looser arrangement of petals at the upper vault.

In terms of fabrication, a total of 4 different types of petals were created because the difference of each petal arose from the dependency upon its adjacent voids. To manage this, a computational script was developed for Rhino that plans the petal edge curvature.

After all the stuff was digitally modelled, it was sent to laser cut and then constructed in a very specific order.

The one thing about tessellation that appeals to me the most is the fact that the absence of gaps between tiles kind of limits the surface and will create amazing forms.

GEOMETRY SG2012 - GRIDSHELL

by MATSYS

In 2012, Matsys Design Studio participated in the annual Smart Geometry conrefence held in Troy, NY. The main focus of this Gridshell is the design and construction by using only straight wood members bent along geodesic lines on a relaxed surface. A gridshell is a structure which derives its strength from its double curvature and is constructed of a grid or lattice.

The wooden planks are connected with Stainless Steel bolts that fixes them together and also aids in movement. With the help of parametric tools like Grasshopper, Kangaroo and Karamba, the design was developed and analyzed to maximise architectural presence at the space and minimize material wastage.

The use of parametric tools increases the accuracy and amount of material needed.

As timber has different bending qualities and limits, the use of these programs can help in a way that one would need to use less materials to build prototypes that are most likely to fail.

As if one is really building the real prototype through these programs.

Instead of coming up with a concept or design proposal, they have carefully researched and understood the capabilities of the material, which in this case, timber.

Then, it was tested through trial and error to see how far the limits can be pushed.

Also, a feedback loop was designed between the parametric geometric model and a structural model which allows for a smooth workflow that integrated geometry, structures, and material performance.

B.2 case study 1.0

B.2.1

ADDING VARIABLE PIPE + CHANGE IN PARAMETERS

ADDING VARIABLE PIPE + CHANGE IN INPUT CURVES

ITERATIONS

LUNCHBOX PLUG-IN

LUNCHBOX PLUG-IN

B.2.1

CHANGE IN PARAMETER

RS + INPUT CURVES

ITERATIONS

B.2.1

ITERATIONS

CHANGE IN INPUT GEOMETRY + PARAMETERS

B.2.2

Taking inspiration from the geodesic dome, Iâ&#x20AC;&#x2122;ve tried to create a structure that can combine both gridshell and dome. With multiple of these intersecting one another, it could create an interesting pattern in which it can overlap one another

With the Lunchbox Plug-in, I got to create this overlapping triangular panels, which also looks like a sailboat.

The pattern on the surface of this can be furthered explored in different scales and how it interact with different curved surfaces

SUCCESSFUL SPECIES

By twisting and turning the input geometry, I have got this very elegant looking structure, and probably can be built to be a pavillion. This self-supporting structure symbolises lightness and connectivity. The top part looks a little like a shelter too.

Similar to the iteration above, by expanding and contracting the input curve allows me to create different forms of gridshells. This can potentially be another pavilion too, and when cast under sunlight it will create interesting shadows from different views.

B.3 case study 2.0

CANTON TOWER

by IBA Architects, Mark Hemel & Barbara Kuit Geometry plays a big part in the architecture world, and in this case, parametric architecture. Simple geometry such as basic lines, curves and shapes can be altered to become very beautiful things, especially when combined with parametric design.

For example, repetition of geometry and different placement of it can create a very unique space. Like the Canton Tower, it is a sereies of circles that vary in diameter and connected by repeated lines, then twisted and turnt.

But to create such a delicate looking building, accuracy and calculation should be taken into note, and this is where parametric design comes in.

The Canton Tower’s hyperboloid structure is made by two ellipses and rotated relatice to another. The tightening of one of the ellipse forms a “waist” shape and densifies the material halfway up the tower.

To design this complex geometrical tower was not an easy job but it was made possible due to a paramatric software tht generates geometrial and structural model based on a set of variable parameters and lint that data to the drafting software.

The twisting motion that resulted the unique shape was used as a base for the structural wireframe.

B.3.1

BASE CURVE Curves for the tower are drawn, and the top circle is shifted to the Z direction to get the height for the tower

DIVIDE CURVE + LINE Both circles are divided into equal segments and lines are created to connect points

DIVIDE CURVE The lines are divided into points to create the circular levels inside the tower

REVERSE ENGINEERING

INTERPOLATE CURVE Points created from the previous step are used to form circular curves inside

BOUNDARY SURFACES Circular curves inside are used to create boundary surfaces

PIPE + BREP All the lines and curves are turned into pipe with fixed radius and all joined together to become a single BREP

B.4 technique development

B.4.1

CHANGE IN DIVISION OF CURVES

CHANGE IN DIVISION OF CURVES

CHANGE IN INPUT GEOMETRY

CHANGE IN DIVISION OF CURVES

DELETION OF BOUNDARY SURFACES

CHANGE IN INPUT GEOMETRY

DIV

O

MATRIX OF ITERATION

VISION OF LINES

OFFSET POINTS + CONES

CHANGE IN INPUT GEOMETRY

CHANGE IN PIPE THICKNESS

OFFSET CURVES

OFFSET POINTS + CYLINDERS

OFFSET POINTS + CONES

CHANGE IN INPUT GEOMETRY

LUNCHBOX DIAMOND GRID

B.4.1

LUNCHBOX GRID + EXTRUSION

LUNCHBOX GRID + EXTRUSION

LUNCHBOX HEXAGON GRID + EXTRUSION

LUNCHBOX HEXAGON GRID + EXTRUSION

WAFFLE GRID

CHANGE IN INPUT CURVE

CHANGE I CURVE + S

MATRIX OF ITERATION

LUNCHBOX PANEL + EXTRUSION

WAFFLE GRID

IN INPUT SURFACE

LUNCHBOX DIAMOND PANEL + EXTRUSION

WAFFLE GRID

CHANGE IN INPUT CURVE + THICKEN PIPE

LUNCHBOX HEXAGON PANEL + EXTRUSION

WAFFLE GRID

VORONOI FRAME

B.4.1

VORONOI 3D + WEAVERBIRD LOOP

LUNCHBOX PANEL + SPACEFRAME

VORONOI 3D + WEAVERBIRD LOOP

VORONOI 3D + WEAVERBIRD LOOP

SPACEFRAME

VORONOI 3D + WEAVERBIRD MESH WINDOW

MATRIX OF ITERATION

VORONOI 3D + SIERPINSKI TRIANGLES

SPACEFRAME + LOFTED SURFACE

VORONOI 3D + CULL

OFFSET SURFACE + LUNCHBOX DIAMOND PANEL

OFFSET POINTS + SPHERES

VORONOI GRID + EXTRUSION IN Z

VORONOI 3D + CHANGE IN INPUT CURVE

B.4.1

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

MATRIX OF ITERATION

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

CHANGE IN INPUT CURVE + CHANGE IN GRAPH PARAMETERS

B.4.2 LIGHTING Lighting plays a very important role in terms of creating the vibe of the room and how it makes the users feel. Ideal lighting effect would be bright for exhibitions and dimmer when there are performances and dances, and only focus the light at the main attention

FLEXIBILITY Flexibility in terms of the use of material, which is timber. Based on how well it can be bent or twister to create desired effects without it breaking apart.

LIGHTING FLEXIBILITY AMBIENCE CONSTRUCTAB

AMBIENCE EFFECT This relies mostly on the design and form itself. For example, if the ceiling is closer to the ground, a person will feel more restricted and would want to move away, and vice versa.

Preferably higher ground to ceiling height ratio at places near the window. The desired effect is to be grand, elegant and formal.

CONSTRUCTABILITY Constructability in terms of how easy it is to build and how fluid are the connections. The more complex the design, the more thought it has to be put in to think of connections and stability.

LIGHTING FLEXIBILITY AMBIENCE CONSTRUCTABI

BILITY

ILITY

SELECTION CRITERIA

6/10 9/10 4/10 10/10

8/10 4/10 6/10 4/10

LIGHTING FLEXIBILITY AMBIENCE CONSTRUCTABILITY

LIGHTING FLEXIBILITY AMBIENCE CONSTRUCTABILITY

7/10 9/10 7/10 8/10

8/10 8/10 7/10 10/10

B.5 pro

ototypes

B.5.1

INDIVIDUAL PROTOTYPE

For my individual prototype, I have chose to explore more about the waffle grid. This brings in both concepts of geometry and sectioning.

The whole design is first built digitally on grasshopper and then unrolled to be laser cut. With the help of parametric design softwares, it allowed me to create more accurate slots for the pieces of wood to be intersected with each other. Because the slots are the thickness of the material itself, it basically self supports its own, and without using any sort of glue or tape.

Regarding the form of the prototype, I wanted to test out the curvature of the long wood pieces. For example, at spots where the curve is steeper, the cut of the slits will be longer to allow better stability when intersected.

How this prototype has affected my groupwork in the coming slides are in the terms of a rigid framework. The small pieces of MDF are the main support to carry the long strips of MDF. With this being tested, the other test now is to see if this waffle grid will work in twisted strips instead of planar ones.

Main framing and support member that holds long strips together

Long strips that can be varied in design and form

Assemble starting from middle 2 strips

4 strips coming together when there is enough support members

B.5.2

GROUP PROTOTYPE

COMBINATION OF GEOMETRY, SECTIONING, TESSELATION

WAFFLE GRID

TIMBER KIRFING

Mainly used for framing and structural purposes, and how the installation is going to be hung from the ceiling.

To test the twisting and bendability of timber, contributes to the main form of our design.

(Cassandra Seow)

(Sze Ming Tan)

CONNECTION LIGHTING

&

(Chung Tung Tse)

We mostly looked into how paperback panels can be connected through other smaller panels, and different patterns on the panel can create different lighting effects.

PAPERBACK STRIP

CONNECTIONS

The paperback is slotted into a customised 3D printed framing, and it is all hung to the ceiling by a series of bolts and hooks

B.5.3

PROTOTYPE 1

Material: Paper

However, there is a downside to this form.

As paper is a very flexible material, the end product tends to be a little bit messy and chaotic, which is not the design we were looking for. Eventhough it can look aesthetically beautiful, the reasoning behind The main reasoning behind why the form is like the form did not really relate to the context or that is due to the slots in the perspex framing. the function of the site and also did not meet By slotting the paper strips from the top left the selection criterias. slit to the bottom right slit, the middle of the paper will result in twists and bends which Therefore, these even strips of paper are then transformed to different sizes and we decided makes each strip so unique. test out another material in Prototype 2.

For our first prototype, we took the easist material that we can use and which also meets our criterias of flexibility and bendability, which is paper. Long strips of paper were cut and then twisted to create the form.

LIGHTING EFFECTS

B.5.4

PROTOTYPE 2

Material: Paperback Timber

For our 2nd prototype, the design was first digitally made in Grasshopper, to make a more accurate design in terms of connections and form. Paperback was used for this prototype.

It has similar properties to paper but it has limitations in terms of twisting and bending as it depends on the grain of the timber.

The problem that we had for this prototype is the overlapping connection between the paperback strips itself. Unlike paper, the overlapping of these stirips will push the frame away due to the pressure exerted It was solved by manually cutting slits so the top strip can intersect the bottom strip.

Using the same concept as the first prototype, we slot the paperback into the slits and because it has restrictions in bending, the resulting form came out differently. The form was more dynamic and less chaotic, and looked similar to our digital model.

With this being said, we are quite happy with this result, but still it looked chaotic, but better than the paper ones. Therefore, we are thinking to implement a specific order to which the strips can follow and flow through the slots so it will look more in order.

LIGHTING EFFECTS

B.6 technique: proposal

B.6.1

SITE ANALYSIS

SITE MAP (1:2500)

W Hotel Melbourne

Basicaly, the brief for our project is to build a ceiling installation for the ballroom of W Hotel that is to be built in 2020. The hotel is located at 435 Collins Street, in between William Street and Queen Street. The surounding facilities for the building at the moment are banks, nightclubs, offices and many more, which accomodates a different type of people from different fields.

And for the ballroom itsel, we main uses for it are formal events such as exhibitions, weddings and formals. Therefore, the direction of our design is towards being grand, elegant, but also dynamic at the same time.

To approach our design, we have taken a few criterias into note: 1. ROADS & CONTOUR of the surrounding building - The Hoddle Grid around the building has interesting contours and terrains. And with that, we have chosen to implement the contours onto the overall form of our design.

For instance, the RED parts are places with higher ground, with ORANGE, GOLD and YELLOW following accordingly. The red parts will be where the ceiling dips down towards the ground, with the other colors following to dip gradually. The yellow parts (near windows) are to represent flat surfaces as that is Flinders Street, and facing the Yarra River, going accordingly to the view from the window.

2. FUNCTION of the ballroom - As said above, the main functions for the ballroom is weddings, exhibitions and formal events. With places with high uses such as the STAND and SEATINGS, the ceiling will dip lower to push people to that area. For the WINDOW area, there wont be any dips down as to not block the city view.

3. OVERALL LIGHTING EFFECT - The lighting of the ballroom is very important for the users. Our design aims to create different effects on different event, to not make it overly bright or dim.

INITIAL PROPOSED PLAN

Our design all starts from a grid, where we took inspiration from the waffle grid to create the overall form and structural framing. Then, as we were experimenting with loads of twisting and bending of timber, we created the second form which uses large strips of timber intertwined with each other to create like a DNA like structure.

But, a downside to that is, there werenâ&#x20AC;&#x2122;t any reasoning behind the design in terms of flow and how it relates to the context of the site and Melbourne. Also, it could be quite messy and probably hard to build in the sense that timber will rot over time and the intersections between the timber strips might not be as stable.

Therefore, we have concluded with our final form which is long strips of timber across the ceiling, In terms of flow and fluidity, the strips start and end from the stand, to make it the focal point of the entire installation. People will look at the installation and it will guide them on how to look at it, which is they will follow the long strips and end their focus point towards the stand. Also. the other idea for the plan is where the strips converge to the circle in the middle which represents the main focal point.

B.6.1

SITE ANALYSIS

1. ROADS / CONTOUR

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RED - Higher ground level ORANGE - Medium slope GOLD - Low slope YELLOW - Flat surface

2. FUNCTION

3. PROPOSED LIGHTING LAYOUT

B.6.2

PROPOSAL

SECTIO

SECTIO

ON A

ON B

B.7 learning objectives & outcomes OBJECTIVE 1 - INTERROGATING A BRIEF

The brief for this part was pretty interesting in a way that we were required to look into other aspects such as ambience, acoustics, aesthetics, people connections and many more. It was more of a “live” brief rather than a “dead” brief. It has allowed me to expand my design possibilities to potentials. With the help of digital technologies, it was much easier to find relevant information that you could not find on site.

OBJECTIVE 2 - GENERATING A VARIETY

With the use of grasshopper and what we have to do for this task which is the itreration matrix, I can say that I have familiarized myself with Grasshopper after creating more than 100 iterations throughout the process. It reallt allowed me to explore and push my design limits lie never before. Each step through the iteration somehow connects to one another. Within that fixed parameters, the limitation in a way forces one to design and push their limits.

OBJECTIVE 3 - 3D MEDIA SKILLS

From manually making models since the start of university, I was never aware of 3D modelling softwares where you can design the whole model digitally and just print it out, which is much more efficient and accurate. Throughout this assessment I’ve created so many models in a faster way with laser cutting and many more.

OBJECTIVE 4 - ARCHITECTURE & ATMOSPHERE

For our design proposal, one of the main problems were the scale, as these large strips of timber may cause an undesired effect in a ballroom. We have taken that into note and will look into detail for Part C. Even so, our physical prototype turned out pretty well, it’s just that when it comes to reality there will be a lot of problems such as connections, joint and constructability.

OBJECTIVE 5 - MAKING A PROPOSAL

Throughout this whole task, my team mates and I have failed a couple of times in terms of coming out with a proposal. Because to come up with a proposal, all the problems should be resolved and for us, there were some unresolved ones, which resulted in a proposal that could have been much better

OBJECTIVE 6 - ANALYSING PROJECTS

Without precedents or past projects, we would not have known where or how we should start.

I feel that the case studies under each research fields are very helpful in a way that it made me fully understand how a parametric model actually works. The reverse engineer task was also very helpful too, in a way that it improved my grashopper skills and also both top-down & bottom-up approach.

OBJECTIVE 7 - UNDERSTANDING COMPUTATION

In the process of actually computing our structure, it was pretty complex as it was a lot of twisting and bending of timber. We needed to understand the math and logic behind to make it work.

OBJECTIVE 8 - PERSONALIZED REPERTOIRE

I can strongly relate to this because at the start, I did not really like to understand the math and logic behind the model but I loved to make it aesthetically stunning. So for my personal repertoire, I use very simple geometry to create 3D surface and then my creativity starts from there.

B.8 appendix - sketches

LUNCHBOX PLUGIN

EVALUATE SURFACE + SCALING

LUNCHBOX PLUG IN

references

Designbuild.network.com, Canton Tower, <http://www.designbuild-network.com/pr tower/>, accessed 15 April 2017

Iwamoto Scott Architecture, Vossoir Cloud, <http://www.iwamotoscott.com/VOUSSOI 15 April 2017

MATSYS, “SG2012 Gridshell”, <http://matsysdesign.com/2012/04/13/sg2012-gridshell/>,

Pamela Buxton, Iwamoto Scott Architecture’S Vossoir Cloud, (2008), < http://www.bdo scott-architecture%E2%80%99s-voussoir-cloud/3127520.article>

Wikipedia, Canton Tower, (2017), <https://en.wikipedia.org/wiki/Canton_Tower#Structu

rojects/guangzhou-tv-

IR-CLOUD>, accessed

, accessed 4 April 2017

online.co.uk/iwamoto-

ure_and_construction>

C

DETAILED DESIGN

C. DETAILED DESIGN

C.1 design concept 1.1 plan considerations 1.2 section considerations 1.3 workflow diagram C.2 tectonic elements & prototypes joints & connections 2.1 panels 2.2 frames 2.3 frame selection C.3 final detail model 3.1 overall form 3.2 overall form elements 3.3 detailed model 3.4 assembly 3.5 design & budget expectations C.4 learning objectives and outcomes further development 4.1 feedback and development 4.2 new form finding 4.3 prototype testing 4.4 assembly sequence 4.5 prototype 1 4.6 prototype 2 4.7 panel and frame production 4.8 color combinations learning objectives & outcomes

DESIGN CONCEPT

New Form - FLOW Based on our feedback that we got from the interim presentation, the overall form for our design seemed a little bit chaotic, no direct order and some of the prooblems werenâ&#x20AC;&#x2122;t resolved properly.

Taking that into consideration, we made a few admendments and to tightened our concept, â&#x20AC;&#x153;FLOWâ&#x20AC;?. Our initial proposal that had timber strips going through the whole ceiling was said to be hard to construct, as it was too long and would need chunky frames to support it, which takes away the elegance of our whole design.

To further emphasize our concept in our final proposal, we scraped away manual adjustments and really learnt how to take control of the digital design tools that we have, showing how parametric design can create amazing forms.

Using the same material from interim, we have further experimented its limits and tried to present its amazing materiality through a different method, rather than bending or twisting it too hard till it looked chaotic.

C.1.1

DESIGN CONCEPT - PLAN

PLAN CONSIDERATIONS Function + Lighting We looked into detail into our concept by seperating it into two parts, which are plan and section.

As said before in the interim, our plan view created quite interesting forms, but we wanted to develop it further. We took three main points into considerations, wihch were the main functions of the ballroom, lighting layout, lighting effect and pattern.

Regarding on the function of the ballroom, we looked into which part of the ballroom required more light to create that specific ambience and which place requires dimmer lighting setting.

It was towards the stand that requires more lighting and that is why we placed three strips of lights there which created the three voids in our design. The further two voids are made to accomodate lighting for the seatings area.

SEATINGS

STANDS Main Functions

Lighting Layout

Lighting Effect & Pattern

C.1.1

DESIGN CONCEPT - PLAN

PLAN CONSIDERATIONS Multiple Forms Few variations were made to accomodate what we want to acquire in our final design. We have narrowed down our selections and chose it based on: 1. Fluidity - The smoothness and flow of the overall form without it being too chaotic 2. Arrangements for lighting - To accomodate the uses in the ballroom, and to provide adequate lighting 3. Constructability - The design should not be too hard to construct, but connections should be well resolved and blend in into the design.

The highlighted diagram is the one we have chosen.

C.1.2

DESIGN CONCEPT - SECTION

SECTION CONSIDERATIONS Context + Contour The second part, which is the section, we focused more on how we could integrate the Melbourne context and the contour of the site.

From our initial proposal, we have selected to use the surrounding contour to map out our dedsign section and that determines the floor to ceiling height. For our final proposal, we have chosen to use a wider range for the contour to give it a more dynamic form.

With the aid of image sampling and graph mapper, we could map our the contour more accurately compared to tracing it manually, like how we did it at first.

Regarding on how we have placed the contour on the ceiling, we also took the functions of the ballroom in mind. For places where more activities would occur liek the stand, we decreased the floor to ceiling height so that people would tend to focus on more on the activities on the stand.

C.1.2

DESIGN CONCEPT - SECTION

SECTION CONSIDERATIONS Multiple Forms Few variations were made to accomodate what we want to acquire in our final design. We have narrowed down our selections and chose it based on: 1. Floor to ceiling height ratio - Also based on functions, with places that are more crowded to have lower floor to ceiling height.

2. Overall aesthetics - How well can it be integrated to the ballroom and create the right vibe - elegance, sophistication and grand.

3. Suspension height - With the strips suspended from the ceiling, it pin points the dips it create towards the floor.

The highlighted diagram is the one we have chosen. Arcs are added in between curves to make it more dynamic and we can control the lofted surfaces more, compared to manually adjusting it in Part B.

C.1.3

WORKFLOW DIAGRAM

TE

GENERATING FORM Site Analysis Surrounding Context Intended Functions / Users

Concepts Flow and Fluidity

Splitted strip Deconstruc Splitting pa

Movement

Strips and Folding System (Plan Forming) Generate grid as site Form 20 curves within grid

Redefine boundary

Bend curves according to point attractor

Contour (Section Forming) Extract contour data into HUE value

Perpendicu series along Pattern Overlapping Intervals

Create topography surface through Image Sampling and surface grid Curves projected on mesh surface

Arcs formed between two curves & mid point Divide arcs and formed lines between points

Loft along lines as strips

Lightning Effects

Offset selected panels

Offset towa thickness

Iteration forms

Arc Variation (Section Forming)

Mid point identified & move Z direction

Intersection

Project ont

General Form

Divide curves Lines formed between neighbour curves

Extend and to panel B

J

Deconstruc Divide leng

Form line, D

Concealment Shingles & Scales

Points form

Deconstruc Divide leng List points Creating L

Ma

Material b bolts & co

ECTONICS

FABRICATION INSTALLATION

Panels

ps unrolled ct brep - edges anels into A and B

d offset Panel A referencing to create overlapping

Unrolled surfaces

Suspended Steel Cables

Sectional Frames

ular frame duplicated in g curve direction in 1600mm

n between frames and panels

ards Z direction to create

Indexing items

to strip to creates patterning

Joints Connections

ct brep - edges gth at 10mm

Divide length at 10mm

Panels

m cicles

ct surface - edges gth at 20mm - Join L plates

Frames

aterial & Bolts Testing

behaviour on selection of onnections

Laser Cut

Module Module Assemblage Assemblage On site offsite

C2. TECTONIC EL

LEMENTS & PROTOTYPES

JOINTS & CONNECTIONS

We tested and explored these three types of connections.

1. M3 steel bolt and nut 2. Black rivets 3. Interscrew (Chicago Screw)

C.2.1

JOINTS & CONNECTIONS - PANELS

Connection 1

Connection 2

PANELS We tested a few connections to test out how we are going to join the paperback panels together. Due to its thinness direction of timber grain, it could easily resort to cracking.

Connection 1: This connection consists of rivets and L plates. It is desirable but the rivets will come out easily after a gentle pull.

Connection 2: This has a more stable connection compared to connection 1. We used M3 12mm steel bolts and nut to bolt it together. Also, the bolts are quite little in size, therefore not showing much connection and disrupting the design.

Connection 3

Connection 3: By using interscrews, we hole punched the paperback and fit the screws inside.

They look too chunky and defeats the elegance of the model. Besides that, the holes created will be too big and might decrease the structural capability of the timber. The interscrews does not create a rigid connection as it will twist and turn.

C.2.2

JOINTS & CONNECTIONS - FRAMES

1

2 3

FRAME For the connection from frame to frame, it is much easier to resolve because it is a thicker material and not that tedeous. All of the connections consist of L plates and just varied between the type of bolts or screws used.

Connection 1: Using black colored rivets, but due to is short length, it barely goes through the thick MDF and is unstable.

Connection 2: Using M3 bolts and nuts, it created a more desirable effect which has both stability and aesthetic qualities.

Connection 3: Interscrews are used, but same as the panel to panel connection, we feel that it is too big in this scale, and we want the connection to be slightly hidden.

C.2.3

FRAME SELECTION

Diagram 1 Diagram 2

To hold all the panel strips together, we created an overall frame that will be slightly hidden from view, where the frame will be above the panels. We started out with a singular frame following the panelâ&#x20AC;&#x2122;s curved surface, and duplicated it according to the direction we wanted.

Beginning with a full solid frame (Diagram 1), we thought that it would be too heavy in real life and might overpower the design itself. Then we moved on to the hollow frame (Diagram 2), where it will allow lighting services to pass through and would not disrupt viewersâ&#x20AC;&#x2122; attention when they look at the installation itself. Moreover, it will be more lightweight, which is suitable to the lightweight paperback panels.

C3. FINAL DETAIL MODEL

C.3.1

OVERALL FORM

Ceiling Frame

Suspension Cables

Panel Framing

Strips & Panels

C.3.1

OVERALL FORM

SECTION 1:100

C.3.2

OVERALL FORM - ELEMENTS

ELEMENTS

To show the overall form, we created a 1:55 model to see the effects of the con and dips. The individual strips were laser cut, using paperback as the material to its flexibility. It was stuck individually to the frame and that created the w form of the structure. The frame is created in a way that it would leave tiny ga between each strips to allow lighting to shine through. The fabrication sequen as easy as just using strong glue to stick everything together. Connections are shown in this model, but in a magnified one.

1. Laser cut MDF framing

ntour l due wavy aps in nce is e not

2. Individual paperback strips

C.3.3

DETAILED MODEL

PANEL WITH GAPS

To actually see the model is made. It con

1. Paperback panels and attached to self 2. Laser cut frame wit

Firstly, holes are drille bolted with M3 bolts plate. Then, the L pla and bolted togethe connection. Each pa that we would know w part of the frame.Thi gaps in between to l

connections, a detailed 1:5 nsist of:

s that are bolted to each other f made L plate th drilled holes

ed on overlapping panels and s, then attached to a metal L ate and the frame are drilled er to have a secure and rigid anel is labelled individually so which panel would fit to which is model is made to show the let lighting shine through.

PANEL WITH GAPS

C.3.3

DETAILED MODEL

PANEL WITHOUT GAPS

Thi ho to ed pa we ha wh oth ga pla co an is n thr

is model is to show ow the panels connect each other by the dges. With the use of arametric design tools, e are able to accurately ave the panels at sizes here it touches each her nicely. These no ap panels are put in aces where the strips onverge to the end, nd where no lighting needed to be shone rough.

PANEL WITHOUT GAPS

C.3.4

ASSEMBLY SEQUENCE

2. Bolt paperback panels with M3 bolt and nut

1. Align overlapping paperback panels

3. Align s plates to p bolt tog

The whole process consists of:

1. Production of individual L plate - 15 minutes (1 minute per plate) 2. Hole punching to panels and L plates - 10 minutes (150 holes, 4 seconds per hole) 3. Drilling holes to panel, L plate and frames - 5 minutes (15 holes, 20 secs) Ove 4. Bolting L plate to panel and frame - 7 minutes ( 70 bolts, 10 secs)

specific L panels and gether

4. Align to wooden frame

5. Bolt other side of L plate to wodden frame

erall time taken for this section of the model to be made is approximately 27 minutes.

C.3.5

DESIGN & BUDGET EXPECTATIONS

S The main elements that make up our designs are the paperback panels, bolts, L plates, framing.

Timber Veneer Area : Approximately 603.3 m2 Cost : $21,115 ($35 per m2 of paperback) Connection elements (Bolts & L plates) :Approximately $14,500 Framing (Plywood) : Approximately $20,800 Total cost: $56,415 The cost calculated above is just an approximation based on our knowledge and pricing and materials that we are using.

Final 1:5 model

C4. FURTHER DEVELOPMENT

T

C.4.1

FEEDBACK & DEVELOPMENT

D

D

DIAGRAM 1

DIAGRAM 2

After the presentation of Part C, we revised on the feedback and improved on our overall form, connections and design.

Being said our form is too safe, we made it more dynamic by changing parameters, twisting, turning and also producing more iterations.

Instead of keeping it in a grid or a square form, we tested out different layouts and shapes. And, we decided to change the color of the timber to a lighter color to make the ballroom seem more spacious.

Besides that, we also improved our connections by making it not seen to the eye, trying to hide it as much as possible.

We pushed our design limits and boundaries, taking advantage of parametric design tools, we have created a new form that can be taken into further development (Diagram 2).

C.4.2

NEW FORM FINDING

We tried out on a few iterations to test out new layouts and see how it fits in the ballroom, among all, we found out that the curved design is the most dynamic and interesting, which can be explored further

C.4.2

NEW FORM FINDING

C.4.2

NEW FORM FINDING

C.4.3

PROTOTYPE TESTING

Tested for: 1. Patterning - L plates that create a arrow shaped pattern, but might be too me 2. Flexibility - Can be bent quite well

BUT, a few downside to this connection is the metal plate will be showing and th the bolts are bolted at a distance where it is further from the pointed edge.

essy if tons of these are put together

he arrowed part will point out because

C.4.3

PROTOTYPE TESTING

In this connection, we try to hide the bolts from being seen by using black rivet

In attempt again to hide the connections, we introduced a new slip in me

ts. It looks better, but at places where rivets are not placed, the sides will flip up.

ethod. This is preliminary and needs further resolvement to cover the gaps

C.4.3

PROTOTYPE TESTING

To create a pattern where the panel joins together and disappears, we created again an arrow type connection but this time resovled with no gaps.

C.4.4

ASSEMBLY SEQUENCE

Individual slits are cut out and placed in

Metal L plates are me

Hole punch paperback strips, ready for bolting

Hole punch metal plat

easured accordingly

Overlapping paperback strips onto L plates

tes, ready for bolting

Paperback strips and metal plates are aligned and bolted

C.4.4

ASSEMBLY SEQUENCE

Individual paperback strips are aligned to each frame section, drilled and b

bolted together. The L plate acts as a right angle guide to be more accurate

C.4.5

PROTOTYPE 1

Using the slip in method and changing the shape of the male insertion part, we are able to hide the connections but unfortunately, this created a bigger gap and did not achieve the effect we wanted. The strips that are not connected to any frame will tend to bulge upwards in the middle and flare out at the end due to the paperbackâ&#x20AC;&#x2122;s tensile forces.

C.4.5

PROTOTYPE 1

As shown in the picture, the panels flare out where it is not attached to the frame. Because we wanted to hide the connections, we did not bolt the panel to the metal plate then to the frame. Resulting in bulges in the middle.

C.4.6

PROTOTYPE 2

Taking experience from the past few prototypes, we have taken into consideration, why not just cover the bolts by camouflaging it?

For this prototype, we cut out additional paperback strips and slit it into the original 1:5 model just to cover the bolts. We staggered the slit in positions so it can create an interesting pattern. We really find the outcome aesthetically pleasing and also meeting all the requirements that we have set.

FINAL REVISED PROTOTYPE

C.4.7

PANEL & FRAME PRODUCTION

Fabrication of panels and frames: We ordered the paperback sheets from Ventech in the size of 2380mm x 6 university which is 900mm x 600mm, we had to cut the paperback ourselves panels. Besides that, due to the long queue in the universityâ&#x20AC;&#x2122;s fabrication lab, speed up our whole fabrication process. With this being said, we still had to cu scored by the laser cutter.

Cost: The cost for laser cutting all of the panels and frames are reasonable. But we Other costs include connections (bolts etc) and transportation costs.

600mm and 690mm x 600mm, but due to the limitation of fabrication lab in s to the according size and then sent to the fabrication lab to laser cut the , we had to outsource for other laser cutting services which costed more but ut the paperback panels out individually because of the curves that are only

e made a quite a few prototypes and that made our overall cost to increase.

C.4.8

COLOR COMBINATIONS

coppertone + walnut rapture

limed graphite + castlestone

walnut rapture + porto

blizzard + carron

Looking into creating the perfect atmospheric qualities and ambience, we looked into a few color combinations of timber veneer.

Depending on the client, light color combinations can create a more spacious and fresh feeling. Compared to dark color combinations that will have a very grand, formal and mysterious feeling to the user. blizzard + verdi

pewter + malamute

LEARNING OBJECTIVES & O OBJECTIVE 1 - INTERROGATING A BRIEF

I felt that I have looked at the brief in a whole new way after completing Part C, with advice from Part B. Eventhough the brief stays the same throughout the whole project, it is after my groupmates and I after tons of exploration realize that the brief can be looked at more different ways.

OBJECTIVE 2 - GENERATING A VARIETY

From all the critiques and advices, we generated a whole lot more variety and forms, with the help of Grasshopper. With the aid of computational design, it is easier to change and adject according to the requirements.

OBJECTIVE 3 - 3D MEDIA SKILLS

Having this skill is very important to our project as we need all the digital work to actually function when it is produced physically. And with this, a lot of thoughts and considerations have to be taken into note. The sequence of building it is strongly related to how we produced it digitally too.

OBJECTIVE 4 - ARCHITECTURE & ATMOSPHERE

After presenting Part C to crits that come from different backgrounds, we pushed ourselves and what we could design to adapt to the aesthetic requirements needed. It strongly relates to the site and with that being said, it has to push boundaries too. With our design being said to be on the â&#x20AC;&#x153;safe-sideâ&#x20AC;?, we brainstormed a few more new forms.

OUTCOMES OBJECTIVE 5 - MAKING A PROPOSAL

In the interim presentation, we did not fully prepare and some of our words did not match with the diagrams that we proposed. To know what the clients really want and interested in is vital in making a proposal so they will find it more interesting. Also, to show the project physically can let the clients visualize what will actually happen and to show it can actually be constructed, not just a concept or idea.

OBJECTIVE 6 - ANALYSING PROJECTS

Following through all the precendent researches and reverse engineering, we can know in depth what really affects our design and where we get inspiration from.

OBJECTIVE 7 - UNDERSTANDING COMPUTATION

With the help of weekly grasshopper tasks and tutorials, our skills get better week by week which allows us to vastly use the program without limitation due to lack of knowledge.

Despite that, computation also shows us that there are some drawbacks, The digital model seemed well resovled bubt when it is produced physically, we realise that we had to manually adjust elements to make it work.

OBJECTIVE 8 - PERSONALIZED REPERTOIRE

This whole semesterâ&#x20AC;&#x2122;s work allowed me to widen my knowledge in terms of 3D computing, the properties of the materials that we are using and also how to construct it. All of this combined has made me understand behind every project there will be a logic, which will result in the end form.