Ningjing Zhu 660208 Final Studio Air Journal by Ceciliazhu

STUDIO AIR JOURNAL 2016 SEMESTER 2 NINGJING (CECILIA) ZHU 660208 TUTOR MANUEL

STUDIO AIR JOURNAL

Table of Contents Introduction Part A Conceptualisation A.1 Design Futuring Case Study 1 Case Study 2 A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix-Algorithmic Sketches

STUDIO AIR JOURNAL

Part B Design C B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: De B.5. Technique: Pro B.6. Technique: Pro B.7. Learning Objec B.8. Appendix-Algo

Criteria

Part C Detailed Design C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model

0 0 evelopment ototypes oposal ctives and Outcomes orithmic Sketches

STUDIO AIR JOURNAL

Introduction Iâ&#x20AC;&#x2122;m Ningjing (Cecilia) Zhu, and this is my first semester of third year in architecture major under the bachelor of environments. Through previous study in the University of Melbourne, I have learnt basic knowledge about architecture in a more systematic and theoretical way. After experiencing two design studios, I have a better understanding of the process of architecture design and practical methods. In the water studio, I chose Louis Kahn as the master to learn, and was trying to design a building using his thinking and principles. I think through this studio, I stated to know the monumentality of the building and the significance of light and shadow for the space as well as architecture. In the earth studio, more basic design methods were explored through different exercises, I paid more attention on the relationship between interior space and peopleâ&#x20AC;&#x2122;s interactions. In terms of my technical knowledge, I could use autocad, sketchup, rhino, and adobe series quite basically, and have no experience of using grasshopper. In previous studios, I prefer to make physical models rather than digital ones. In studio air, I hope to handle grasshopper, and be more familiar with rhino, and use algorithmic method to establish my design process and work-flow. Additionally, I would like to explore more non-linear design in the studio.

STUDIO AIR JOURNAL

FIG.1: STUDIO WATER FINAL COMPOSITION

FIG.2: STUDIO EARTH FINAL SECTION & PHYSICAL MODEL

STUDIO AIR JOURNAL

PART A CONCEPTUALISATION

STUDIO AIR JOURNAL

A.1. DESIGN FUTURING Case Study 1. Plug-in City, Peter Cook, 1964 Plug-in-City is a project that proposed by Peter Cook in 1964, which is a typical work that illustrated the design principles of Archigram. Between 1960 and 1974 Archigram created over 900 drawings, among them the plan for the “Plug-in City” by Peter Cook (Merin 2013). This project establishes a hypothetical fantasy city, containing modular residential units that could “plug in” to a central infrastructural mega machine. The Plug-in City is more like a constantly evolving megastructure that incorporates residences, transportation and other essential services to the massive framework of the dwellings, and those components are all moved and installed by giant cranes (see figure 3).

FIG.5: ILLUSTRATION OF PLUG-IN CITY P

FIG.4: ILLUSTRATION OF PLUG-IN CITY STUDIO AIR JOURNAL

PLAN

FIG.3: ILLUSTRATION OF HOW COMPONENTS MOVED BY CRANE

STUDIO AIR JOURNAL

Case Study 1. Plug-in City, Peter Cook, 1964 Archigram believed that architecture is an item with the feature of expendability just like a paper, motor car (Cook 1963:16). Because of the high speed development of technology and science, they realized people’s opinions on architecture, space and form should change and improve. ‘Functionalism’ that proposed by Bauhaus was out of date, and could not follow nowadays society to meet people’s needs. Human situations should be corresponding to the changeable environment and activities within the city (Chalk 1963:16), which means in a technological society, people should play a more significant role in determining their individual environment or architecture. So, old perceptions toward architecture and functionalism were supposed to be thrown away. Therefore, they surly expanded future’s design possibilities in architecture, and trying to think in a radical and distinct ways. However, their works mainly remained unbuilt, I think this project show us a way that could be explored more to design architecture that could meet people and societies’ needs.

STUDIO AIR JOURNAL

FIG.6: ILLUSTRATION OF PLUG-IN CITY AXONOMETRIC DRAWING

STUDIO AIR JOURNAL

Case Study 2. The Eden Project, Nicholas Grimshaw, 2001

The Eden Project is a visitor attraction in Cornwall, England. It was designed by architect Nicholas Grimshaw in 2001. The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. Inside the two biomes are plants that are collected from many diverse climates and environments (Eden Project). The biomes consist of hundreds of hexagonal and pentagonal, inflated, plastic cells supported by steel frames. The largest of the two biomes simulates a Rainforest environment and the second, a Mediterranean environment. Each of them consists of several domes that jointed together, and linked by the middle core.

STUDIO AIR JOURNAL

FIG.7. PANORAMIC VIEW OF THE EDEN P

PROJECT

STUDIO AIR JOURNAL

Case Study 2. The Eden Project, Nicholas Grimshaw, 2001 I think this complex is an excelent example for future architecture design. According to Fry (2008, 16), in order to achive sustainability, not only the design process and techniques should be changed, but also the ideology and entire minset. In terms of this architecture, the atchitect use more creative structure and material to make it more sustainable and interactive. The transparent ‘windows’ in each hexagon and pentagon are made of ethylene tetra fluoroethylene copolymer (ETFE), each window has three layers of this incredible stuff, inflated to create a two-metre-deep pillow. Although the ETFE windows are very light (less than 1% of the equivalent area of glass) they are strong enough to take the weight of a car. Additionally, ETFE can transmit UV light, and is non-stick, self-cleaning and lasts for over 25 years (Eden Project). Therefore, the building is more interactive for prople to contact with nature no mater indoors or outdoors. Additionally, this building took a good advantage of computation design by applying Fibonacci’s sequence and Buckminster Fuller’s revolutionary domes through hexangle tessellation. While program emulates natural flow of ecosystems, it encompasses wind turbines, geothermal energy plants, adn controlled conditions that keep the space comfortable and suitable for wildlife adn human beings. Overall, the building incorporates parametric and sustainable thinking into both construction adn deisgn process, thus innovatively completing a amzing example for multiple-use, environmentalfriendly, and interactive space. It could satisfy primary direction that mentioned in Fry's introduction about the future design.

STUDIO AIR JOURNAL

FIG.8: HEXGONAL STRUCTURE FRAME

FIG.9: INTERACTIVE SPACE IN THE EDEN PROJECT

STUDIO AIR JOURNAL

A.2. DESIGN COMPUTATION Heydar Aliyev Centre was designed to become the primary building for the nationâ&#x20AC;&#x2122;s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future. The design establishes a continuous, fluid relationship between its surrounding plaza and the buildingâ&#x20AC;&#x2122;s interior. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. This fluidity of the building is achieved by advanced computing not only during the design process, but also in the construction stage. Computing was applied to have super-numerical control, so all the unknowns are reduced to a minimum. Additionally, parametric software is heavily used to develop the skin to make it more rational and efficient. It displays mastery of technology and material, all underpinned by the parametric dogma that defines the building.

To begin with, computational design gives designers more possibilities to explore highlycomplexity and non-linear concepts in the design concept stage, and could achieve them into reality with the aid of computation during the construction process. Zaha Hadid is a pioneer of parametricism, and she liberated architectural geometry with the creation of highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life. Heydar Aliyev Centre is one of the most famous design of her works.

STUDIO AIR JOURNAL

FIG.10 HEYDAR ALIYEV CENTRE OVERVIEW

With the rapid developm and technology, comput a trend in architecture believes that computatio of architecture.

Before the argument on necessary to classify the and computerisation. Th lecture in this week, co mode that architects u drafting board to make d way, while computation processing of information elements which constitu (Peters 2013: 10). In this w to explore the benefits architectural design proc

ment of computer science tational design has become e design. Peters (2013: 10) on is redefining the practice

computational design, it is e definitions of computation hrough the discussion and omputerisation is a working use computer as a virtual drawings in a more effective n could be defined as the n and interactions between ute a specific environment weekâ&#x20AC;&#x2122;s journal, I would like of using computers in the cess. FIG.11 INTERIRO OF HEYDAR ALIYEV CENTRE STUDIO AIR JOURNAL

A.2. DESIGN COMPUTATION Furthermore, computational design also facilitates the traditionalists who would like to simultaneously look back in time, and explore into the future. Subdivided Columns - A New Order was designed by Michael Hansmeyer in 2010 (Hansmeyer, 2010). This project involves the conception and design of a new column order based on subdivision processes. It explores how subdivision can define and embellish this column order with an elaborate system of ornament. An abstracted doric column is used as an input form to the subdivision processes. The process is designed to produce a column, rather than design a column directly. This process can be run again and again with different parameters to create endless permutations of columns. These permutations can be combined into new columns, and can form a point of departure for new generations of columns. The architect assumes the role of the orchestrator of these processes. Without the computational aid, I think it is impossible to build the intricacy so effectively and flexible. In conclusion, computational design makes a significant difference and advantage through the design process to help us explore more concepts. It is not only give architects more opportunities to create crazy ideas, and also promote the renovation or protection for heritage and historical buildings. However, it is noting that designers should not be restricted by the computer, more techniques could be incorporated into the whole design process.

STUDIO AIR JOURNAL

FIG.12 SUBDIVIDED COLUMNS OVERVIEW

FIG.13 SUBDIVIDED COLUMNS PLAN

FIG.14 SUBDIVIDED COLUMNS DISPLAY

STUDIO AIR JOURNAL

A.3. COMPOSITION/GENERATION In terms of advantages, generative design is characterised by generating endless variations. Their integration into the design process allows the development of novel design solutions, difficult or impossible to achieve via other methods. Peters believes that “Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.” The Labrys Frisae Pavilion by THEVERYMANY for Miami Art Basel used parametric software to compute a self-supporting form made of thin sheets of material. In this research, projects are described as stripes, nested on flat sheets of material and cut, then attached to one another with thousands of rivets, finding curvature as they are joined to their neighbours. It could be seen from the figures that numerous nested parts are quite different from each other, and joined together in distinct order. During the design and construction process, parametric modelling and algorithmic thinking are necessary. The complex forms would be impossible to construct and establish with traditional, analogy methods. Nowadays, the world is increasingly infiltrated by electronic systems and devices, and the role of design is shifting in response to these changes. In the architectural design field, generative design is becoming more and more popular, which is treated as an innovative design approach. It is related to a form of artificial life, prone to, like the natural world, principles of morphogenesis, genetic coding, replication, and selection. Algorithmic thinking, parametric modelling, and scripting cultures are included in the method (Terdizis, 2003). In this week’s journal, I would like to investigate both the advantages and shortcomings of this approach to design.

STUDIO AIR JOURNAL

FIG.15 LABRYS FRISAE PAVILION OVE

FIG.16 LABRYS FRISAE PAVILION LOG

ERVIEW

GICAL DESIGN DIAGRAM

STUDIO AIR JOURNAL

A.3. COMPOSITION/GENERATION The TWIST at the Timber Expo in Birmingham is an experimentation in the properties of milled plywood, developed throughout 1:1 tests. Through these experiments, The TWIST seeks to gain full control of the material properties, developing articulated surfaces with the variable orientation of its elements. Computational techniques used to generate forms were calibrated and tuned based on the results of physical experiments on plywood strips. These tests, which observed the possible twisting angles which could be achieved with different end rotations and rib radii, identified the effective range of geometries, and served as the bridge between the physical and digital realms. The twisting geometry chosen for the material exploration was designed to accommodate for the specific ability of the system to achieve synclastic surfaces. Through my investigation and analysis, there are two main advantages of the method. To begin with, designerâ&#x20AC;&#x2122;s creativity may be restricted by applying this method. Generative design can be summarily described as form creation through algorithms, thus designers pay more attention to understanding of the theory rather than design concepts. This opinion is also raised by Terzidis (2009: p.xx). For example, in the project of Subdivided Columns that I used in A.2. design computation, the designed process can be run again and again with different parameters to create endless permutations of columns without thinking and creating from designers. Additionally, the outcomes of this method could not be predicted, and it may not provide concept that meets requirements of the design. From my perspective, I think generative design method should be promoted in order to offer more opportunities for designers to explore through the whole design process no matter conceptualisation or constriction. 22

STUDIO AIR JOURNAL

FIG.17 THE TWIST OVERVIEW

Furthermore, this des promotes experiments wit to simulate building (Peters 2013: 13), thus performance analysis an about material, tec parameters of production their design drawings. Th responsive designs could more design options coul and more architectural d be analysed during the d

sign method th computation performance incorporating nd knowledge ctonics and n machinery in herefore, more d be created, ld be explored, decisions could design process.

FIG.19 THE TWIST DETAIL

STUDIO AIR JOURNAL

A.4. CONCLUSION

In this part of journal, three topics are explored. In the A.1, three features are raised about the future design, which are interactive, sustainable, and innovative. Archigramâ&#x20AC;&#x2122;s principles could satisfy peopleâ&#x20AC;&#x2122;s needs, solve todayâ&#x20AC;&#x2122;s rapidly increasing population issue, and incorporate advanced technology

into

architecture

design.

Architectural

languages are supposed to be changeable to use the computation resources and the environment. In the A.2, it is a trend of computational design in the field of architecture, numerous advantages could be seen during the design process. For A.3, generative design is an innovative method that offers designers a new mode of design approach that could explore more ideas and concepts during the whole design process. During the investigation of the part, I was interested in the generative design, so I would like to choose biomimicry or pattern as my research filed in part B.

STUDIO AIR JOURNAL

A.5. LEARNING OUTCOMES

In the study of part. A Conceptualisation, I started to have a systematic knowledge of the basic theories and principles about computational design by reading or watching online resources and article in the LMS. Moreover, I have a better understanding of the parametric design, algorithmic thinking, and the relationship between computational design and the architecture design through the lectures and tutorial discussion. In the process of writing journal, more investigations are researched, and I could have a more direct observation and analysis on how to applying theories into practice. Furthermore, critical thinking is also important for me during the study. It is essential for me to enhance my abilities to analyse, systematise, visualise, and make in order to satisfy higher requirements of the architects. During the rest of the semester study, I need to pay more attention on the learning of software, and exercise more exploration to consolidate the knowledge.

STUDIO AIR JOURNAL

A.6. APPENDIX-ALGORITHMIC SKETCHES

STUDIO AIR JOURNAL

PART B CRITERIA DESIGN

STUDIO AIR JOURNAL

B.1. Research Field Tessellation The research field I choose is tessellation. It could be simply defined as repeating shapes or patterns that cover a surface without gaps or overlaps1. Tessellations are sometimes referred to as “tiling”. The differences between this two terms determined by the repeating shapes. Tiling only use polygons, while tessellations could be formed by polygons and other irregular shapes, thus creating more flexible and interesting patterns2. Tessellations could be found in numerous fields. In nature world, many items could be considered as tessellation patterns, such as bee honeycombs, cracked mud, and turtle shells. Tessellation is also a study field in mathematics, in which many categories of tessellations are divided. For example: wallpaper groups, aperiodic tiling, and voronoi tilings 3. According to the theoretical knowledge, tessellation could not only form 2D pattern, but also for 3D or higher dimensions. Tessellation elements are significant resources for art creating and forming. Maurits Cornelis Escher was an well-known artist who incorporated complicated tessellation patterns into his artistic works 4. Tessellations can be applied to architecture, and there is a long history in architecture for tessellation use. The earliest trace have been found in around 4000 BC, tessellations were used as building wall decorations by Sumerians5. They were also extensively used in Islamic architecture (see Figure 1). 1.”What is tessellation”, <http://www.tessellations.org/tess-what.shtml> 2. Jaspreet Khaira, What are Tilings and Tessellations and how are they used in Architecture, <http://www.butrousfoundation.com/ysj/wp-content/uploads/Issue07/What-are-Tilingsand-Tessellations-and-how-are-they-used-in-Architecture.pdf>. 3. Margenstern, Maurice, “Coordinates for a new triangular tiling of the hyperbolic plane”. 4. ”What is tessellation”, <http://www.tessellations.org/tess-what.shtml>. 5. Jaspreet Khaira, What are Tilings and Tessellations and how are they used in Architecture,

STUDIO AIR JOURNAL

FIG.1. SAINT PETERSBURG MOSQUE FRAGME

ENT OF TILED WALL

STUDIO AIR JOURNAL

Nowadays, tessellations are used in architecture widely because of the development of computational design techniques. Both 2d and 3d patterns could be applied to building faรงades or spatial design6. Tessellation patterns can create eye-catching and interesting effect. There are some projects shown the applications of tessellation in figures. According to these figures, it is noting that contemporary design attempts to use tessellations in different ways during the design process. Parametric tools could also help to do some material, lighting, and effect stimulations.

FIG.2. POLYP.LUX BY SOFTLAB

6. Mark Garcia, Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design

STUDIO AIR JOURNAL

FIG.3. THE CONGA ROOM BY BELZBERG

G ARCHITECTS

STUDIO AIR JOURNAL

B.2. Case Study 1.0

IwamotoScott - Voussoir Cloud

Voussoir Cloud was designed by IwamotoScott for the Southern California Institute of Architecture gallery in LA. With structural engineering collaboration by Buro Happold, fabricated and installed with the help of a group of SCIArc students in 20087. Instead of placing a design object in the place, it tried to creating immersive experience in the space. It also explored spatial, material and experiential implications that related to perception, weight and structure. The overall structure could be stimulated by using Kangaroo plug-in in Grasshopper, and the detailed pattern investigates the application of 3D tessellation in architecture. The form of Voussoir Cloud is the tessellation patterns of petals. From figure 5 and figure 6, tessellation patterns could be found, and the fabrication method is analysed. They investigated the possibilities of computational origami to produce curved folds, tested the computational geometries optimazation 8.

FIG.4. VOUSSOIR CLOUD

7. â&#x20AC;&#x153;Voussoir Cloud Los Angeles, CA, United Stateâ&#x20AC;? from http://architizer.com/projects/voussoir-cloud/. 8. IwamotoScott Architecture, from http://www.iwamotoscott.com/VOUSSOIR-CLOUD.

STUDIO AIR JOURNAL

FIG.5. VOUSSOIR CLOUD DETAILED PE

ETAL

FIG.6. VOUSSOIR CLOUD PETAL GEOMETRIES

STUDIO AIR JOURNAL

B.2. Case Study 1.0 Matrix Specie 1 Change basic parametric: z direction and number; unary force direction and number; scale of voronoi; stiffness; the location of i force.

Specie 2 Change curve shape

STUDIO AIR JOURNAL

B.2. Case Study 1.0 Matrix Specie 3 Box morph with three exploring geometries.

Specie 4 1. Change point number (reduce to 3) 2. Mesh + effect

Specie 5 1. Change point number (add to 10) 2. Weavebird & Mesh + effect

Specie 6 1.Use weavebird to add geometry. 2. Populate points and add spheres tunnels to the mesh surface.

STUDIO AIR JOURNAL

Selection Criteria Aesthetics

Functionality

Selected design should be attractive and comfortable for users. This is not only outside of the design, but also interior design and spatial design, such as the light and shadow effects of the design.

Selected design is supposed to be functional. Not only a object to see or view, it should be interactive and usable.

This iteration gives sufficient space for users, and the structure is stable and easy to fabricate. The limitation of it is the appearance that is not so attractive and creative.

This iteration could be seen as a structure of the building or construction. The appearance of it is quite similar to case study 1, if material is selected suitable, it could be transparent to create beautiful lights and shadows.

STUDIO AIR JOURNAL

Site Adaptivity

Fabrication/ Buildability

This criteria aims to check the design could be suitable for site or not. Is there any specific situations should be considered during the design process.

This criteria is considered about whether selected design could be fabricated in the reality. This is quite important for making prototypes, and selection of materiality.

This iteration forms a great central space, and the openings could form beautiful shadow and light effects. The structure is stable, and it is easy to fabricate.

This iteration is similar to above one to some extend. This could serve more people, and cover more spaces. This could be served as a recreational spaces. The whole space could be divided into quiet areas and public areas for different users.

STUDIO AIR JOURNAL

B.3. Case Study 2.0 MATSYS-Shellstar Pavilion

Shellstar Pavilion was designed by MATSYS in 2012. The pavilion serves as a social hub and art centre for Hong Kong design and art festival. The composition intended to achieve maximal spatial performance, at the same time, could use minimal material and simple structure. As a result, it could be an efficient, reasonable, and temporary construction. The Shellstar Pavilionâ&#x20AC;&#x2122;s design process can be divided into three stages: form-finding, surface optimization, and fabrication planning/ penalization. According to my research field, tessellation patterns is applied to the surface of the pavilion. The use of tessellations could also help to achieve its goal of minimizing material because there is no gaps between tessellation patterns. I think the most related part of the project is the surface optimization. The structure is composed of nearly 1500 individual cells. In order to achieve the form of the pavilion, every cell is slightly non-planar, while it could not be too non-planar because it needs to be cut from the flat surface sheet. So parametric tool was used to optimize each cell to make the whole surface.

FIG.7. SHELLSTAR PAVILION

From design, fabrication to assembly, only 6 weeks was spent with the assistant of parametric modelling environment. Critically, the project achieved most of the objectives explained above.

9. MATASYS Shellstar Pavilion from http://matsysdesign.com/2013/02/27/shellstar-pavilion/.

STUDIO AIR JOURNAL

FIG.8. SHELLSTAR PAVILION

STUDIO AIR JOURNAL

Reverse-engineer

Stage 1. Draw the basic shape of the design.

Stage 2. Create a hexa-grid mesh on top of the basic shape.

Stage 5. Run the Kangaroo stimulation, use spring force, form the final lineworks of the project. 44

STUDIO AIR JOURNAL

Stage 3. Trim the hexa-grid mesh by using the outline shpae.

Stage 4. Set anchor points and other parametrics for preparation kangaroo stimulation.

STUDIO AIR JOURNAL

B.4.Technique: Development Specie 1 1.Change anchor points 2. Weavebird subdivision mesh

Specie 2 Weavebird mesh effects

Specie 3 Weavebird more mesh effects explorations

STUDIO AIR JOURNAL

Case Study 2

2.0 Iteractions

STUDIO AIR JOURNAL

Case Study 2.0 Iteractions Specie 4 1. Weavebird add geometries to the mesh surface. 2.Populate points and add spheres to the meshsurface. 3.Using attractor to control geometriesâ&#x20AC;&#x2122; sizes.

Specie 5 Mesh + effects explorations

STUDIO AIR JOURNAL

Case Study 2.0 Iteractions Specie 6 Box morph for parts of the mesh surface.

Specie 7 Extrude base surface and explore with Mesh + effects.

Specie 8 1. Loft base 2. Mesh+ effects

Specie 9 1. Create sphere/mesh sphere 2. Mesh+ effects

STUDIO AIR JOURNAL

B.4.Technique: Development

There are some selected iterations that I found intresting to explore further. After two case studies, I have a deeper understanding in my research field-tessellation. I would like to use tessellations into my design. Proper use of tessellations in architecture not only could create eye-catghing appearance, but also could make the design more efficient with the help of computational tools during the design process.

STUDIO AIR JOURNAL

B.5. TECHNIQUE PROTOTYPE Prototype 1 Using this method, I could not create the surface opening, and the unroll surfaces are quite difficult to join them together.

a. Using Polyhedra plug-in in Rhino

This is a more practical way for me to create the prototype, some of the edges are joined, and it is easier for me to fabricate for my prototype.

b. Using Ivy plug-in in Grasshopper

STUDIO AIR JOURNAL

Three join methods exploration

Overall unroll surfaces, and oppennings are cut for further steps.

Method 1. Adding extra edges like the photos above, and use glue to join them together.

Method 2. Using map pins to join teo faces together.

Method 3. Using ropes to wrap them together.

STUDIO AIR JOURNAL

Prototype 2

This prototype is suitable to make 3d printing, I changed the rhino file to meet requirements for 3d printing.

Using 3D Printing Technology

Prototype 3

Using Pasta to make prototype 3 It could be seen that this exploration is not quite successful because the structure could not be sticked together, map pins are used to make the model stable. I think it is better to use 3D Printing for making this prototype.

STUDIO AIR JOURNAL

Achieve Design Goals Through the prototype exploration, I found that sometimes ti is difficult to transform the screen designed products into reality. It is important to meet the requirements for different fabrication methods. In terms of my prototype, I think it could address the given brief for following reasons: 1. They create useful space to meet the exhibitionâ&#x20AC;&#x2122;s requirements. 2. The pattern fits to my research field -tessellation. 3. These pattern creates beautiful light and shadow that I was expected.

STUDIO AIR JOURNAL

B.6. TECHNIQUE PROPOSAL Site Analysis

Merri Creek Trail

Melbourne CBD

Selected Site

Merri Creek Site Plan

Bridge

STUDIO AIR JOURNAL

Transportation According to the Merri Creek Trail map, the public transportation in this areas are quite convenient.

Flora & Fauna Through the site visit observation and research. This area is featured by the diversity of species, and different landscape forms. These are good opportunities to incorporate site context into exhibition design.

Public Facility It could be seen from the photos, the selected site are accessible for numerous public areas, such as kids playground, BBQ areas, Bridges, parks, and rest areas. Therefore, this is a suitable place that could attract more public users.

STUDIO AIR JOURNAL

Design Proposal

Design Precedent & Concept

STUDIO AIR JOURNAL

Through the site visit, I found some environmental issues that could be set as my exhibition topic-water shortage & water pollution. My design intent to remind people to appreciate the water resources by experiencing different spaces.

Water Pollution

This multiple spaces could also provide opportunities for people to interact with nature. Semiopen spaces are offered that is more flexible for multiple users. People could chatting with friends, playing around different spaces, or enjoy individual relax time. This space could be also seen as a special path, through which people could experience different atmospheres.

Water Shortage

STUDIO AIR JOURNAL

Design Process

Design Concept

Form Finding

STUDIO AIR JOURNAL

Design Plan & Circulation Annotation

STUDIO AIR JOURNAL

B.7, Learning Objectives & Outcomes In this part, I will refer to learning objectives from Studio Air Course Reader in order to check what objectives I have achieved, and what I need to improve in the following study process. Objective 1. “Interrogate[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

For objective 1 & 2, I think I have achieved this objective partly. During the design process, I could focus on the design brief, and put its requirements into consideration during the exploration and design process. For example, in the study of B.2. and B.3., I was trying to explore as many iterations as I can in order to create some iterations that could be used in later deign. With the grasshopper and its numerous plug-ins, I found many plug-ins could simplify the algorithmic process, and achieve more complex design intents. Kangaroo is a essential plug-in during my case study, I start to fully understand how these digital tools could be used to stimulation and assist Mesh+ is one of the plug-ins that is quite convenient to deal with mesh related design. Through the case study of Shellstar Pavilion, I have a better understanding of how computational tools could be used during the form-finding, surface optimization, and fabrication planning/ penalization process. Digital technologies give us more opportunities to explore more complex design concept. However, I still need to learn more in order to avoid this useful tool restricting my design potential because of insufficient technology knowledge. During the reserve-engineering process, I found it is easy to understand a completed definition, but when I actually reverse the project by myself, there are lots of problems that without my expectation. More hard works need to be done for my further improvement. Objective 3. Developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

For Objective 3, this is a significant part that I need to improve further. In the study of prototype, I could not take fully advantages of parametric tools to make the physical prototypes. Although, I have learned some basic knowledge of 3D printing and laser cut (in the aspect of unrolling surface and create tabs). I think these technologies are not difficult as i expect. I need to spend more time to practice these skills. Objective 4. Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

For Objective 4, I think I have not understood this question, and need more time to explore the answer during the following study of the course. 66

STUDIO AIR JOURNAL

Objective 5. Developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

For this objective, I think I have achieved the former part, but have not for later part. In the design proposal, I have a clear direction of my exhibition environmental problem-water, and stick to it through the whole design process. But according to the feedback from interim presentation, I found I have serious problem for making my arguments persuasive. I think my problem is think not enough during the design process. For example, for every design selections, I need to ask more for myself that why I do this selection no matter the selection is large or little. Furthermore, both of tutor and guest tutor mention the narrative of presentation. I am not good at oral presentation, sometimes could not express my design intends and concept. More descriptions are made rather than critical thinkings. This is what I need to improve further. Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

This objective is achieved through the writing of the journal. Through former feedbacks I got, I need to white content about more critical thinking rather than description. Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming;

Through the study of part B, I have learned some related knowledge in my research field-tessellation. This is a good opportunity for me to have a better understanding of this type of projects. It is quite useful that I can use it in my following design study. I think I have already owned the basic understanding of this fields, and could explore it further. Objective 8. Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

For the last objective, I think it is a big objective, and I am on the way of learning. Some basic principles have been learned, but it still need to be explored further during the following study.

STUDIO AIR JOURNAL

B.8. Appendix-Algorithmic Sketches

STUDIO AIR JOURNAL

PART C DETAILED DESIGN

STUDIO AIR JOURNAL

C.1. DESIGN CONCEPT Interim Feedback Design Proposal In terms of the design proposal, I could concentrate on the water pollution issue, and thought about how to design the composition that could stick to this environmental topic. More technical skills need to be explored to form the final design.

Concept According to the design concept, although I could think about designed details that related to the environmental topic, there is still a large gap between what I water users to feel and how users actually interpretate my design. I need to consider more about how to create the atmosphere and reflect my design concepts that users could understand.

Prototype This is an important part that I need to improve a lot. In the interim presentation, I explored the methods of unroll surface in order to fabricate. But there was something unsolved that I need to figure out. My prototypes were basically on the conceptual level, more practical tests and material selections need to be taken into consideration. 72

STUDIO AIR JOURNAL

Response & Improvements Design Proposal After discussion with teammate, new design proposal is settled. We decided to choose air pollution as our environmental topic. We will think about how to combine our design together to strengthen the topic. More technical skills will be use to form the satisfying design.

Concept In order to strengthen the design topic, we want to start the design emotionally, which means trying to achieve the design proposal through creating different atmosphere, making the design interactive and dynamic. It is important that we could express and interpretate the concept that users could experience through the design.

Prototype More prototypes need to be explored in terms of different materials, different joint methods, thus making sure the design could be fabricated and practical to achieve the outcomes and effects that we are supposed to.

STUDIO AIR JOURNAL

DESIGN PROPOSAL Air Pollution & Smog Air pollution is one of the most serious

environmental

around

the

world.

issues Although

Australia is a country that enjoys the beautiful environments and clear air, It is important to remind people to protect the fresh air. Once the damage is caused, it is much more difficult to eliminate the damage than creating the problems. Therefore, we proposed to design an exhibition in a close space that people could experience the polluted air, and realise the significance to protecting and appreciating the fresh air.

STUDIO AIR JOURNAL

Site Analysis

Selected Site

STUDIO AIR JOURNAL

Through the site visit, we chosen marked point as our design site. There are several main reasons for the site selection: 1. There is a open space around the site, so it is quite suitable to construct our design. 2. We want to make a distinctive contrast between outside space and the designed interior space. This area enjoys the beautiful sight views, and clear & blue sky, thus creating contrast when people enter our design to experience the dark, unclear atmosphere. 3. According to the analysis diagrams on the right, the transportation is convenient. 4. There are many characterised features near the design site, so it oculd attract more people to access to out design exhibition. For example, the CERES is close to the sitre, people who are willing to protect the environments would be interested in our design, and experience it.

Spaces

green space

circulation

water system

Features

Bridge

Environmental Community

Creek View STUDIO AIR JOURNAL

Form Finding Precedents

"Head in the Clouds" Pavilion

Get inspiration for interior space.

Cup ins Donova

Exisiting Design Combinition

Dense Tunnel

STUDIO AIR JOURNAL

Tesselation

Various forms o

stallation by Tara an.

of balls exploration

Form Exploration Using metaball to reflect the forms of clouds.

Changing numbers and locations of different balls.

Setting three balls for final design.

Using weavebirds to subdividethe surfacefor further exploration.

STUDIO AIR JOURNAL

Design Concept Diagrams

1. Overall Impression From a distance, visitors could be attracted by the cloudshaped design

2. Closer Impression & When people walk close to to consider why the cloud thinking about the environ and smog.

STUDIO AIR JOURNAL

Thinking o the design, they are supposed d looks quite dark or grey, thus nmental issues of air pollution

3. Interior Space Atomasphere When people enter the exhibition, they could experience the atmosphere through the journey across the exhibition. They could have a deeper and more direct impression about the air pollution issues. STUDIO AIR JOURNAL

Pattern Refining

Original Concept

Solid

Analogy for Original Concept Pattern is an important part in our design for creating atmosphere & reflecting environmental topics. Our concept for pattern is inspired by the alveoli, because polluted air is similar to the lung with numerous alveolis; additionally, polluted air is definitely bad for human's lung (cause damage for people's health).

Void

STUDIO AIR JOURNAL

Final Pattern After exploring with a series of patterns that inspired by the original concepts and the branches analogy,final patternn is selected due to its fine effects when putting pattens onto the whole surfaces of the design exhibition.

STUDIO AIR JOURNAL

Design Form

Concept Explanation Outside: from the outside, the form of the design reminds users of clouds; grey to indicate polluted air.

Inside: the entrance has the normal height while height of the exit is quit come out by bowing. This is supposed to provide a jounal that is more

showing once the air pollution damage is caused, it is difficult to dismiss the d

strenghthened by extrusion whose height is also setted in terms of the dista

and the entrance (more far away from the entrance, the extrusion is deep

users. These extrusions are also adding the atmosphere of polluted air. The in air pollutionâ&#x20AC;&#x2122;s harm to human health.

Frame structure: make the form more stable; balck is used to make the desig 84

STUDIO AIR JOURNAL

Pattern

patterns on the surface are

Extrusion

te low that users could only and more difficult to walk,

damage. This concept is also

ances between the location

per to hinder the jouney for

nterior design also refers

gn more thick and apparent.

Frame Structure STUDIO AIR JOURNAL

Technique Diagram USing weavebird to create model frame.

Setting ballsâ&#x20AC;&#x2122; locations

Using metaball to form the basic shape.

Drawing patterns of the form.

Putting patterns to the whole brep.

STUDIO AIR JOURNAL

Creating extrusion in terms of the distance between each surface â&#x20AC;&#x2DC;s centre and the opening point (the nearer to the entrance, the height of the extrusions are smaller).

Setting zero as the height of all of the extrusions to form the surface of the brep.

Controlling the height of the surface, and delete extrusions that are too close to the ground.

Cutting the whole brep to get the final form of the digital model, delete the openings.

Combinning three layers together to get the final model.

e e e

STUDIO AIR JOURNAL

C.2. TECTONIC ELEMENTS & PROTOTYPE Construction Preparation

Pattern Layout

Surface Layou

Consideration f

Because the mate are transparent, it numbers on the sur to make the mode unroll surfaces acc the tabs.

Unroll Surface 88

STUDIO AIR JOURNAL

for Fabrication

riality of patterns and panels is not suitable to carve the rface of the tabs. So we need el as the order of the original cording to different shapes of

Frame Layout STUDIO AIR JOURNAL

Frame Prototypes Prototype 1

Prototype 2

STUDIO AIR JOURNAL

Join Method: Using “I” shaped stable & brackets. Advantages: cover less areas; stable Disadvantages: more materials will be used, not very convenient.

Join Method: Using “U” shaped stable. Advantages: more convenient; using less materials; Disadvantages: cover more area that looks a little bit messy.

STUDIO AIR JOURNAL

Frame-making Process

Tools

Test & Adjust

After testing the frame structure, this kind of material is not strong enough to support patterns and extrusions. So we decided to use another method to make the frame structure.

STUDIO AIR JOURNAL

Laser cut panels

Frame connections

Whole frames

Material Selection in Reality

Using light steelwork to build the frame structure in reality to support the pattern and extrusion of the design. Screw and nut are used to connect the whole frame structure.

STUDIO AIR JOURNAL

Panel Prototype Prototype 3

Frame-making Process

Laser cut panels

STUDIO AIR JOURNAL

Unconnected panels

Material: Acrylic Panels Joint Method: Using â&#x20AC;&#x153;Uâ&#x20AC;? shaped stable. Using black tapes to form the frame. Advantages: stable to support the patterns and extrusions; looks elegant. Disadvantage: the material is quite brittle that when using stable gum.

Connected panels

Part-completed form with patterns

STUDIO AIR JOURNAL

Pattern Prototypes Pattern Comparison

Pattern 1: too complex

Pattern 2: simplified version

Process & Combinition Comparison

Panels of patterns 96

STUDIO AIR JOURNAL

Acrylics Panels + Patterns

Pattern 3: concept of branches is not apparent.

Pattern 4: best version is simple with proposed concepts .

1. Acrylics Panels + Patterns Advantages: easy to combine them together; stable to hold the patterns; looks more elegant. Disadvantages: using more tapes. 2. Frame + Patterns Advantages: using less tapes; Disadvantages: there is little room to stick the pattern to the frame; patterns are easy to be damaged only with frames. Frame + Patterns STUDIO AIR JOURNAL

C.3. FINAL DETAIL MODEL Model-making Process

STUDIO AIR JOURNAL

Model-making Process

100

STUDIO AIR JOURNAL

101

Final Model

102

STUDIO AIR JOURNAL

103

Final Model

104

STUDIO AIR JOURNAL

105

Final Model

106

STUDIO AIR JOURNAL

107

Final Model

108

STUDIO AIR JOURNAL

109

Final Model

110

STUDIO AIR JOURNAL

111

Site Plan

112

STUDIO AIR JOURNAL

113

Section

114

STUDIO AIR JOURNAL

115

Drawings

Entrance 116

STUDIO AIR JOURNAL

Exit Looking up to see the extrusion & interior sitting spaces

Exit that people need to bow to go out STUDIO AIR JOURNAL

117

Perspective Drawings

118

STUDIO AIR JOURNAL

119

Perspective Drawings

120

STUDIO AIR JOURNAL

121

C.4. Learning Objectives & Outcomes At the end of this studio, I will refer to learning objectives from Studio Air Course Reader in order to check what objectives I have achieved, and what I need to improve in my further studies. Objective 1. “Interrogate[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies; Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

Through the whole semester, I think I have improved a lot during the process of the design project both in digital technologies and concept forming. In the final design project, our team could build the whole projects by using different digital tools. At the stage of form finding, we were trying to explore different ideas and different formforming methods. For example, we use kangaroo to create the form of the design at first; then metaball tool was used to build forms that are more related to out concepts. More tools were also explored to achieve the concepts and ideas that we want to achieve. Such as millipede and mesh +. During the detailed design stage, it is a harsh but beneficial process for me. I learnt a lot during this process. I think it is important to self-study during this stage. When there is something wrong or a problem need to be figured, the best method is research via the internet to find related files, and understand the sample file then apply the knowledge to the problem that you need to figure out. During this process, the ability of learning basic knowledge and the practical of the knowledge is combined tightly. I think this is a effective way that could learn and understand the knowledge in a short time. It could also suitable for other studies. In the part B design, both Su and I have mastered the methods of using mesh+, while we trying to create the patterns without using this tool in order to fully achieve the best outcomes that could reflect our concepts. I think the most important thing during this process is that our design didn’t surrender to technology difficulties. Once we met difficulties during the grasshopper design, we were trying to figure them positively rather than giving up to escape the problems. This is also a important part that I have learnt from my teammate. Although there is large work during this process, and some outcomes were not shown in our final design, it is worthy to explore lots of ideas and concepts. The more explorations were made, the more we could learn and understand. Objective 3. Developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

For Objective 3, I have improved a lot comparing with the last design stages. In terms of the complexity of the final design, there are lots of opportunities to do the prototypes by using different modelling methods. Laser-cut is the most primary tool that was used in the project. The model could be divided into three part: frame, pattern, and extrusion. Each part need to be laser-cut to make the whole model. Different joint methods are another important parts during the making -model process. Different types of materials were also tested and 122

STUDIO AIR JOURNAL

attempted to make the suitable model. I have learnt lots of valuable experiences during the model-making process. Some problems could only be met when you actually do it. Objective 4. Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

This is an objective that I have a better understanding after this stage’s studies. From my perspectives, “air” related to the technologies or tools that are quite advanced in the related fields. Such as the use of grasshopper in architectural design. What we need to learn in this studio is how to use these advanced tools to assist our design process, and finally realise our design in reality. For our design project, “air” is shown more directly because our design topic is air pollution. Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

This is a weakness of mine during the design process. With the team work of the design process, I have learnt something from my teammate that how to make the arguments more persuasive. But I think there is still a lot that I need to improve. For example, I need to improve my drawings’ expression outcomes that I could fully express what I want to show in these drawings. Sometimes I found it is difficult to draw a satisfied drawing to express my concepts. Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

This objective is improved more during the writings of former two parts journals. Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming;

Through the study of whole semester, I have learned basic knowledge and skills in the computational tools. I think it is more important for me to learn the method of how to dealing with problems rather than some skills of the tool. During the design projects, more and more skills were learnt when exploring different effects and outcomes. Objective 8. Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

Overall, I have learnt a lot during this semester’s study in terms of computational techniques and methods. I think I have known how to select different computational tools to assist my architectural design better in my further design projects.

STUDIO AIR JOURNAL

123

BIBLIOGRAPHY Refernce List

Part A Chalk, Warren (1963). “Housing as a consumer Product”, in Editorial from Archigram 3, 16. Cook, Peter (1963). “More and more”, in Editorial from Archigram 3, 16. Eden Project ‘Architecture at Eden’, (2016), < http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16. Merin, Gili ‘AD Classics: The Plug-In City / Peter Cook, Archigram’, Archdaily, (2013), < http://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram> Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15. Terdizis, Kostas (2003). Expressive Form: A Conceptual Approach to Computational Design. London and New York: Spon Press. Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx. Part B 1.”What is tessellation”, <http://www.tessellations.org/tess-what.shtml> 2. Jaspreet Khaira, What are Tilings and Tessellations and how are they used in Architecture, <http://www.butrousfoundation.com/ysj/wp-content/uploads/Issue07/What-are-Tilings-and-Tessellations-and-how-are-they-used-in-Architecture.pdf>. 3. Margenstern, Maurice, “Coordinates for a new triangular tiling of the hyperbolic plane”. 4. Jaspreet Khaira, What are Tilings and Tessellations and how are they used in Architecture, 5. Mark Garcia, Prologue for a History, Theory and Future of Patterns of Architecture and Spatial Design 6. “Voussoir Cloud Los Angeles, CA, United State” from http://architizer.com/projects/voussoir-cloud/. 7. IwamotoScott Architecture, from http://www.iwamotoscott.com/VOUSSOIR-CLOUD. Part C 1. “Head in the clouds”, <http://www.dezeen.com/2014/06/21/aia-small-projects-2014-head-in-the-clouds-pavilion-bystudiokca/>. 2. “Cup installation by Tara Donovan.”, <https://au.pinterest.com/pin/298996862744510698/>.

124

STUDIO AIR JOURNAL

Figure List

Part A Figure 1. Self-diagram Figure 2. Self-diagram Figure 3. Viewed from <http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/51d71 b74e8e44ed538000023-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 4. Viewed from < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/51d71ba2e8e44ebb5000002a-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 5. Viewed from < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/ 51d719a5e8e44ebb50000029-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 6. Viewed from <https://www.google.com.au/search?q=plug-in+city&biw=1280&bih=551&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjIn429xLrOAhVJEpQKHb2fAnw4ChD8BQgGKAE#imgrc=_VjbduUjE8vRxM%3A> Figure 7. Viewed from <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> Figure 8. Viewed from <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> Figure 9. Viewed from https://en.wikipedia.org/wiki/Eden_Project Figure 10. Viewed from <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/52852152e8e 44e8e7200015f-heydar-aliyev-center-zaha-hadid-architects-photo> Figure 11. Viewed from <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/52852414e8e 44e222500014f-heydar-aliyev-center-zaha-hadid-architects-photo> Figure 12. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> Figure 13. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#8> Figure 14. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#15> Figure 15. Viewed from <http://www.archdaily.com/778267/marc-fornes-theverymany-constructs-self-supporting-perforated-pavilion-at-miami-art-basel/56609a77e58ece20b4000402-marc-fornes-theverymany-constructs-self-supporting-perforated-pavilion-at-miami-art-basel-image> Figure 16. Viewed from <http://www.archdaily.com/778267/marc-fornes-theverymany-constructs-self-supporting-perforated-pavilion-at-miami-art-basel/56609b23e58ece20b4000406-marc-fornes-theverymany-constructs-self-supporting-perforated-pavilion-at-miami-art-basel-image> Figure 17. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birmingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 18. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birmingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 19. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birmingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 20. Viewed from<http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> Part B Figure 1. Viewd from <http://twistedsifter.com/2012/07/picture-of-the-day-entrance-to-the-saint-petersburg-mosque/>. Figure 2. Viewd from <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/>. Figure 3. Viewed from <http://www.archdaily.com/160584/the-conga-room-belzberg-architects>. Figure 4. Viewed from < http://www.iwamotoscott.com/VOUSSOIR-CLOUD>. Figure 5. Viewed from <http://www.archdaily.com.br/br/01-54024/voussoir-cloud-iwamotoscott-architecture-mais-buro-happold>. Figure 6. Viewed from <http://www.iwamotoscott.com/VOUSSOIR-CLOUD>. Figure 7. Viewed from <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> Figure 8. Viewed from <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>

STUDIO AIR JOURNAL

125

126

STUDIO AIR JOURNAL