Mid semester Journal by Nguyen Hoang Dai Duong

ARCHITECTURE DESIGN STUDIO: AIR SEMESTER 2 -2012 UNIVERSITY OF MELBOURNE by NGUYEN HOANG DAI DUONG

PART 01

EXPRESSION OF INTEREST

WEEK 1

ARCHITECTURE AS DISCOURSE

ABOUT ME

My name is Nguyen Hoang Dai Duong. I’m in my third year, major in Architecture. I had learned a bit of Rhino in Visual Communication subject last year but I haven’t got to use it since (mainly because I’m used to Google Sketchup) So hopefully I will have a chance to get more in depth knowledge of Rhino this time and able to use it for my future project. Though very much interested in digitally design projects (through eVolo skyscraper competition), I’m totally new to this whole concept of graphic algorithm of Grasshopper. Having to see first year student exhibited their physical models using Rhino and grasshopper really amazed me as I remember how bad my models were when I took Virtual Environment subject in my 1st year (we only got to learn Google Sketchup back then). So I am kind of happy now that I also have a chance to learn these software to be more “up to date” MY PREVIOUS PROJECT This my project in ADS1, created using Google sketchup and rendered by Vray. The project’s brief was to design a Discovery Centre and place for Cultural exchange on Herring Island. The building comprise four discovery spaces, together with supporting administrative and services space. The roofscape was designed as a green continuum of the surrounding landscape and served as outdoor recreational space and stadium for the amphitheatre (at the central space). I also tried to incorporate clerestory windows into the roof area to maximise the amount skylight into the building.

WATER TEMPLE One of Taoda Ando masterpiece â&#x20AC;&#x201C; the design of Water Temple had been greatly influenced by the spiritual depth of Japanese building culture and the study tours that Ando made during the second half of the century. What I love about this temple is how reinforced concrete was used in replace of traditional building materials for the design of Water Temple. It breaks the rule of using wood to build temple. The exterior freestanding walls and the exterior walls of the main halls are in plain concrete, no decorations. The plain and simple concrete leaves the visitors a sense of purity and serenity. In addtion, the tranquillity of the eclipse water pond with lotuses really brings the visitor calm I think this unique temple represents a remarkable departure from Japanese classical architecture.

http://sop3dvn.cgsociety.org/gallery/

WALKING FLOWING A SELF-SUSTAINABLE HOUSE IN ALGRAVE, PORTUGAL The house is organized in two main blocks articulated by the entrance hall, one is related to the lake at ground level (social areas) and another which is elevated in order to maximise the amazing sea view for private areas. What I love about this project is how the house was sculpted by the wind, water, sun and earth resulting in a total merging with the surrounding landscape. The house is self-sustained by using natural resources such as solar energy, wind and water (lake). Solar thermal energy is used as a means of hot water generation and photovoltaics to generate electricity. Summery east winds is chanelled for natural ventilation in summer. The roof merges with the landscape giving access to the green roof area allowing organic agriculture, also providing added insulation, reducing heat loses and air purification.

www.worldarchitecture.org/world-buildings/world-buildings-detail.asp?no=5855

WEEK 2 COMPUTING IN ARCHITECTURE Reference: + Kalay - Architectures New Media (2004), pg 2 + Kolarevic - Architecture in the Digital Age, pg 24-26 + www.american-architects.com/en/projects/project-review-detail/37265_masonic_amphitheatre_project

2.1 WHAT ARE THE BENIFITS OF USING COMPUTERS IN THE ARCHITECTURAL DESIGN PROCESS ? Computer aided design changed many design orientated professions such as the automotive and aeronautical industries as far back as the 1980â&#x20AC;&#x2122;s when they were first properly developed. Compare this to architecture where production and design still use techniques, theory and knowledge developed during the industrial revolution. Although the majority, if not all architects do use some form of computer aided design techniques the boundaries can still be pushed further. Processes such as BIM (building information modelling) are starting to become a real force in architectural design in places such as the USA. BIM is a process where the architect does not simply draw a line as with traditional drawing techniques or with programs such as AutoCAD (which to an extent, is simply a digital version of a traditional drawing) but instead when an architect draws a line, he draws a wall, with the possibility to combine this information with a limitless selection of properties be their size, cost, structural or how they relate to other members in a design Computers are superb analytical engines. But while they can follow instructions precisely and faultlessly, computers are lack of creative abilities and intuition. While human memories are vast enough to store the experiences of a lifetime, our ability to recall these memories at will is limited. This is precisely where computers excel. If we could find a way to take advantage of the abilities of computers where ours fall short, and use our own abilities where computersâ&#x20AC;&#x2122; fall short, we would create a very powerful symbiotic design system: computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problem. Computers could list and keep track of all the goals and constraints the design solution must accomplish. They could group them into related issues, search for precedents and even propose possible alternative standard solutions. The designer could then use these as the basis for developing new solutions that better fit the problem, which the computer could analyse and compare to the stored list of goals and constraints. Once a solution has been found, the computer could help represent it graphically and numerically and communicate it to other partners in the design process. It could then keep track of changes and updates, even alert the designer to potential inconsistencies and errors. Furthermore, computers could help fabricate and construct the resulting buildings

http://www.scia-online.com/eNews/Images/bim.jpg

2.2 COMPUTATION ROLE IN FABRICATION & SUSTAINABILITY MASONIC AMPHITHEATER CLIFTON FORGE, VIRGINIA Digital fabrication played a substantial role in the sustainability of this project by maximizing structural efficiency and minimizing waste. The structure of band shell walls are comprised of prefabricated wood trusses. The geometry of the trusses was determined by cutting the 3D model every two feet on center. The trusses were then machine fabricated offsite by a conventional wood truss manufacturer. This mass customization helped to limit both human error and time spent building. Additionally, the Alpolic Metal Composite panels used to clad the inside of the band shell were digitally fabricated. Due to the irregular curvature of the building, the size and shape of each panel was a unique, complex geometry. In order to facilitate the process, each panelâ&#x20AC;&#x2122;s size and shape was determined using a 3D model which when flattened could drive a 3-axis CNC router. american-architects.com/en/projects/project-review-detail/37265_masonic_amphitheatre_ projectmasonic_amphitheatre_project

2.3 PERFOMATIVE ARCHITECTURE As said earlier, I’m very much interested in sustanable architecture hence I found perfomative architecture and the idea of “ the house as a machine for living in” rather amusing. Performative architecture uses building performance as a guiding design principle. It utilizes the digital technologies of quantitative and qualitative performance –based simulation to provide a comprehensive approach to the design of the built environment. Performance architecture spans multiples realms from financial, spatial, social and cultural to purely technical (structural, thermal, acoustic). EXAMPLE 1: THE GREATER LONDON AUTHORITY BUILDING A successful ‘green’ or sustainably designed building is thought of and conceived as a total system incorporating all feasible methods of efficiency, responsibility, and coherence to a set of well designed principles pertaining to an environmental conscience. The Greater London Authority building, located on the south bank of the River Thames in London, England, designed by Foster and Partners embodies these principles and is successful as a result of a fully incorporated system of sustainable initiatives and activities. The unique shape of the Greater London Authority building is not merely a statement of modern design but is the result of a unique process of computer aided modelling implemented to produce the most efficient space. The shape is a derivative of a sphere, geometrically modified to allow for the greatest amount of usable volume with the least surface area, and when compared to a cube of the same volume, has 25% less surface area. The combination of shaded and unshaded glazing throughout the envelope of this building is the result of a highly engineered model, which minimizes heat transfer across the building membrane and defines an intricate strategy of maintaining daylight while reducing solar gain

Image source: www.fosterandpartners.com

ASTANA NATIONAL LIBRARY KAZAKHSTAN BJARKE INGELS GROUP The thermal exposure on the building envelope is calculated using state of the art technology and simulation capacity. Due to the warping and twisting geometry the thermal imprint on the façade is continually varying in intensity. The thermal map ranging from blue to red reveals which zones do and do not need shading. By translating the climatic information into a façade pattern of varying openness B.I.G create a form of ecological ornament that regulates the solar impact according to thermal requirements. The result is a contemporary interpretation of the traditional patterns and fabrics from the yurt. Both sustainable and beautiful. The building façade is designed with the ability to breathe when the climate outside is amenable Any areas requiring close control can be maintained within an inner ‘box’ Using knowledge of the annual sunpath the façade is optimised to provide the maximum ambient light while still protecting from direct solar radiation

Pattern as climate screen Image source: http://www.big.dk/#projects

Reference: + Patrik Schumacher on ‘Parametricism let the style war begin’ + www.dezeen.com/2011/05/05/une-architecture-at-the-mobile-art-pavilion-byzaha-hadid/ + www.designtoproduction.ch/content/view/4/21/

WEEK 3 PARAMETRIC MODELLING 23

3.1 MY BASIC UNDERSTANDING OF PARAMETRIC ARCHITECTURE After attending lecture 3, I started to understand a bit more about parametric architecture and the processes behind it. From what I understand, unlike the conventional holistic approach, parametric modelling is a bottom up approach where the architects have to look closely at the individual components and the relationships between them. After establishing these parameters they then can build up bigger parts and eventually produce a whole form. Parametric modelling is much like an inverted pyramid where the bottom is the small scale part and works up toward the whole structure. On the other hand, holistic approach, look at the overall design at the very start then move into smaller parts and details. One huge advantage that parametric modelling has over the conventional one is that it could be very easily modified to adapt to new requirements. It also could instantly produce numerous design outputs to provide the customer many design options to choose from. Its flexible ability to change and adapt to new design requirement is due to the fact that every individual components are connected together through mathematical relationships so when one component is changed other components would also â&#x20AC;&#x2DC;behaveâ&#x20AC;&#x2122; accordingly to the change. For instant in ship or airplane modelling, when the size of the airplane is changed, it would be a nightmare for conventional approach to fix and rescale each and every screw. With parametric approach, this could be done effortlessly and instantly (offcourse, one has to firstly spend some time establishing the relationships between the modular components) And the same idea applies for houses and building structures.

... CONTINUE Other advantage of parametric modelling is that it not restrained to the fundamental rigid geometrical figures like rectangles, cubes and cylinders..etc. But it is free to explore more complex and organic shapes (by using splines, nurbs and subdivs) like 2 ways curve which classical methods also struggle to achieve. However like everything else, parametric approach has its weakness. While changing the whole structure is not an issue for parametric modelling, changing the individual components could be challenging as one would also have to break or reestablish the relationships between those components and the others that connect to them. In conventional approach, we on the other hand can easily change or manipulate individual components without worrying that it would affect other part of the building One can also combine both parametric and holistic approach in their design to produce the best solution (making the best of both worlds). In real world large scale projects, it is unlikely that parametric modelling would be used solely when it comes to produce a final design outcome. More often, parametric approach is incorporated or applied parallel with the conventional metho. Such example could be found in Zaha Hadid and Frank Gehryâ&#x20AC;&#x2122;s works. Their design process begins with the overall form then design ideas would be derive from this form by using analogue means. Parametric techniques

3.2 EXAMPLE BUILDINGS MERCEDES BENZ MUSEUM, UN STUDIO STUGART 2005 I find this parametric design interesting not because its obviously parametric appearance but for the way in which parametric modelling combined with BIM was used in the construction and design of what can only be seen as a truly revolutionary building. The success of a museum depends upon the inventiveness of its internal arrangement, spaces created and its ability to exhibit artefacts within these spaces in a relevant way. The design is based on a concept involving the over laying of three circular forms in plan with the removal of the central space creating a triangular shaped building height atrium area. The circulation system used in the Mercedes Benz Museum s similar to that used in the Pompidou centre Paris, with the circulation running around the external facade of the building. In a similar way, the circulation can be seen to draw clear links with the ramp like circulation of the Guggenheim New York. The main difference with both of these buildings is that the Mercedes Benz museum has, through advanced construction techniques combined with the use of parametric modelling is able to convey the main forces applied to the building to a structural core through floor slabs rather than perimeter, therefore fully liberating the facade and plan of the building.The floor slabs within the exhibition areas cover an area of almost 30m without intermediate structural columns, made possible through the use of parametric modelling and advanced structural

http://farm9.staticflickr.com/8298/7829824064_6752945645_b.jpg

MERCEDES BENZ MUSEUM, UN STUDIO STUGART 2005 ...â&#x20AC;&#x153;The only solution was to control the geometry of the building as completely as possible using the latest computer technologyâ&#x20AC;? Ben van Berkel, UN Studioâ&#x20AC;&#x2122;s co founder and director. The intertwining forms of the Mercedes Benz Museum meant that the forms could barely be described using standard plans and sections, yet contractors needed working plans, sections and details to construct the building. From the basic geometry of 2D parametric modelling, the edges were transformed in to constantly rising 3D forms by layering levels; ultimately the 3D volumes of the structure began to rise from the layering of plans. For different building components the geometry was directly taken from the model, thus closing the chain of information from early design stages until the construction and fabrication. For example, the formwork for doubly curved surfaces was accurately developed into plain boards taken from information in the parametric model. The parametric model for the Mercedes Benz Museum was not only part of the design but key to the construction. It linked the participating trades in the building in a harmonic whole with the architect acting once again as the master craftsman at the helm, overseeing the construction as a whole. Unlike those who use digital architecture merely for aesthetic qualities, UN studios have gone beyond anyone else in the means of imaginatively managing a building through a design with a mathematical parametric model, without compromising the initial design principles, cramping the design with formal or preconceived solutions. The

http://www.e-architect.co.uk/images/jpgs/stuttgart/mercedes_benz_museum_

CHANEL MOBILE ART PAVILION ZAHA HADID ARCHITECTS–FRANCIA “The complexity and technological advances in digital imaging software and construction techniques have made the architecture of the Mobile Art Pavilion possible” said Zaha Hadid. It is an architectural language of fluidity and nature, driven by new digital design and manufacturing processes which have enabled us to create the Pavilion’s totally organic forms. Individual elements such as massing, skin, core, void, and structure are modulated individually and in concert. These elements could have potentialy been used as parameters. Having been conceived through a system of natural organisation, the pavillion is also shaped by the functional considerations of the exhibition. However, these further determinations remain secondary and precariously dependent on the overriding formal language of the Pavilion.

simbiosisgroup.net/20401/chanel-mobile-art-pavilion-zaha-hadid-architects-francia

WEEK 4 CUT CASE STUDY 1.0 35

4.1 PERSONAL REFLECTION Four weeks into the course, I now started to appreciate parametric architecture more. Eventhough, I still have some struggles keeping up with the courseâ&#x20AC;&#x2122;s pace, I have begun to understand and like grasshopper a bit more everyday. Though I personal would still prefer to work in a more conventional ways (may be because I have not got used to grasshopper yet) , I think the combination of the parametric and holistric strategies would be ideal for modern and future architecture.

4.2 THE AREA OF PARAMETRIC DESIGN THAT OUR GROUP IS INTERESTED IN We are interested in the use of dynamic and responsive parametric architecture to create dynamic visual effect as well as to harness environmental energy. Through this dynamic movement, the ever-changing forms that the structure can take will create a constantly changing experience for itâ&#x20AC;&#x2122;s consumers. This will allow greater appreciation for the project as an art piece over its lifetime. Environmentally responsive parametric architecture is an ideal approach to the the Wyndham city project as the ideas that can be generated through this design process are exceptionally dynamic and respond greatly to varying weather conditions. This rapid change is symbolic of the social growth in the city itself.

4.3 CASE STUDY 1.0: THE MCCORMICK TRIBUTE CAMPUS CENTER

Trial 1 Nothing fancy really, I started out by simply referencing the points at grid corner of the the RecGrid component and use the image output to manipulate the radius of individual circles

Trial 2 Again rather straight forward step, I replaced the circle by a sphere to give a depth to the flat surface 39

Trial 3 I now used the cylinder as refererenced object. The 2 parameter of a cylinder are the base radius and its height. So again, I used the image output to manipulate these parameters.

Trial 4 â&#x20AC;&#x2DC;Moveâ&#x20AC;&#x2122; component was used to move the sphere vertically. The displacement of the spheres are adjusted by the image output

WEEK 5 CUT CASE STUDY 2.0 43

5.1 THE ARTICULATED CLOUD NED KAHN

‘Articulated Cloud’ by Ned Kahn is an Art work represented in the facade skin of the Pittsburg Children’s Museum. In many ways this facade takes a tangent on predictable and still architecture and pushes it to be dynamic, changing and unpredictable. Kahn commits to questioning nature and approaches is designs as a scientific experiment. This facade is a larger scale materialisation of many smaller works and works with creating an interesting visual experience and makes people question about complexity and the intricacy of nature. It also experiments with taking wind currents, an invisible force of nature, and express it in a constant complex visual experience. It produces a emergent affect creating waves, vertices, sound and colour (Sound and colour through . The design intent of the “Articulated cloud” is to suggest that the building has been enveloped by a digitized cloud. Its appearance changes dramatically with variations in light conditions, weather and time of the day. When the wind passes over the acrylic panels they ripple like clouds moving across the sky. Functionally, the skin acts as a protective outer layer to reduce heat gain on the glass façade and is visible throughtout the interior of the museum

“Architects play alot with transparency, translucency and reflectivity but here is something that does all the same things, but it’s the atmostphere that make the decision” Ned Kahn Reference: nedkahn.com/wind.html

PARAMETRIC DIAGRAM The above diagram is our understanding of the way the Articulated Cloud was produced using parametric tools

5.2 RE-ENGINEER THE ARTICULATED CLOUD USING RIHNO & GRASSHOPPER

STEP 1 This is our first step in attempting to recreate the Articulated cloud which is quite straight foward. We created a surface then divide it into a grid of points

STEP 2 We then create a panel by using the ‘Box’ component and orient it to the created grid of points on the suface

STEP 3 This is when we started struggling to rotate the panels. We finally used vectors to control the rotation of the panels.

STEP 4 We then tried to create a structural frame behind the panels. After many failures we came to this solution of shifting the points and orient the panels

HOW DOES OUR RE-ENGINEER MODEL COMPARE WITH THE ORIGINAL ONE? In this attempt to re-engineer the Articulated Cloud, we managed to replicate the way in which the panels are attached to the structural frame (which is top hanged) as well as creating some interesting surface pattern causing by differential rotation of individual panels. However our structural frame that supports the panels is different from that of the Articulated Cloud. Also the panels in our digital model are free to rotate 360 degree while in the Articulated Cloud, the panelâ&#x20AC;&#x2122;s rotation are restrained within a certain angle (most likely less than 180 degrees) If we were not constrained by the original form of the Articulated cloud, we would definitely want to tried something of a more organic geometry. And the panel shape and size could be further explored to create varieties of visual effects.

STEP 5 And finally we attempted to create some surface pattern by manipulating the rotation angle of the panels. We tried image mapping and math function as our association techniques. It turned out the maths function works better in creating surface pattern. 53

WEEK 6 CUT CASE STUDY 2.0 55

DA VINCI TOWER - DAVID FISHER Our groupâ&#x20AC;&#x2122;s idea when came across this project was that we could not only use wind force to produce dynamic visual patterns (like Articulated Cloud) but also convert in into something more usefull functionally. The Da Vinci Tower is a good example of a self-sustaining, dynamic and environmentally responsive structure. It was designed to harness the kinetic force of the wind to allow each individual floor to rotate at approximately 0.01RPM, resulting in the constantly changing shape of the tower.

http://ooiguanyi.blogspot.com.au

The matrix shows our exploration of several panel and frame forms. The three that are highlighted were of particular interest as the first, being a two dimensional skin can be applied to any structural surface, however it is limited to only one planar direction of oncoming wind-force. We also tried different ways of arranging panels. The second highlighted is the result of panels being horizontally attached to the frame and it reacts differently to the wind. The third highlighted has a more drastic form factor one that will heavily influence the final form. It is designed to be most efficient in harnessing wind force in a 360 degree spectrum.

WEEK 7 CUT CASE STUDY 2.0 63

MODEL MAKING PROCESS

We started off creating small prototype models to test out how different forms behave under wind force. Then we moved on to create a bigger study model with the design and technique that had been derived earlier from our matrix. Our sole purpose when making this study model was to apply the techniques used in both Articulated Cloud and the Da vinci Tower into one design to see if they works well together. And whether or not the individual panels can swing to create visual patterns and the whole structure could at the same time rotate. In other words, this study model serves purely on testing the functional aspect of the whole concept. Rectangular panel (made of paper) are top hanged on strings attaching to the facade of each level. We used hair dryer as our wind source, as the hair dryer move closer to the model, the panels started to dance around and the individual levels also rotate independently of one another.

MODEL MAKING PROCESS One draw back however is that since we do not have a uniform surface shape ( like the Articulated Cloud) but a rather fragmented surface that divided into levels. This could essentially reduce the overall dynamic visuall effect as the levels start to rotate. Therefore, our group decided that if we were to go with this concept, we have to somehow keep the external facade of the structure uniform and having that facade of panels wrapping around the rotating wind turbins.

WEEK 8 EXPRESSION OF INTEREST 69

We are interested in the use of dynamic and responsive parametric architecture to create dynamic visual effect as well as to harness environmental energy.

Through this dynamic movement, the ever-changing forms that the structure can take will create a constantly changing experience for itâ&#x20AC;&#x2122;s consumers. This will allow greater appreciation for the project as an art piece over its lifetime. Environmentally responsive parametric architecture is an ideal approach to the the Wyndham city project as the ideas that can be generated through this design process are exceptionally dynamic and respond greatly to varying weather conditions. This rapid change is symbolic of the social growth in the city itself.

The design intent of the “Articulated cloud” was to suggest that the building has been enveloped by a digitized cloud. The sculpture’s appearance changes dramatically with variations in light conditions, weather and time of the day. Its prime driving factor is wind. Ned Kahn used the invisible force to create ‘moving’ facades through the use of smaller dynamic units in a repetitive nature.

PARAMETRIC DIAGRAM The above diagram is how we think the Articulated Cloud was produced using parametric tools

The Da Vinci Tower by David Fisher is a prime example of a self-sustaining, dynamic andenvironmentally responsive structure. It was designed to harness the kinetic force of the wind to allow each individual floor to rotate at approximately 0.01RPM. Resulting in the constantly changing shape of the tower.

Here we further developed the association technique and integrated the dynamic panel movement from the Articulated Cloud with the energy-generating function of the Da Vinci Tower.

Our group use a hair dryer to generate wind force and test out how the levels would react to one directional force. Here is the link to the recorded video clip http://www.youtube.com/watch?v=XYBdJbNr6t8&feature=plcp The outcome is that the model did somewhat react to the wind similarly with both Articulated Cloud and the a rotating tower. One draw back however is that since we do not have a uniform surface shape ( like the Articulated Cloud) but a rather fragmented surface that divided into levels. This could essentially reduce the overall dynamic visuall effect as the levels start to rotate. Therefore, our group decided that if we were to go with this concept, we have to somehow keep the external facade of the structure uniform and having that facade of panels wrapping around the rotating wind turbins.

MID SEMESTER BREAK FEEDBACK AND REFLECTION 85

PRESENTATION FEEDBACKS & REFLECTION Our group found the feedbacks were very honest and helpfull in guilding us toward a better concept technique and we agreed with some of the comment that our concept technique is too literal and the parametric tool had not been used to its full potential. Hence, we started to do more researchs on responsive wind art / sculpture to hopeful improve our concept technique.

STRANDBEEST Called ‘Strandbeest’ (beach animals), these kinetic sculptures of Theo Jansen actually walk, using the power of the wind. Eventhough our group are not sure if this idea would be heplful to our concept technique at the moment, we was greatly inspired by his genious inventions. These ‘Strand beest’ can walk seemingly without any source of energy across roads, deserts and beaches. Under their own power these creatures are at once monstrously and extremely delicate in appearance.

http://www.scia-online.com/eNews/Images/bim.jpg

WIND SCULPTURES We also looked at various fairly small scale wind sculpture. The above left image is a rooster rings. Rooster Rings is just one of many wind sculptures in the world but certainly at the more elegant and sizable end of the spectrum. It rotates gently in virtually any breeze but does not over-rotate under severe wind conditions. Comparing with the â&#x20AC;&#x2DC; Strandbeestâ&#x20AC;&#x2122;, this wind sculpture would probably closer relate with our initial concept technique.

http://farm1.staticflickr.com/68/196149795_c5629843b8_b.jpg

...MY EXPERIENCE SO FAR WHILE CREATING A PARAMETRIC TECHNIQUE My journey so far is much tougher than what I had expected earlier. There have been ups and downs but in overall, I think that these newly learnt knownledge about parametric modelling had improve my ability to critical analysis the building design holisticly and parametricly. And strangely enough, I found this studio subject very helpful for my Water studio subject. As I applied some of the parametric methodology to my ongoing Water project, I manage to produce a quick and better outcome. Now I that I learnt grasshopper and know how hard it is (for me at least), other studio subject does not seem to be that scary anymore. And all I hope for at the end of this course is that I would have a basic but solid understanding of grasshopper technique.

My design for Boathouse in Studio Water 93