Studio Air part C

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STUDIO AIR TACKLING THE UNKNOWN 2017 SEMESTER 2| DAVID WEGMAN DANIKA PANDINATA

TABLE OF CONTENTS: PART A | CONCEPTUALIZATION

PAR

4

A.0 Introduction

41

6

A1. Design Futuring

42

46

48

B4.2.1 Sine graph family matrix

50

B4.2.2 Segmented sine graph family matrix

52

B4.2.3 Conic graph family matrix

54

B4.2.4 Sinc graph family matrix

8

Precedent 1 : Ningbo Cultural museum

9

Precedent 2 : Manuel Gea Gonzรกlez Hospital

10

B.4 Scripting the process

84 86

B4.1 Process 2.0 B4.2 4 chosen species from the result of processes

A2. Design Computation 12

Precedent 1 : Al Bahar Tower Responsive Facade

88

13

Precedent 2 : Carbon fibre pavilion

14 A3. Composition / Generation

56

B.5 Design Direction 1.0

16 Precedent 1 : Seed Cathedral

58

B5.1 Chosen forms based on intentions

17

60

B5.2 Reason for chosen form - Proposal 1

100 Precedent 2 : Water Cube

18

A4. Conclusion

18

A5. Design Reflection

19

A6. Algorithmic sketchbook

62 B5.2.1 Chosen Sinc graph family matrix 2.0

66

PART B | DESIGN CRITERIA 22

68

26 28 30

B5.2.2 Proposal 1 functions

70 B5.3.1 Chosen Sine graph family matrix 2.0

Introduction

B.7 Learning outcomes

77

B.8 Algorithm Sketchbook

78

B8.1 Process A

82

B8.1 Process B

B.2 Case study 1 - Seroussi Pavilion

34 B.2.2 The chosen 4 based on design potential

76

B.1 Process 1.0

B.2.1 Matrixes

B.0 Why Unknown?

32

B5.3.2 Proposal 2 functions

Fear of the Unknown cover page

B5.3 Reason for chosen form - Proposal 2

74 24

120

B.3 Case study 2 - Al Bahar Facade

38

B.3.1 Al Bahar reverse engineering

40 B.2 & B.3 Reflection 2

PART A | CONCEPTUAL

RT C | DESIGN DETAILS Introduction

132

3D Printing process (C.2 & C.3)

C.0 Site & Proposal locations

134

C.2 Jump! Be friend the unknown | PLA printing

C.1 Proposal 1.0 | Small installation

136

C.2.1 Modification for 3D printing - Installation 1

139

C.2.2 Printed model

90 C.1.1 Site location 92 C.1.2 Site Analysis 140

C.3 The power of being together | Powder printing

93 C.1.3 Site Analysis| Why into the water?

142

94 Hero shot 1 - View from afar

C.3.1 Modification for 3D printing - Installation 2

96 Hero shot 2 - Installation at site

145

C.3.2 Printed model

98 C.1.4 Be friend the unknown, take a leap!

146

C.3.3 What I learnt from both models

C.1.5 Big installation | Changes

147

C.4 Learning outcomes & objectives

101

C.1.6 Process 3.0 | Breaking down definations

148

C.4.1 Objectives tackled

102

C.1.7 Conclusion from design process 3.0

152 C.5 References

103

C.1.8 Process 3.1 | Retranslate & added components

104 C.1.9 Sinc curve family matrix 3.0 106 C.1.10 Shade iterations Sinc curve family matrix 3.0 108 C.1.11 Chosen 4 form to shortlist 110

C.1.12 Proposal C1

114

C.1.13 Proposal C2

118 C.1.14 Design direction 2 | Feedback from proposal C1 & C2 119 C.1.15 Changes to design C.1.16 Proposal 2.0 | Big installation 122 C.1.17 Site location 124 C.1.18 Site Analysis | Why into the ground? 126 Hero shot 1 - View from outside 128 Hero shot 2 - View from inside 130

C.1.19 The power of being together CONCEPTUALISATION 3

Hi, my name is DANIKA PANDINATA!

I am studying Bachelor of Environments majoring in Architecture. I came from an Interior design background in Nanyang Polytechnic, Singapore. Currently, my experience with digital design tool is limited to basic software for representations such as sketchup and CAD. I haven’t experience much about parametric tools and NURBS such as grasshopper and Rhino. During my past work I would take longer time and rely on plug-ins to make organic shapes or repetitive forms like staircases. For fabrication tools I mostly use manual labour such as hand cutting and sometimes laser cutting. I haven’t explore CNC and 3D Modelling yet. In terms of digital theory, I know basic terms such as site analysis, context and relationship between the users, surroundings and the building. During the course DDF and AA visiting school, I was exposed to some terms used in here such as the NURBS, the digital fabrications, tectonics and interventions. I hope to improve my knowledge in the design theory and tools through this course because it talks about the current design industry design processes.

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Working With Water - NYP Final Year Project (2016)

AA Visiting school, Rooftop interventions (2017)

A Confessional Space - Digital Design & Fabrications (2017)

A drop of Mist - Studio Earth (2017)

PART A | CONCEPTUAL

PART A CONCEPTUALIZATION

CONCEPTUALISATION 5

A1 Desig

Safe idea will not stay in people stay close to our everyday life will c inspiration or the drive for creat

The two things that design futurin conscious designs with critical thin

In doing this we have to be care superficial designs caused by ea and thoughts for the cheap, fast m envir

Human actions made damages continued, our future might be rui change the way we live, act a

The 2 architectural precedent expl i

1 Dunne, Anthony & Raby, Fiona (2013) Speculative Everythin pdf

2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and 3 Design futuring 6

PART A | CONCEPTUAL

gn Futuring

head. Radical proposal or design that create provocative questions that create ing designs that sustains the future.1

ng have to confront are environmentally nking and slowing the rate of defuturing. 2

eful of design democracy that creates asy design generations from software mass producing without concerns for the ronments.

to the planet ecological systems. If ined. There is a pressing need for us to and engage the world around us.3

lores buildings that communicate those ideas.

ng: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

d New Practice (Oxford: Berg), pp. 1–16 pdf

CONCEPTUALISATION 7

PRECEDENT 1:

NINGBO CULTURAL MUSEUM

With urbanization in China, many village buildings are being destroyed to make way for new modern like buildings. This village includes Ningbo. With the rate we are building new buildings is it sustainable? Destroyed buildings materials are usually discarded. He collected the rubbles used to destroy the village to create the building facade. 1 By using the rubbles, he allow us to change the way we see and use the materials in architecture. He recycled the materials and create what according to him a “Chinese vernacular sustainable architecture”. He literally give the past a new life as the relationship between past and present issues are explored.

Figure 2. Facade transition

He learned local construction methods in this case, Wa Pan, (a method developed by the region’s farmers to cope with the destruction caused by typhoons, figure 3) and incorporate that with modern technology to create the building. He created strong sense of cultural continuity and re-invigorated tradition. 2 Looking at the wall facade, the transition of the rubble facades to the concrete. (figure 2) Seems to communicate that in the present, buildings have transition from elaborate details often found in traditional buildings to the minimalist facade of modern living influenced by globalization. Even so, we can still create an architecture that is timeless, deeply rooted in its context and yet universal. Architecture doesn’t have to choose either looking into the future or hold into traditions. 3

1 Hobson, Ben, Archdaily, Wang Shu’s Ningbo History Museum built from the remains of demolished villages, 2016 < https://www.dezeen.com/2016/08/18/video-interview-wang-shu-amateur-architecture-studio-ningbo-historymuseum-movie/> [accessed 11 August 2017] 2 Essay ,The Pritzker Architecture Prize,2012 < http://www.pritzkerprize.com/2012/essay> [accessed 11 August 2017 3 Jury Citation ,The Pritzker Architecture Prize,2012 < http://www.pritzkerprize.com/2012/jury-citation> [accessed 11 August 2017]

Figure 3. Wa Pan

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PART A | CONCEPTUAL

PRECEDENT 2:

Manuel Gea González Hospital

While cities gets more developed, the environment suffers the consequences. Quick clearing of forest using fire/machines and cars create pollutions that are harmful. The interesting thing about this is that the finish (titanium-dioxide based pigment) of the facade (prosolve370e) does the job of breaking down. It’s properties is similar to a photosynthesis process. As air filters around the sponge-shaped structures, UV-light-activated free radicals destroy any existing pollutants, leaving the air cleaner for the patients inside.1 It kind of mimics the tree leaves. Facade shape also helps. Function wise, it’s designed in mind to help the patients inside and maximizing the effects of the finish. It’s derived from corals which are omni-directional and have large surface area to capture the sunlight from the ocean. This facade have surface enlargement and omnidirectional shape to increase efficiency of the technology. It can receive sunlight and pollutants from any directions. Turbulence are created due to the shape to slow down wind speed so that the pollutants can be catches easily.2

Figure 4. Facade

The facade being visually complex helps to make the technology to be more obvious be in people radar about the pollution. This facade have parasitic properties so if used together with trees it can help to make the environment better, while waiting for good clean energy transport to be created.3 Palazzo Italia Milan in 2015 also uses the same technology applied to different facade.

1 Wolfson, Elijah ,Ornament & Climate, Mexico City Hospital ‘Eats’ Pollution: Torre de Especialidades Features Innovate Facade Tiling That Neutralizes Smog , 29 December 2013 < http://www.medicaldaily.com/mexico-city-hospital-eatspollution-torre-de-especialidades-features-innovate-facade-tiling-265942> [accessed 11 August 2017] 2 Dring, Allison,Ornament & Climate < https://youtu.be/g2tCnub5Zlk> [accessed 11 August 2017] 3 Ornament & Climate,

Figure 5. Facade in different places visualization

CONCEPTUALISATION 9

A2 Design Co

Have changed over the years. Embraci future technology is the n

Computation are often confu

Design computation look into differen such as the performative design, performance), Parametric design ( the relationship between design inte (biomimicry) and digital material traditional or new construction metho of the design methodology design mor them with factors to consider such a design thinking are emerging as inte

Design computerization are platforms t visualizes things in architect’s mind, a human and computer, to expand an

Digital in architecture create distinc determine the architecture form itself the precedent or your own fo

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Dig pdf BLOWJON 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Th MA: MIT Press), pp. 5-25 pdf 10

PART A | CONCEPTUAL

omputation

ing the past with the present and the new typology of design.

used with computerization.

nt design methodology / processes (looking into energy, structural (algorithmic thinking that clarify ent ,response.), Generative design tectonics (design software with ods of material). By combining some rphologies can be made. Combining as experimentation, innovations and egrated process in digital design. 1

that helps to show what the architect s a form of communication between nd getting more people involved.2

ct forms and effect but it doesn’t f. Rule and restrictions created from orms the final goal design.3

gital in Architecture (London; New York: Routledge), pp. 1–10

heories, and Methods of Computer-Aided Design (Cambridge,

CONCEPTUALISATION 11

PRECEDENT 1:

Al Bahar Towers Responsive Facade

Weather in Abu Dhabi always have strong sun glare and little rainfall. Therefore, having modern skyscraper there will not be wise unless shading devices are installed.1

Figure 2. Facade modelu in different light intensity

This facade are made using design computation. It uses the traditional islamic lattice shading device, the “mashrabiya� which are static and incorporate it with modern technology such as modern sensor and data technology, causing the facade to have flexible porosity and light penetration control depending on the sun glare and weather. (figure 2) By doing this it keeps the mashrabiya continue to be relevant into the future. Overall design form are caused by the screen that relies on the environment and the data programmed. It opens a fascinating way of dynamically controlling each shadow pixel to obtain the optimum shading and atmosphere. (figure 3) Design computation helps to change the role of a screen from a layer to protect against the outside view to an element that attracts the outside viewer other than it being sustainable. 2

Figure 3. Shading at different formations.

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PART A | CONCEPTUAL

1 Cilento, Karen, Arcdaily, Al Bahar Towers Responsive Facade / Aedas,< http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 11 August 2017] 2 Schielke, Thomas, Arcdaily, Light Matters: Mashrabiyas - Translating Tradition into Dynamic Facades,< http://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-intodynamic-facades> [accessed 11 August 2017]

PRECEDENT 2:

Carbon Fibre Pavilion

This pavilion explores architectural design solution and spatial qualities through computational design and robotic fabrication technologies. This computational design includes the process of biomimicry of a beetle shell and the material glass fibres. Other processes can be seen in figure 5. Computational design helps to create new design and fabrication processes that are not only performance driven but also opening up to architectural repertoire regarding spatial quality, structural articulation and the level of details. 1 Case study like biomimicry can be achieved to another deeper level or formations with the helps of computerization design and technology. After all, natural structure fulfils the elementary architectural task but it have higher level of material efficiency and functional integration than can be found in current building. Studying from them will help to create a more effective and sustainable buildings. 2

Figure 5. Computational processes

Fabricating complicates structure of loose medium such as fibres to be faster and more optimizing for the material. (figure 6). Modules can be made similar to each other with greater precision. 1 Designboom , interview with ICD/ITKE team on fiber-woven research pavilion 2013-14< https:// www.designboom.com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/ gallery/image/icd-itke-research-pavilion-stuttgart-2014-designboom-7/> [accessed 11 August 2017] 2 Designboom

Figure 6. Each modular unit of the structure to be connected together later

CONCEPTUALISATION 13

A3 Composit

Since computational design is the pre the same software to make their desig in would be similar (e.g a city weather, s they are in the sam

So how we choose to input in the dat of algorithm generates unique param each other because similar inputs are thin

Now architects can handle complex stu Afterall, computational design is becom in th

To create complexity, rules can be add be the best. “Complexity arises from sim exam

Simple rules can also be set as looking looking at the lecture’s bird flock. Dif from simple rules. Even simple com co

So the precedent will explore on pro components but it generat

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorit 2 Unreasonableman, John Conway Talks About the Game of Life Pa cessed 11 August 2017] 14

PART A | CONCEPTUAL

tion / Generation

esent day design method, everyone is using gn. (Rhino, grasshopper). Even data we input solar path, soil conditions,etc) provided that me areas or same spot.

ta, which set of rules and the composition metric. Some design might look similar to used.. so adding complexity can help to set ngs apart.

uffs by using computational design software. ming a necessity to build the largest project he world.1

ded. For best complexity, simple rules might mple rules it gives unpredictable definitions, mple life�.2

g into an animal, or a part of nature, example, fferent composition of bird flock generated mposition of a building can also be made omplex.

ojects that are compose of simple rules/ tes complex parametric design.

thmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf art 1, 2007 < https://www.youtube.com/watch?v=FdMzngWchDk> [ac-

CONCEPTUALISATION 15

PRECEDENT 1:

SEED CATHEDRAL

Heatherwick already have a composition on what he imagined the building to look like (idea derived from play-doh clay hair that got squeezed out from its head)1 and he further use 3D modelling data and computer controlled milling machine to help him to generate the complex structure . (figure 2)

Figure 2.Shows the idea generation

He decide to explore more on the textural aspect of the computational design, and adding in data such as site area, terrain, sun pathways. Then he added rules such as adding seeds inside the acrylic rods, amount of rods, how the rods will protrude out and there is lighting inside the rods for night illumination. 2 (figure 3) In this case, the generation doesn’t affect much of his composition as he already thought about the idea before going to the computer. This computation helps him more on the constructional aspect of the structure to achieve his desired effects. He didn’t divert and still keep his design objective. The rules and the component is pretty simple. But the result he generated looks complex based on the repetitiveness of his rods and placement based on the previous rods. This creates some interesting texture to his structure.

Figure 3. Effects created due to parametric

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PART A | CONCEPTUAL

1 Heatherwick studio, UK Pavilion Shanghai expo 2010.< http://www.heatherwick.com/uk-pavilion/> accessed 11 August 2017. 2 Jordana, Sebastian, Archdaily, UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio <http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio> accessed 11 August 2017.

PRECEDENT 2:

Water cube

“The Water Cube’s breathtaking architecture is matched by engineering innovations in fabrication, materials and environmental management”1 Water cube looks into the composition of a bubble form to generate the design. Just by looking at simple bubble form, they can make the form complex by adding rules such as uniform shape that looks different in another angle, cladding it thorughout the building , filling the 3d space evenly and performative datas. (figure 5) Computation helps them to generate their composition to find a structural solution that are self organizing from relatively simple rules.2 Generating the structure based on this unique geometry would be highly repetitive and buildable, while appearing organic random and complex. The structure itself helps to form the building form. 3 (figure 6)

Figure 5. The structure inside

However the shortcoming of this design is that the design could be made further complex by not following the bounding box and let it grow free, just like the soap bubble itself. Generating that would make more complex looking and interesting building structure. 1 Arup, “National Aquatics Center (Water Cube) , Beijing” , A form inspired by the natural formation of soap bubbles , <https://www.arup.com/projects/chinese-national-aquatics-center> accessed 11 August 2017. 2 W. Stocking, Angus, “Building design”, Generative design change the face of architecture, 15 October 2009, < http://www.cadalyst.com/cad/building-design/generative-design-is-changing-facearchitecture-12948> [accessed 11 August 2017] 3 Carfrae, Tristram, “Engineering the water cube”, 1 July 2006, < http://architectureau.com/articles/ practice-23/> [accessed 11 August 2017]

Figure 6. Structure and cladding from the bubbles composition

CONCEPTUALISATION 17

A.4 Conclusion Now with computational design, it’s easier for us to explore complex structure and design. Computational design helps to make something complex from something simple or vice versa. This opens up more design possibilities and help to bring the future forward. Especially by learning from the nature. Nature is the world greatest teacher. By studying them, we can get inspiration for the structural, form, materials, etc. Nature had been studied a lot by the past architects. Like the buttress roots in churches helps the structure to loosen the load or Sagrada familia building mimics the feeling of being inside the forest. But those are limited to what they can see and what they can feel when last time the technology was not so advanced. With computational design, we can look into more precise biological details of nature such as the cells structure, behaviour, etc. Examples of these can be seen in Manuel Gea González Hospital where the structure mimics photosynthesis. Al bahar facade seems to mimic the mimosa, where it will closed when exposed to direct sunlight. Carbon fibre pavilion looks into the bettle shell fibre structure to create the building structure with threads and surrounding structure and water cube looks into the structure of the bubbles and apply it to the building structure. Computational design also helps us to compose complex system such as like the seed cathedral or dinghao museum as per what the architect had in mind. By learning and working with nature, we can create a sustainable future because they adapted to the earth longer than us. With the help of advancement in technology, we can build a more effective and environmentally friendly structures more than the past using computational design processes.

A.5 Learning Outcomes The readings and lectures helps me to understand what is a computational design and why it’s today’s preferred design method. I now understand more about the relationship of geometries and algorithmic. It surprises me how easily I can make organic shape buildings, and adjusting it with the right components compared to how I used to do it. Relationship between traditional and future technologies. Those resources makes me look into designing in a more data based way and the relationship of these data. So far when I was designing, it is more on compositional design, with the idea in head and I use computerization and physical model to communicate my ideas. With computational design, it can help to make my compositional idea to another level by generate it with other given set of data or rules to showcase best the structures in the given set of environments. The design morphologies of my compositional design with the generative design and algorithmic thinking it will give an unexpected design that might be better that what I only thought of.

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PART A | CONCEPTUAL

B.8 ALGORITHM SKETCHBOOK We were tasked to redesign a vase to make it not like a normal vase and play around with the grasshopper programme while taking note on what you learnt. I decided to focus on different ways to achieve similar results and analyze that.

CONCEPTUALISATION 19

LETTING GO OF THE COMPOSITION There are different ways to play around with lofting using the grasshopper. Below are the different strategies used to achieve the same effect.

Method 1: Creates circular outline from the Rhino, set it into the grasshopper circle component and loft it to achieve fig.1. Fig 2. Is achieved by rotating around the individual circles using gumballs in the Rhino file.

Method 2: This vase here is made by selecting the whole circle outline in Rhino file, set it into 1 curve component in grasshopper component and loft it. How we select it can affect whether it can be baked or not. 20

PART A | CONCEPTUAL

Method 3: Using grasshopper, points are created and using circle, circular outline are made. Then the Z axis and number slider are created to make adjustment for the height. The 2 vases above are created using this method, and by changing the radius of the circular outline and the height of the vase. Reflection : This shows that to create the same thing, using different set of rules and composition will create a different shape and complexity of the design. From this scripting, I realized that sometimes, having more component to get a certain result might not be as effective because I find that method 3 is more interesting than method 1. Playing with the component’s order like as shown in method 2 doesn’t always give the result. CONCEPTUALISATION 21

PAR DESIGN C

Now that we understand about computerization We are tasked to find our fear and extract proc to algorithmic components, use it to c

After getting the form, we are tasked how we could heal our fear and link it to to selectively select from all the iteratio

Specific location in Merri Cre

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PART B | CRITERIA DESIGN

RT B CRITERIA

n in part A, we are moving to designing in part B. cesses of our fear. From there we translate it create the script and make iterations.

d to think on design intentions based o what the form is suggesting. We had ons made based on hunch and purpose.

eek will be explored in Part C.

PART B | CRITERIA DESIGN

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FEAR OF T 24

PART B | CRITERIA DESIGN

THE UNKNOWN PART B | CRITERIA DESIGN

25

B.0 Why u

The unknown have the ability to allow our brain to trick us into scaring ourselves with vivid imaginations. Th of chaos w

“WE DO NOT FEAR THE UNKNOWN, BUT WHAT - TEAL

So in this part B, the unknown will be represented by a perfect maze, due to its similar

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PART B | CRITERIA DESIGN

unknown?

his amplify our fear exponentially, until it gradually consume ourselves, casting our psyche into a chaotic void within itself.

T WE THINK WE KNOW ABOUT THE UNKNOWN� L SWAN

rity with a brain. The brain itself have a perfect complex systems and looks like a maze.

PART B | CRITERIA DESIGN

27

B.1

PROCESS 1.0

7. Complete, warp up.

6. Eliminate dead ends in lists.

5. Overlapping pathways.

4. Lost.

3. Branching pathways, going around corners

2. Walking through the lanes.

1. Starting points.

PROCESS OF WALKING THROUGH A MAZE 28

PART B | CRITERIA DESIGN

TRANSLATING TO DIAGRAMS

Pipe, Loft, Kaleidoscope, Coiled, Twisted, Folded

Toggle, Random, Divide line, Cull list, Surface split, Graft

Multiply, Interpolate, Mirror, copy, Mirror curve, Mirror surface

Graph

curves, Direction, Direction, PI

Circle,

Divide curve, Divide lines, Shatter, Pipe, Move, tree commands

Point charge, Merge, Line charge, Delunay edges, Octree, Metaball

Populate 2D, Populate 3D, points, Voronoi3D, Voronoi 2D

EVOCATIVE IMAGE BASED ON TRANSLATION

TRANSLATING TO POSSIBLE COMPONENTS PART B | CRITERIA DESIGN

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PART B | CRITERIA DESIGN

B.2 CASE STUDY 1 Seroussi Pavilion

I decided to choose this case study due to it having a similar vibe with my evocative image. Another reason is that my first initial scripting that we tried out before doing the case study (in algorithm sketchbook pg 82 ) my final form looks like strips / folding and I was looking for more ways to make it more interesting / spatial.

PART B | CRITERIA DESIGN

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B.2.1

SERPENTINE PAVILION MATRIX Domain

Flatten interpolate curve

Spin force

Graph types

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PART B | CRITERIA DESIGN

Radius 0.5 no cap

Circle radius 1 spread 100

Pipe radius 2 with circle cap

Circle radius 2 spread 50

Accuracy 0.5

Random pipe radius 1

Linear graph

Conic graph

Ellipse loft

Circle radius 2 spread 50

Ellipse loft

Parabola graph

Degree 30

Circle radius 0.5 spread 25

Decay 10

Sinc graph

Domain random ellipse loft

Stretch X axis

Domain random ellipse loft

Gaussian curve

PART B | CRITERIA DESIGN

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B.2.2

THE CHOSEN 4 BASED ON DESIGN POTENTIAL

Domain - Random ellipse loft

PLAN

PLAN

PERSPECTIVE

PERSPECTIVE

This member, compared to its family is the most weirdest one but also the most interesting one to look at. It will be challenging to consider what this can be used for but it will be fun. Possible usage, a playground equipment for children.

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Flatten interpolate curve - Circle radius 0.5 spread 25

PART B | CRITERIA DESIGN

A spatial form created from a very thin material is interesting to look at compared to the other members in this family. Possible usage would be for partitions or temporary spaces. This form reminds me of Shigeru Ban’s design style.

Spin force - Decay 10

PLAN

Graph types - Conic curve

PLAN

PERSPECTIVE

PERSPECTIVE

In this family, the member domain is interesting, but it will be further looked at “graph types� therefore the member decay is 2nd most interesting. This form can be looked at as a bench installation that promotes social gathering, with the spin force leading them together.

Compared to the rest of the family members of graph types, this iteration gives the most spatial quality and practicality. Spin force direction determines the flow of the space itself. Possible application of space would be for sheltered walkway or a bus stop.

PART B | CRITERIA DESIGN

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PART B | CRITERIA DESIGN

B.3 CASE STUDY 2 Al Bahar Facade

This case study is chosen because I wanted to explore Strips/Folding in a different way. Al Bahar facade looks at folding in a more dynamic way, where the panel actually folds compared to the static panel / strips and fold of the Serrousi Pavilion.

PART B | CRITERIA DESIGN

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B.3.1

AL BAHAR REVERSE ENGINEERING

TRI GRID

Explode

Create grids that looks like the final form of the facade.

Change the grid into individual curves.

Evaluate Segment 2

Number slider -> Z axis -> Move

Creates the points in the middle. Connect the point of evaluate segment component to “Duplicate data” component at “false” order so that the skin can be created later.

Connect “Evaluate Segment 2” parameter to the number slider to allow the points to control the opening. Connect step “Midpoint” to move base geometry.

Evaluate

Doesn’t allow c in between an the middle th

Cul

Connect it to t Tri grid. These at the centres a grid that will rem the points are

End result when changing the number slider :

Closed, 0 38

PART B | CRITERIA DESIGN

0.3

e Segments

curves to have gaps nd create points at hrough parameter.

ll index

the vertices of the e will be the points and the sides of the main constant when e being changed.

Midpoints

Line

Using the area to find the midpoint through centroids.

Combine the points from the middle of the curves at the midpoints to create the new grid closer to facade’s.

Multiply -> Shift list -> Point

4 pt Surface

After cull index, duplicate the data and shift it by 1 so that the skin won’t overlap with the previous points, that causes it to have holes in the grids.

Connect duplicate data from the evaluate curve 2, the move and the vertices of tri-grid points to create the skin.

0.6

Fully opened, 1 PART B | CRITERIA DESIGN

39

B.2 Reflection

Seroussi Pavilion In playing with this script, I tried to keep the script similar to the original one to see how much it can change by changing some of the components and iterations. From the result, family 1-2 still have a similar look to the original one but once I added spin force in family 3-4 form becomes different. I found that this script can generate a lot of interesting form with a bit of tweaks, especially when you change the graph types. It changes the overall backbone of the model form and allow you to create more family so this is probably something I will adopt. Spin force is also interesting to use, but since it’s a bit difficult to control, I might reconsider using it for my fear process.

B.3 Reflection

Al Bahar Facade The Al Bahar facade although interesting to look at dynamic facade and how it might work, it might be harder to create more interesting form compared to Seroussi pavilion as the outlook might look similar all over the place to a certain extent. The Al Bahar facade, the part where you create different points to make it move so that it can open and close will probably be useful for my fear project as it’s similar to a part of the Seroussi pavilion script. However, compared to the Seroussi pavilion, this project is not so relevant to my fear process very much.

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PART B | CRITERIA DESIGN

B.4 Scripting the Process This time round, after going through the case study, the whole process and translation shown in B.1 is revised again. It become more detailed and narrowed down to actual processes. Scripting process focused on how one experience going through the maze (the unknown) , get out of it and reflect on the whole journey thus looking at this fear in the more positive way, translated to components. B.5 will look into more detail to how I translate the fear to something positive. Fear: The Unknown. Process : Walking through a perfect maze and reflection upon completion. Overall Hunch : A form that look/give similar vibe of something growing that simplifies just like the evocative image . Another possibility is a messy form.

PART B | CRITERIA DESIGN

41

B.4.1

PROCESS 2.0 PROCESS OF WALKING THROUGH A MAZE

1. Starting points.

Random points on a grid either in 2D or 3D area creating the placement / groundwork of the model.

2. Walking through the lanes.

Lines connected to the nearest and random points on a grid without touching each other. Directions might vary from each other.

3. Branching pathways, going around corners

Model could have different variations when different parameters are applied to different branches, causing variations along its lines.

4. Lost.

Curvy or circular like shape model instead of straight lines to indicate the feeling of getting lost, which is to go “round and round to the same place�

5. Overlapping pathways.

Maybe lines or solid overlaps, their interventions creates different kind of spaces both interior and exterior.

6. Eliminate dead ends in lists.

7. Complete, warp up.

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PART B | CRITERIA DESIGN

HUNCH / INTUITION

Some lines, solids, or intersections will be deleted to make spaces to go inside.

All those lines or curves above will serve as the backbone of the model and be wrapped up to create the meshes.

TRANSLATION IN DIAGRAM

USED COMPONENTS FROM OPTIONS

Populate2D, Populate 3D, points, Voronoi3D, Voronoi 2D

Point charge, Merge, Field line, Delunay edges, Octree, Metaball

Divide curve, Divide line, circle, Shatter, Pipe, Move, tree commands

Graph curves, Direction, reverse, Circle, Direction, PI

Interpolate, multiply, Mirror, copy, Mirror curve, Mirror surface

Toggle, Random, Divide curve, range, Cull list, Surface split, Graft

Pipe, Loft, Planes, Kaleidoscope, Coiled, Twisted, Folded,

PART B | CRITERIA DESIGN

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RESULT FROM TRANSLATED ALGORITHM AND THE POSSIBILITIES IT CAN CREATE

Populate2D

Point charge, Merge, Field line

It creates the starting point for the whole model. Variations can be created by :

Lines connected to each other, but at the same time it also avoided each other. Variations can be created changing the Field lines steps & accuracy.

Seed - randomize placement of points Counts - Amount of points

Interpolate It connects and overlaps the points created by the graphs. This will serve as the backbone for the form later when meshes are applied.

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PART B | CRITERIA DESIGN

Toggle, Random

The component above can rep pathways from a list. They or correcting the fact of the divide the right list from the w parameters can be twea

Divide curve, Divide line , Circle

Graph curves, Direction

By creating circle surrounding the points, point can be further divided using divide curve and extended to create more branching lines. Radius of circles and Segments of line changed for variations

Graph curves is perfect to represent the human brain wave and the heart beats. Variations can be created by changing the graph types and the directions of points.

m, Divide curve

present the act of eliminating will do it either by random, e pathways (true / false) and wrong lists. These component aked to create variations.

Pipe, Loft, Plane This component represent the wrapping up of the whole maze journey, it creates meshes out of the lines created by the previous components. Most of the matrix in later pages uses loft, but matrix segmented sine curve family explores the use of pipe & plane too.

PART B | CRITERIA DESIGN

45

B.4.2

4 CHOSEN SPECIES FROM THE RESULTS OF PROCESSES

SPECIES 1

46

SPECIES 2

SINE GRAPH

SEGMENTED SINE GRAPH

B.4.2.1

B.4.2.2

PART B | CRITERIA DESIGN

SPECIES 3

SPECIES 4

CONIC GRAPH

SINC GRAPH

B.4.2.3

B.4.2.4

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B.4.2.1 SPECIES 1 SINE CURVE FAMILY MATRIX - PLAN VIEWS

Might l pipe li

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PART B | CRITERIA DESIGN

SPECIES 1 SINE CURVE FAMILY MATRIX - PERSPECTIVES

Seed causes the shift in 2Dpoints placement, causing different line connections, although in perspective they look similar. Seed 12 chosen because it gives the most interesting space in the interior cause the top line bends to the ground space.

Accuracy shows how much of the trueness that the algorithm need to follow. Accuracy 2 is chosen because it have the most potential to be an architectural spaces, like a pavilion.

Seeds on random component change the points where they randomize, affecting the thickness & the positioning of the model curve segments. Seed 5 gives interesting complex spaces externally & internally compared to the others.

look like they are the same, but they are all slightly different depending on the toggles. False gives more shading while true more open, ike spaces. Choosing the last one gives both shading and interesting open spaces. It also looks very different from previous iterations.

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B.4.2.2 SPECIES 2 SEGMENTED SINE CURVE FAMILY MATRIX - PLAN VIEWS

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PART B | CRITERIA DESIGN

SPECIES 2 SEGMENTED SINE CURVE FAMILY MATRIX - PERSPECTIVES

Changing random seed parameters changes the sizes of the circles along the curve line. Random seed 4 chosen because it gives an interesting top view and shows how it gets more complicated as you get to the centre, like a maze.

Segment 30 circles layering close to each other gives the most interesting interior & exterior views. Those layering with similar views is similar to a maze.

In this family, random range value and the thickness are played together accordingly. Like circular radius 7 is derived from the random range 4. This is chosen because those blobs have the potential to create a furniture or architecture spaces. Radius 10 although similar there is no interior spaces.

This family changes the shape in each segments from a circular pipe to squares / rectangles. Square 12 is chosen because it gives more consistent view compared to rectangle ones and the top view looks like pixels. PART B | CRITERIA DESIGN

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B4.2.3 SPECIES 3 CONIC CURVE FAMILY MATRIX - PLAN VIEWS

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SPECIES 3 CONIC CURVE FAMILY MATRIX - PERSPECTIVES

Seed 35 have both dense & less dense spaces as can be seen from the plan view. It gives the most interesting space spatially.

Random 38 proportions is the best and the interior space is good. Random 1 is also interesting, but being thin on the bottom and heavy on the top not sure if it can support itself structurally.

Accuracy allows the model to bloom out, causing the overhang length to be longer, without any change to z axis. Accuracy 0.533 is chosen because it a good proportion of axis Y & Z.

Increasing the segments for the random loft makes more meshes along the curves causing more shape when increased. Segment 17 chosen because it gives this layering that reminds me of a maze.

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B.4.2.4 SPECIES 4 SINC CURVE FAMILY MATRIX - PLAN VIEWS

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PART B | CRITERIA DESIGN

SPECIES 4 SINC CURVE FAMILY MATRIX - PERSPECTIVES

Seed 15 have the most interesting layout from the plan view.

Random seeds are changed, seed 35 is chosen because it gives a very different vibe compared to the others and looks interesting.

Changing the thickness of the pipes with circular caps caused some iterations with the caps blown into a sphere or disappear. It might be an interesting space for people to hang out and interact.

Changing the steps for the field line component causes the model to expand from its circular points. Step 40 chosen , it can create a structural or architectural spaces.

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55

B.5 DESIGN D

2 SOLUTION AGAIN

As one get out of a maze, they start to look back on the whole maze process in a more positive

brighter, just like the evocative image. The unknown have become the known. So how

1. TO JUST DO IT!! Because if you don’t move forward into the unknown and continue to stand in the starting point, you will always be stuck in the fear.

OK BACK O L T ’ N DO EX GO PL FOR OD WA E RD

DARING LE A

ASE! E L E R

JUST DO IT!! PT

FLY JUMP

BELIE VE

ADR ENA #YOLO LIN E S K S I R TAKE

= Something dynamic that promotes taking risk through jumping 56

PART B | CRITERIA DESIGN

DIRECTION 1.0

NST THE UNKNOWN

e outlook compared to how they just started, when they don’t know anything. Everything seems

w would one get out of the unknown in real life? There’s 2 solution in my point of view:

2. KEEP CALM & BE AT YOUR OWN PACE When the brain throws you into a state of chaos, following the chaotic mindset will just make the situation worse, so keeping calm and going at your own pace will ensure that you will slowly get out of the unknown.

TRANQUIL

HARMONY RELAX

ORGANIZE THOUGHTS

ENCLOSURE

INNER PEACE STABLE

KEEP CALM & BE AT YOUR OWN PACE = Something with stable enclosure that allows the user to be in peace. PART B | CRITERIA DESIGN

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B.5.1

CHOSEN FORM BASED ON INTENTION

PROPOSAL 2 - B.5.3

SPECIES 1

SINE CURVE KEEP CALM & BE AT YOUR OWN PACE 6X6X6M

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PART B | CRITERIA DESIGN

SPECIES 2

SEGMENTED SINE CURVE

PROPOSAL 1 - B.5.2

SPECIES 3

CONIC CURVE

SPECIES 4

SINC CURVE JUST DO IT! 3X3X3M

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B.5.2

REASON FOR CHOSEN FORM - PROPOSAL 1

SPECIES 1

SINE CURVE

SPECIES 2

SEGMENTED SINE CURVE

Species 1 form gives a mild vibe and it have an

Species 2 have potential but it’s form looks

enclosing form, so it doesn’t seem to promote

pretty painful and heavy. It feels more down

jumping, same as species 3.

to earth and restrictive compared to species 4.

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PART B | CRITERIA DESIGN

JUST DO IT !! 3X3X3M

SPECIES 3

CONIC CURVE

SPECIES 4

SINC CURVE

If species 3 is looked in a way that people jumps

SPECIES 4 is chosen out of all because it fits the

from the top is possible, but it’s not as dynamic

most description of being dynamic and promote

as species 4.

jumping. Its form suggests that it’s going to be made of something bouncy, airy and light. Size 3x3x3 because its form is small, like species 2 while species 1 & 3 have a bigger form.

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B5.2.1. PROPOSAL 1

CHOSEN SINC GRAPH MEMBER FAMILY MATRIX 2.1

PLAN VIEWS

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PART B | CRITERIA DESIGN

PERSPECTIVES

This is chosen for final form because of the almost merged bubbles that seem to indicate an almost bursting bubble. This convey the most feeling of “release” & just do it out of all iterations including the original. There’s a few spheres in different position facing with different heights that promotes jumping with variety of platforms. The original is more like a gathering social spaces in the middle.

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B.5.2.2

PROPOSAL 1 FUNCTIONS Bouncy sphere to promote jumping. Sphere shape also difficult for people to climb up = struggles to finally just do it

Styrofoam cubes covered with waterproof fabric to give sensation of walking in water that is not stable = uncertainties when going into the unknown. No railings and the waterproof is slippery when wet to promote slipping into the water = into the unknown.

The extruding pipe acts as an anchor to prevent the structure from floating away and act as a columns to supports the spheres & people.

PLAN 1:20

SECTION 1:20

Potential site: In a river or a pond of a park. PART B | CRITERIA DESIGN

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B.5.3

REASON FOR CHOSEN FORM - PROPOSAL 2 KEEP CALM & BE AT YOUR OWN PACE 6X6X6M

SPECIES 1

SINE CURVE

SPECIES 2

SEGMENTED SINE CURVE

SPECIES 1 is chosen out of all because it fits the

Species 2 form is not relaxing, if anything it’s

most description of being keep calm and relax. Its

closer to chaos.

form suggests that it’s going to be something that envelops the user from the outside, thus creating it’s own spatial/ pace zone inside the model. Size 6x6x6 because its form is big, like species 3 while species 2 & 4 have a smaller form.

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PART B | CRITERIA DESIGN

SPECIES 3

SPECIES 4

CONIC CURVE

SINC CURVE

This form have potential, but maybe

Already chosen for proposal 1

because it only envelops the top part and not the sides that I felt this form is less of something peaceful and enveloped compared to species 1.

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B5.3.1 PROPOSAL 2

CHOSEN SINE CURVE MEMBER FAMILY MATRIX 2.1

PLAN VIEWS

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PART B | CRITERIA DESIGN

PERSPECTIVES

Might looks the same, but they are all different especially on the interior. Seed 71 is chosen because it have the most interesting central pillar among the rest. The original is only a canopy, less interesting as it doesn’t have a centre point of view. Domain family (below) are also interesting, but it doesn’t seem to fit into the idea of keep calm and relax.

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71

72

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PART B | CRITERIA DESIGN

B.5.3.2

PROPOSAL 2 FUNCTIONS

The chosen form and one of the family of the sine curve that plays with the accuracy (image above) suggests that the form is an enclosure mimicked from the form of a tree. Since the park have a lot of trees and people spend time under it, designing one similar to a tree will mimic the environment, causing harmony with the man made form and the natural environment, also making it difficult to find, so one own personal zone and pace. The form of the building hopes to give space for the people to be at peace, enclosing the user from the outside environment and focus on itself instead. To be located somewhere at a park with trees surrounding it.

PLAN 1:25

SECTION 1:25

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B.7 Learning outcomes My process was challenging during the first time I had to give a go before doing the case studies. I managed to translate my process into series of component but when I linked them, it doesn’t give interesting forms and I had a hard time creating varieties from it. From there, I get an idea I wanted to do something with strip/ folding because of the final forms it gave me (in algorithm sketchbook pg 82) and my evocative image makes me look into biomimicry due to my interpretation of the form looking like a flower. Luckily both look into the same precedent so I had a go in playing with it. After doing both case study I find that the Seroussi pavilion script is really similar to my process of maze and it can create more varieties to the form, thus I used it to help me translate my process. (Seen in B.4.1) Grasshopper is really challenging for me because it’s the first time that I try to look at designing things in computational design instead of compositional. It’s hard because I am jumping into the unknown world of parametric modelling, which is something that I feared hahaha. This whole process of doing part B is challenging me technically and mentally. A lot of time wasted, trial and errors to get the result I was seeking. Although it’s hard, it also gives me interesting unexpected forms that answered my “what if” questions. I would always be surprised and feel a little happy. At those time I would start to look at the relationship of the components and why it makes the form that way. One of the thing I learnt the hard way is to have a proper work flow page, labelled properly. I had wasted a lot of time trying to re-figure on how did I baked the previous forms. Some got so bad to the point I just had to re-doeverything and make new iterations. A lot of my file crashes so regular saving was important too. As the time goes, I managed to create, manipulate and design using parametric modelling. I had a few component alterations that I would always go to. It starts to get interesting when I get to imagine how one would use the space generated by the parametric modelling. Linking back my fear with the parametric modelling results and match which one will work better for my design proposal theme by looking at the 3D form of the models are also interesting.

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PART B | CRITERIA DESIGN

B.8 ALGORITHM SKETCHBOOK This section shows my previous processes that didn’t make the cut before B.4 and selected forms to help explain why does the process didn’t make the cut.

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77

B.8.1

PROCESS A

Looking into my very first process translation after meditating on what I feared the most and pinpointing it to the unknown

PROCESS OF WALKING ON A MAZE

ALGORITHM TRANSLATION

1.) Confusion

Populate2D, Populate3D, points

2.) Similar everywhere

Voronoi, Delunay, Octree, Metaball

3.) Infinity

Integers

4.) Reflection / Multiple Reflections

78

Mirror

curve, Mirror Kaleidoscope

surface,

5.) Branching (Trees)

Move, Tree commands

6.) Linear direction

Move, XYZ

7.) Convoluted Layout

Coiled, Twisted, Folded.

PART B | CRITERIA DESIGN

n and the maze as it representation.

RESULT 1: Populate 3D > Voronoi > Integers (set to populate within 11) > kaleidoscope > integers > pipe

Tried following the process step by step, but some components like the integer have no choice but to be put later on the process. Algorithm and maze step by step can’t be followed exactly 100%. Although this form is interesting, it’s too messy and it’s a heavy file, causing my file to crash a lot. Form exploration also can’t be explored more, and I dont see how this can be used for spatial usage. After result 1, arrangement of the algorithm script doesn’t follow the maze step by step process.

RESULT 2: Point > Move points at XYZ > Delunay edges > Kaleidoscope > Integers > Pipe (“coiled”)

Interesting looking shape and simpler compared to the previous one, using the same script. Even though the integer value are all below 11, it gave such vast difference. Result 2 give similar vibe to process 1 but its easier to control to a certain extent as the file is not messy and heavy.

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79

Tried branching out but because of the kaleidoscope it branches out together. Not sure how to make them into separate entities. Tried to explore the “tree” components in grasshopper too but at that time, I don’t understand how it works.

RESULT 3: Point > Delunay Edges > Delunay Mesh (“Folded”) > Mirror (Individual) > Linear direction (XYZ) > Pipe (“Coiled”)

The result is even more simpler than the previous try outs. It gives an interesting form and a possibility of it being a public space play area or building. However, because in this process I used the component “point” and I manually choose the points where it will stay at the Rhino model space, it is considered compositional. Since we are supposed to do with computational design, I don’t think I can pursue this result. After getting the 3 results back, I thought that I need to translate to components more. It’s difficult to expand on the 3 family as the result 1-2 is messy and doesn’t have much room for improvement while result 1 is not compositional process.

Feedback given was that my process of walking through a maze is wrong. Rather than walking through a maze, it’ and re-tr 80

PART B | CRITERIA DESIGN

MIND MAP OF FINDING MY FEAR PROCESS:

There was 2 direction in this mind map, looking at the maze in programming point of view or looking at maze on how one would walk through and I decided to choose the later.

’s more of different ideas of maze being put together. Therefore in my next process B.8.2 I looked into the process ranslate. PART B | CRITERIA DESIGN

81

B.8.2

PROCESS B

Decided to focus onto a basic maze, which is called a perfect maze and translate the process of walking through it into com Stage of process

Operation/ translation

Algorithm/component

Starting points

points

Walking from one point to another

connecting points

Delaunay edges

in a pathway

looks like a lane

Pipe

get lost after awhile

going in circles

PI

Marking the right and wrong lanes

true and false

Slowly found the right pathway

Elimination process after trial & errors

Upon finishing, reflecting the whole journey

Reflection

Voronoi3D

Boolean toogles

Surface split, cull

Kaleidoscope

From the result of algorithm, I wanna focus on the panel and fold for the research field. 82

PART B | CRITERIA DESIGN

mponents. Result

After doing all these matrixes I felt like my design is at its dead end. I can’t seem to expand more on these components and they all looks similar. I also don’t see how those iterations can be used spatially. At this point it’s time to look into the case studies and I decided to focus more on the strips/ folding because in my process B, all the form seems to be related to strips and folds. I am hoping that by looking at the case study I will be able to expand more on these components and make my forms more interesting.

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83

P A R T C

Introduct

In this section, 2 main things are tackled: refining design ba The idea to model out in 3d printing is because we are looking at

Feedback given was to continue with proposal 1 detailing and to redesig our designs in context with the site, at Merri 84

PART C |DETAILED DESIGN

D E T A I L E D

D E S I G N

tion

ased on feedbacks and model it out using 3D printing. t near future vision where large format 3D printing is viable.

gn proposal 2 as it didn’t quite hit my aim. This time, we start to put i Creek, in the area chosen by our tutor. PART C |DETAILED DESIGN 85

C.0

SITE AND PROPOSAL LOCATIONS

BIG INSTALLATION THE POWER OF BEING TOGETHER SIZE: DIAMETER:10M HEIGHT : 7M (ABOVE GROUND 2M, BELOW TOTAL: 4M) PAGES : C.1.5-C.1.19

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PART C |DETAILED DESIGN

SMALL INSTALLATION BE FRIEND THE UNKNOWN, TAKE A LEAP ! SIZE: 6X6X6M PAGES : C.1 - C.1.4

PART C |DETAILED DESIGN 87

C.1 PRO

DESIG

is to look at jumping into the unknown as something fun, by ch

“The mind is everything. W -Bu 88

PART C |DETAILED DESIGN

OPOSAL 1.0

GN IDEA

hanging the point of view to be something positive from negative.

What you think you become� uddha PART C |DETAILED DESIGN 89

C.1.1

SMALL INSTALLATION - SITE LOCATION

90

PART C |DETAILED DESIGN

PART C |DETAILED DESIGN 91

C.1.2

SMALL INSTALLATION - SITE ANALYSIS

This site is chosen because it’s a bit further than

Gate to prevent dogs from coming in, but it can be

the Dright falls = Safer for people to jump around

a metaphor for walking towards into the unknown

with enough space to swim around (pg. 96-97)

without them realizing. (pg. 94-95)

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PART C |DETAILED DESIGN

C.1.3

SITE ANALYSIS - WHY INTO THE WATER?

1.) Different water conditions depending on timing and season

2 different water colour

Brown water

Blue water

2.) Different wind conditions depending on timing and season

Weak wind

Stronger wind

Strong wind

= The water itself is the unknown as the water is not consistently in the same condition. Perfect metaphor to my idea of “jumping into the unknown.”.It’s also safer to jump into than the ground.

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96

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C.1.4 BE FRIEND THE UN

PROPOSAL FUNCT

ELEVATION 1:50

JUMPING EXPERIENCE FROM DIFFERENT HEIGHTS - THE LEAP Balls with varying heights to allow users to jump according to their readiness and capabilities.

ELEVATION 1:50

WATER SENSATIONS - UNSTABLE Walkway filled with just enough air so you will feel like walking on the water. Changed to air from styrofoam as it’s more environmentally friendly while achieving similar results.

ANCHOR To prevent structure to float away & supports the jumping balls.

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PART C |DETAILED DESIGN

NKNOWN, TAKE A LEAP!

TION & DETAILS

WATERPROOF LIGHT GREY COLOUR The colour light grey shows how the untainted mind (white) got invaded by the scary inputs caused by the brain (black) to render us useless (light grey). The environment plays a part in affecting our fear (4 image show different timing different material colour). The material colour choice is a metaphor and then you jump into the unknown (the water).

PLAN 1:50 PART C |DETAILED DESIGN 99

C.1.5

BIG INSTALLATION - CHANGES

+

=

?

The task now is to make the big installation and the small installation to be siblings - they have to use the same script. New components have to be added as the form looks similar and not interesting as I played with the iterations. I decided to re-look into my definition of the unknown and extract potential definitions that can be translated to components while aiming to make that shape.

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PART C |DETAILED DESIGN

C.1.6

PROCESS 3.0 - BREAKING DOWN MY FEAR DEFINITION

FEAR OF THE UNKNOWN The unknown have the ability to allow our brain to trick us into scaring ourselves with vivid imaginations. This amplify our fear exponentially, until it gradually consume ourselves, casting our psyche into a chaotic void of chaos within itself. “WE DO NOT FEAR THE UNKNOWN, BUT WHAT WE THINK WE KNOW ABOUT THE UNKNOWN� - TEAL SWAN

1.) The unknown have the ability to allow our brain to trick us into scaring ourselves with vivid imaginations. = Scary looking form or evoking fear? dangerous looking inspired by corners of mazes and maze out of tunnels?

4.) Casting our psyche into a chaotic void of chaos within itself. = something that creates chaos? something that increases heart rates in either (+) or (-) unknowns?

2.) This amplify our fear exponentially,

3.) until it gradually consume ourselves

= Something that amplifies the fear/ unknown / qualities of the form generated from the processes?

= Something that envelops us? Something solid?

5.) Ending Quotes = It rounds up the whole thinking about the unknown. Define what you feel about the unknown? Link quote to my maze process, evocative image impression to find solution? or from my solution of how one would get out of the unknown ?

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C.1.7

CONCLUSION FROM DESIGN PROCESS 3.0

Small installation :

Large installation:

Tackling the unknown individually, making it less scary by looking at the unknown in positive way.

Tackling the unknown in a group, making the unknown less scary by being together with others in similar situations.

While I was doing this I realized that my previous proposal was all about an individual overcoming the unknown, this time it’s about being with other individuals in a group to overcome an unknown.

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C.1.8

PROCESS 3.1 PROCESS OF WALKING THROUGH A MAZE

ADDED TRANSLATED COMPONENTS FROM BREAKING DOWN MY FEAR

1. Starting points.

Populate2D, populate geometry

2. Walking through the lanes.

Point charge, Merge, Field line, Voronoi, boundary surface, bounding box

3. Branching pathways, going around corners

Divide curve, Divide line, circle, curve, surface split,

4. Lost.

5. Overlapping pathways.

Graph curves, Direction,reverse, spin force

Interpolate, multiply

6. Eliminate dead ends in lists.

Toggle, Random, range, Divide curve, split list, dispatch, subdivision, map to surface

7. Complete, warp up.

Pipe, Loft, Planes, area, mesh, thicken

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C.1.9 SINC CURVE FAMILY MATRIX 3.0 - PLAN VIEWS

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PART C |DETAILED DESIGN

SINC CURVE FAMILY MATRIX 3.0 - PERSPECTIVES

Based on my case study, B.2, adding spin force component will makes the whole structure to spin from different areas to combine at the centre. It matches with my aim for users to gather together to tackle the unknown therefore the script is updated to add spin force & above are the results. Circular SEATS flow.

Next is to create the form to envelop the user. By changing the spin radius, sphere that contains half a radius can be created. Other than the first one, although interesting, the rest of the results have the shade/ half sphere overtaken by the gathering seats. That’s not good enough, it didn’t give the vibe of being swallowed by the unknown.

The first form from above is good, but the gathering of the seats are too plain. Not interesting. Therefore, random component are added to make the seats more interesting. By changing the parameters, the seats randomness are changed too, from mild, like random 4 to more extreme, like random 20. Random 10 have the good balance of mild and wild seating arrangements.

Adding random was the right move. By changing it’s seed too, more different form of sitting can be created. Keeping the random number consistent at 10 and changing the seeds result in the images above. The results are interesting, but the form that is closer to my aim is seed 14 & seed 16. These are the final 2 that I am developing. PART C |DETAILED DESIGN 105

C.1.10 SHADE ITERATIONS SINC CURVE FAMILY MATRIX 3.0- PLAN VIEWS

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SHADE ITERATIONS SINC CURVE FAMILY MATRIX 3.0 - PERSPECTIVES

Looking at the form in the matrixes above, the shade part doesn’t give the scary looking vibe. Holes are given to the shade to evoke the feeling of the unknown in holes such as tunnels, black holes. To a certain extent, evoking trypophobics to give the danger vibes.

Just creating the holes is not enough, spikes are added to give off a more dangerous feeling, inspired from the corners of a perfect mazes. Distance 1 is too thin while distance 5 and above is too much spikiness. The best one is distance at 1.5.

Tried reversing the state by adjusting the borders the hole instead of the spikes by removing the list length component. Form looks to be less spiky vibes because there are more surface area and the spikes are mostly on the corners of the area. The form gives off a more decaying vibe.

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C.1.11

CHOSEN 4 FORM TO SHORTLIST The chosen 4 is choosing between the 2 types of space (seed 14 & 16) and shades (holes and no By mix and matching the 2 form and lay it out I further eliminate the 2 choices.

Form: Seed 14 Shade : Distance 1.5 | with hole

Form: Seed 14 Shade : Distance 1.5 | No hole

V

This form is chosen for seed 14 because it seems to fits the most criteria I had in mind when I break down my definition of the unknown in. The form suggests that the users will gather under the shade and outside, but around the central sphere.

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holes) that fits my design intentions.

Form: Seed 16 Shade : Distance 1.5 | with hole

Form: Seed 16 Shade : Distance 1.5 | No hole

V.S

This form is chosen for seed 16 because the decaying form of the shade seems to fit more into the arrangement of the seats. Although it doesn’t really fit the criteria I had in mind, but this form is nice too. The form suggests that the users are led into the space under the shade by the flow of the seats.

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C.1.12

PROPOSAL C1

DESIGN IDEA: “USERS GOES INTO THE UNKNOWN AND GET ENVELOPED INTO THE SPACE UNDER THE UNKNOWN. WHILE BONDING WITH THE OTHER USERS”

PART C |DETAILED DESIGN 111

Full screen shelter, enveloping the users in a big screen that features the videos of the unknowns, The scary ones and the nice ones. Nice ones - the stars/ deep water/Merri creeks? the beautiful unknown. Scary ones - Horror movies Will be played at random or making the movie suddenly pop up to give element of surprise

View from the back - Scary looking to evoke the feeling of fear. This form suggest that the shade is being sucked into a point.

Space below to allow use as a place for shelter or scare the user above (exte factor of the unknown) 112

PART C |DETAILED DESIGN

ers to ernal ).

Painted with special paint coating to break down the air into a cleaner air? This structure will work similarly together with the trees at the surrounding by giving clean air to help the environment. (pg.9)

Seats are interconnected to each other. When one user shakes the structure, the whole thing will moves to a certain extent. By doing this,it will channel the fear of how each user can feel and there would be others that might gives words of encouragement or making you feel more scared/ realizing you are not alone by moving the whole thing.

Spheres depending on the size and location acts as a place to sit or contains the sound speaker

Spin force causes the flow of the seat to allow people to come into the structure in the middle and come together.

Users can squeeze through the gaps to a certain extent. The form envelops the user. User can get through its hand to grab other user’s leg to scare the person.

Allow users to climb up and act as a ladder to get up into the structure. Pillars to hold the structure up. PART C |DETAILED DESIGN 113

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C.1.13

PROPOSAL C2

DESIGN IDEA: “USERS GOES INTO THE SCARY LOOKING FORM AND GATHER AROUND THE UNKNOWN AND BOND WITH THE OTHER USERS. ”

PART C |DETAILED DESIGN 115

Special paint coating that will break down dust. This allows the structure to function similarly as its environment. (pg 9)

Big sphere in the middle that projects the fear using spherical projector.

People gather to watch around the fear to watch the fear, people can see each other faces and expressions.

View from the back - Scary looking to evoke the feeling of fear. Spiky inspired from a maze corners and holes inspired from the black hole. The holes would also hope to create the feeling of disgust especially those with trypophobics.

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Holes to allow the people from the outside to be able to see the inside too. It allows external environment such as rain and sun to affect the fear too.

Spheres depending on the size and location acts as a place to sit or contains the sound speaker

Spin force causes the flow of the seat to allow people to come into the structure in the middle and come together. The middle is the centre attraction of the whole structure and it will play the videos of the unknown as shown in the previous proposal. Seat movement will be affected by the users movement.

Users can squeeze through the gaps to a certain extent. The form envelops the user. User can get through its hand to grab other user’s leg to scare the person.

Space below enough for users to crawl or lie down, and hide oneself from the outside world.

PART C |DETAILED DESIGN 117

C.1.14

DESIGN DIRECTION 2

V.S

Based from the feedback, I decided to change that people gather around a natural fire instead of a spherical projector screen. Fire because it’s a warm light source, that allows people to be bonded together more compared to a TV as people are looking at each other with not much distraction that encourages talking & sharing. (See images above) This idea of using fire is inspired from how the people of the past, and even today gather and bond against the unknown.

Past - caveman

Present - modern camping

From both generations, the essential thing to have is : Shelter above the head (cave / fabric), fire, space to gather. Around and sit down. If possible, near the water source. By taking input from the information above, changes are made while keeping the form similar as proposal 2. Something like the bottom image on the right side.

Proposal 2

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Proposed, making the structure underground and covered above head. (Sectional drawing).

C.1.15

CHANGES TO DESIGN

The problem with this form is that certain parts are too big or not suitable for certain functions. Parts that need to be adjusted and its solution :

1

2

3

The overhead

The place for fire

The seating areas

Bigger holes, lowered roof so it won’t be so obvious from the outside

Seating pattern changed to create varieties with pillars as steps to get into the space. Sphere scaled down and reversed, to accommodate the usage of an open fire

PART C |DETAILED DESIGN 119

C.1.16 PROPO

DESIGN I

Users lured into the unknown by the warm, comforting fire contrary to its da with the same conditions as them. When designing the details, Need to kee will stay longer & enco

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OSAL 2.0

IDEA

angerous looking exterior. There, users will meet with other individuals ep in mind that the environment have to be comfortable so that people ourage bondings.

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C.1.17

BIG INSTALLATION - SITE LOCATION

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C.1.18

BIG INSTALLATION - SITE ANALYSIS WHY INTO THE GROUND?

Near intersection of the next part of the park - people walking past

Near an existing pavilion stop

The installation is located in the middle of the open f why that location is because I wanted to attract ind users to bond and be comfortable (pg 128) , the insta distracting views to a certain extent. When other ind distance, individuals from outside and inside can se bond can be established by encouraging othe

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Near the main road

Near existing nature

field near roads that leads to other places. The reason dividuals from a far. However, as the place aim is for allation is partially underground so that it can eliminate dividuals come nearer to the installation at a s certain ee each other to a certain extent (image above).Here ers scared from outside (pg 126) to come inside.

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PART C |DETAILED DESIGN 127

128

PART C |DETAILED DESIGN

PART C |DETAILED DESIGN 129

C.1.19 THE POWER O

PROPOSAL FUNC

EXTERIOR STRUCTURE M MERGE WITH ITS SURRO

To show that the unknown is always around, ju much you see.

PLAN 1:50

HOLES EVOKE FEAR & ENTRY POINTS

SEAMLESS INTERIOR TEXTURE BLENDS WITH ITS SURROUNDINGS So everything feels like one entity, making users to feel more as one from the material selection.

ELEVATION 1:50

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Shading and seating both e gathe

OF BEING TOGETHER

CTION & DETAILS

MATERIAL OUNDINGS

ust the extent to how

SPIKES THAT EVOKE FEAR AND ALLOWS CLIMBING Approaching the unknown is scary and climbing it is tough.

ELEVATION 1:50

PILLARS AS STEPS OR BACKREST Steps for users who came from the top or as backrest or stage.

COMFORT FOR USERS

ENVELOPS USERS

Summer - water mist

Winter - fire

Comfort is important for users to stay longer in the space. Therefore during summer there will be water mist to cool the space down and during winter, the heat from the fire will helps to keep the space warm and cosy.

envelopes the users and allows them to er around the fire.

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PLA PRINTING | MAKERBOT REPLICATOR+

3D PRINTING PROC

In MSD, there’s 2 options for 3D printing, the PLA printing and the P In C.3, for big installation, Powder printing is used instead because the pri

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POWDER PRINTING | ZCORP Z450

CESSES (C.2 & C.3)

Powder printing. In C.2, for small installation, PLA printing is used. inter capabilities and flaws are weighted before using it to print the model.

PART C |DETAILED DESIGN 133

C.2 JUMP! BE FRIE INSTALLATION 1 |

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END THE UNKNOWN PLA 3D PRINTING

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C.2.1

MODIFICATION FOR 3D PRINTING - SMALL INSTALLATION Steps that need to be ensured : 1.) Identifying the parts that are needed to be print and not (as it cost money) 2.) Clean up parts that overlaps or unnecessary. 3.) Make solid, ensured all are joined.

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From the bottom view, spheres have a lot of overlaps but it still can be printed so it can be ignored.

unnecessary sphere cause it’s hidden by big spheres

Overlaps & doubles not necessary

Base have a lots of overlapping parts need to be cleaned up

Cleaned up file

Anchor is unnecessary as the installation will be placed above the water at the site model and it can’t be seen.

PART C |DETAILED DESIGN 137

Bottom view of spheres

Seating area

Model are capped to make it solid, works more effectively than making it solids from the Rhino commands. (weird form happens as shown below)

The bottom of the model are weird, they are on a different levels. A base is added so that the 3D doesn’t print it out all the different height levels as I worry it might take more time to make all those level than a single, solid even levelling.

Another reason as to why a base is added is to make the whole model level when placed on ground. It’s slightly suspended so that the different level of the walkways still can be appreciated when printed out.

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Check for naked edges & non-manifold edges

Scale it down to 1:100 & send to makerbot printer.

C.2.2 PRINTED MODEL

Printed out model have its own supporting base.. I didn’t remove it away as the shape of the makerbot base is like a water surface, so it fits nicely with my design.

For this installation, significant changes are not made and only modification is done to make the 3D printing file because the form itself is thick and connected, with only a little issue. It meets the requirement of at least 2mm thick and connected, with no suspended structure. Here, PLA printing is favoured because the form have no issue and cost wise, PLA printing is cheaper. The model also comes out lighter. It resonates with my floating theme of this installation. PART C |DETAILED DESIGN 139

C.3 THE POWER OF

INSTALLATION 2 | PO

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F BEING TOGETHER

OWDER 3D PRINTING

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C.3.1

MODIFICATION FOR 3D PRINTING - BIG INSTALLATION For this installation, I plan to print a sectional model, cause it shows the space better. There’s suspending structure (in colour below, left image) for my installation and if I print it using PLA printing, it will also print a lot of the supporting structure. (Bottom right in blue). Supports will take a long time to remove it and I would risk breaking the model thus powder printing is used here.

In blue is the support structure built by the PLA printing.

To make the model to be sectional, the model at the right need to be cut into half as shown in the left, bottom images. Boolean difference are used to achieve this goal.

The idea is to print the structure together with the sectional ground. I was recommended to remove anything unnecessary and make as many of it hollow as possible as powder printing count by volume and it can go really expensive, more so than PLA printing.

3 area of focus : The envelope, the interior space and the sectional ground. 142

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1.) THE ROOFING - SPIKES & THICKNESS ISSUES (a)

(b) Original model have too much fine spikes, they wont be able to hold in place once printed (a). In some areas, the thickness with spikes are a bit too thin to be printed out. (b)

Spikes lessen and bumps are created more to substitute the spikes while keeping the danger vibe. Thickness added to comply with printing.

Iteration 3

Iteration 1 Iteration 2

Even when changing the thickness and the holes sizes, the very top part shown in the images above still have very thin spikes that is not 2mm thick. Iteration 1 with very short and thin spike have the most potential, but the holes are too small, its not like my design. Iteration 2 have similar issue and iteration 3 is the best one, although the spikes is the worse compared to the rest.

Since my section cut is quite near the issue area, I was worried that the spikes dissolving might make the whole top area to be very weak. Thus cylindrical support that goes all the way down are added to keep the whole thing in place and eliminates the spikes. Those small bits above the cylinder can be removed away if it ever get printed. PART C |DETAILED DESIGN 143

2.) THE SEATING - OVERLAP ISSUES Section cut model (top and side view)

Water Structure to hold fire in place

Both water and the structure to hold fire in place is not a necessary detail to show because it’s my additional design and not really from the form iterations.

Model have a lot of overlaps that need to be cleaned up

Tidied up model

Too many anchors at the bottom with varying heights

On areas deeper inside the section cut, anchors are removed as it can’t be seen. Some are left further infront.

3.) THE SECTION GROUND - LESS VOLUME ISSUES TOP PART Carefully cut away so that the part of the model will rest on the ground too, to show the structure goes all the way to underground. If I cut it away while not making the model touch the ground is a bit too weird.

SIDES PART

BACK PART

BOTTOM PART

Thin (2mm) at sides & top to reduce volume. Thicker at the bottom to show ground goes deeper.

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Hollow below to reduce the amount of volume used.

Some spacing are provided to allow people to see a bit more on what’s happening inside from the sides.

For the back part, the ground walls are pushed to touch the end of the structure and not further down because structure might still be able to be seen from the front.

C.3.2 PRINTED MODEL

Printing failure, doesn’t goes all the way

Joints not joined too properly in rhino, lines can be seen.

Bumps visible

Spikes above cylinders are not there

For this installation, a lot of modifications and considerations had to be done compared to the previous model. Whatever I can remove and hollowed out I did that as this printing is really more expensive than the PLA one. The result of the model is quite satisfactory and a bit heavy. The heaviness kinda resonate with my model theme of underground. Sadly I can’t show a lot of spikes as what I intended according to the design because they are too thin.

PART C |DETAILED DESIGN 145

Behind the scene XD

C.3.3 WHAT I LEARNT FROM BOTH MODELS I learnt that proper planning and knowledge about the machine we are going to use are important, although troublesome. I have seen people print their model that have a lot of suspensions with PLA printing and their model takes a while to print (although it prints faster than powder, all the supports gonna slow it down), cost about as expensive as powder printing, but they had to do extra work to remove the support that the makerbot had made. It can take as long as 8 hours just to remove it, depending on the size of the model too.

In blue is the support structure built by the PLA printing.

Knowing what kind of model is better for which printer is important too. My 1st installation have no suspended things so its alright to use PLA printing. My 2nd installation have suspended structure with empty space in the middle so Powder printing is recommended, if I want to print without all the supporting structure that PLA printing makes. The quality that PLA and Powder gave. PLA have the swirly like finish and the powder are more compact. The disadvantage is that the PLA one can have dust/ dirt trapped on that swirly thing and that texture is not supposed to be in your design. Powder disadvantage is that the surface can be scratched quite easily, although texture is quite a smooth finish.

Swirly texture

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Compact powdered texture

C.4 Learning objectives & Outcomes

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C.4.1

OBJECTIVES TACKLED Obj 1: In digital architecture especially grasshopper, where options can be created as much as we want by changing the iterations a bit, selection criteria that follows closely with your design brief/intention is important to make the chosen iterations to be relatable to the design intentions. This can be seen in part B and part C. In part B, on installation 1, iterations are first made then chosen to best fit the design idea. In part C installation 2, design intention are envisioned, translated to the components and then choose the best iterations that geared towards there.

Installation 1

Installation 2

Obj 2: “An ability to generate a variety of design possibilities to a given situation”. I first tasted this concept when I did my case study iterations and choose the best few iterations. In here, I choose the best iterations by imagining what if there are users using those design? Which design would fit best for users? (Shown in image below). Then in design development and refinement in part B and C, varieties of design iterations are created that answered my “what if” questions while thinking of user usage of space.

Obj 3: This studio had made me use software that I am not experienced with and from there, I had grown in using these software and how they work. I am now more comfortable in using plug-ins, grasshopper and rhino for computational geometry and parametric modelling compared to when I first started this studio. In one of the process we are tasked to diagram our process steps and make an evocative diagram out of it and analyse that diagram. That evocative diagram as I combining them, it helps to give me clues to what my design intentions might be. This won’t be possible with just translation of process to component and combine that process to script. Script doesn’t give any evocative feeling, but the result of the iterations might help in giving something, but it’s easy to get lost in iterations when you don’t have a rough direction on how you might want the form to be like, so this was how the evocative diagram was useful initially. Stage of process

V.S

Operation/ translation

Algorithm/component

Starting points

points

Walking from one point to another

connecting points

Delaunay edges

in a pathway

looks like a lane

Pipe

get lost after awhile

going in circles

Marking the right and wrong lanes

true and false

Slowly found the right pathway

Elimination process after trial & errors

Upon finishing, reflecting the whole journey

Reflection

Result

Voronoi3D

PI

Boolean toogles

Surface split, cull

Kaleidoscope

From the result of algorithm, I wanna focus on the panel and fold for the research field.

Evocative Image

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Result form each stage of process

Iterations produced from script

Obj 4: As I was making the 3D printing model. I realized not all parts of my design can be realized. For installation 1, I can print it without much problem except erasing overlaps . Installation 2 however, the spikes and thickness of some parts of the model have some issue that I had to compromise the spikes mostly with bumps .Thickness had to be thicken slightly to meet the requirement. Model and real life can be quite different as adjustment to designs have to be done to make it printable. So what we designed might not turn out the same as in real life and we need to have the adaptability to make changes but at least keeping the overall form / intention the same.

Original model

Changed thickness & to bumps

Original model

Everything made solid

Obj 5: I think I did this well by linking everything I do to my fear. How would I get out of the unknowns, looking at parametric modelling forms to see what it suggests it could be and relating it to the site through site analysis. By linking everything together and make reasoning to why I do a certain things this way backed with evidence, I managed to persuade my tutor and guest critics how my design is healing my unknown. The feedbacks are positive and they agreed to how the unknown can heal users through the space I created. Obj 6: This can mostly be seen in case studies. From the case studies, especially the Al Bahar one, I got the chance for digital analysis and recreate it in grasshopper. In the Serrousi pavilion one it’s computational geometry. For the installation ones, although I didn’t mention all above, I had case studies for my installations. By looking at their conceptual ideas, it inspires me to make certain ideas and details of the designs. Small installation case studies

The Floating Piers - Christo Vladimirov Javacheff

Copenhagen Harbour Bath - BIG + JDS

Big installation case studies

Silence - Tadao Ando

Copenhagen Harbour Bath - BIG + JDS

Obj 7: By understanding basic understanding of computational geometry, data structure and types of programmings, I can selectively choose which programs can help to achieve my goals. This can be seen in installation 2, where the idea to create holes can be created using weaverbird plug-ins. It wont be easy to do that using grasshopper itself. In Al Bahar case study, grasshopper is used to achieve the effect, only possible with understanding of computational geometry. This, however, with ladybug plugin the recreation can be more true but I was limited in skill.

Case study 2 AL Bahar grasshopper

solid to becomes to holes

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Obj 8: At first, when we are tasked to create the parametric modelling from our process it was hard because I don’t have personalised repertoire of computational techniques (process 3), with slight iterations to create different form as shown in p when all the iterations look the same. By re-looking at the process and adding additional components to the same computat and some compositional techniques as I want to keep the form the same cause the feedbac Process 2 - Iterations are not usable for spaces

Process 1 - Initial try-out

Stage of process

Operation/ translation

Algorithm/component

Starting points

points

Walking from one point to another

connecting points

Delaunay edges

in a pathway

looks like a lane

Pipe

get lost after awhile

going in circles

Marking the right and wrong lanes

true and false

Slowly found the right pathway

Elimination process after trial & errors

Upon finishing, reflecting the whole journey

Reflection

Process 3 - Translation to diagra

Result

Voronoi3D

PI

Boolean toogles

Surface split, cull

Kaleidoscope

From the result of algorithm, I wanna focus on the panel and fold for the research field.

Period of trying to find computational techniques

Compositional diagram gives clue to de positively about the f

Process 6 - Siblings iterations re-translate my fear

Process 7- Rethinks design intentions

Use the same script with the small installation with added components derived from my definition of the unknown.

Mix of computational iterations and compositional changes to keep the overall form the same.

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Process 8- Fabr

Script changes acco

a specific computational techniques (process 1 & 2). Once I did the case studies, things got slightly easier as I have the process 4 & 5. Then once I had established the small installation and the big installation have to be a sibling of it got a bit hard tional techniques shown in process 6, things got fresh again. Process 7 needs small changes so I used some computational ck was to make some changes only. Process 8 shows changes to script to make it printable.

ams & components

esign intention - to think fear.

rication to 3D printing

ording to printer requirements

Process 4 - Finalized components to use & hunches

Process 5 - Design intentions solution against fear

One script with changes to the graph types to create different family after case study.

Same script of the chosen family with changes to some iterations of the components to create further family matrixes and match design intentions.

Process 9- Final presentation & Reflection on the motivation aims of this Studio After doing all this, I understand why digital architectural design is a significant architectural profession. In a way, it’s easier to make certain things such as repetitive work, organic flows and shapes (something that I had made in my both installations) are easier and faster to create using parametric design. It also provides iterations and forms for you so what you have to do is to choose the best form that fits the design intentions. It makes designing things faster to a certain extent because using the same script many forms could be created. Those iterations could make forms that we never thought we could make. This makes the ability to understand how the form could be created in grasshopper, controling the result it creates, making selection criteria and manipulating parametric models design to be a skill worth horning on. That skill is something that I tried on when choosing and making the parametric modelling for installation 1 & 2. In the fabrication part, the skill to manipulate parametric model for printing is honed on. Manipulation of script was done a lot throughout the whole process journey too. Overall, the journey have been tough and exciting as I get to experience how digital technology on parametric modelling can influence my architectural creativity to a certain extent as I can still manipulate the scripts. My limitation was the software understanding. Other than that I get to learn more about myself and leaving a part of me in my designs. It excites me when designing because I was thinking on how to let users to feel both of my fear and how I tackled it in the space I designed. I was thinking like they might not know it, but if they can feel it even unconciously it will be enough. The concept learnt, like how I translate from my fear process to both computational and compositions to guide me through my project and making the digital optimisation can definitely be applied to other design projects. YAY!

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C.5

REFERENCES Angus, W. Stocking, “Building design”, Generative design change the face of architecture, 15 October 2009, < http://www.cadalyst.com/ cad/building-design/generative-design-is-changing-face-architecture-12948> [accessed 11 August 2017] Arup, “National Aquatics Center (Water Cube) , Beijing” , A form inspired by the natural formation of soap bubbles , <https://www.arup. com/projects/chinese-national-aquatics-center> accessed 11 August 2017. Designboom , interview with ICD/ITKE team on fiber-woven research pavilion 2013-14< https://www.designboom.com/architecture/ icd-itke-research-pavilion-2013-14-interview-08-18-2014/gallery/image/icd-itke-research-pavilion-stuttgart-2014-designboom-7/> [accessed 11 August 2017] Dring, Allison,Ornament & Climate < https://youtu.be/g2tCnub5Zlk> [accessed 11 August 2017] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 pdf Elijah , Wolfson,Ornament & Climate, Mexico City Hospital ‘Eats’ Pollution: Torre de Especialidades Features Innovate Facade Tiling That Neutralizes Smog , 29 December 2013 < http://www.medicaldaily.com/mexico-city-hospital-eats-pollution-torre-de-especialidadesfeatures-innovate-facade-tiling-265942> [accessed 11 August 2017] Essay ,The PRitzker Architecture Prize,2012 < http://www.pritzkerprize.com/2012/essay> [accessed 11 August 2017] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf Heatherwick studio, UK Pavillion Shanghai expo 2010.< http://www.heatherwick.com/uk-pavilion/> accessed 11 August 2017. Hobson, Ben, Archdaily, Wang Shu’s Ningbo History Museum built from the remains of demolished villages, 2016 < https://www.dezeen. com/2016/08/18/video-interview-wang-shu-amateur-architecture-studio-ningbo-history-museum-movie/> [accessed 11 August 2017] Jury Citation ,The PRitzker Architecture Prize,2012 < http://www.pritzkerprize.com/2012/jury-citation> [accessed 11 August 2017] Karen, Cilento, Arcdaily, Al Bahar Towers Responsive Facade / Aedas,< http://www.archdaily.com/270592/al-bahar-towers-responsivefacade-aedas> [accessed 11 August 2017] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf Sebastian ,ordana, Archdaily, UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio <http://www.archdaily.com/58591/ukpavilion-for-shanghai-world-expo-2010-heatherwick-studio> accessed 11 August 2017. Thomas, Schielke, Arcdaily, Light Matters: Mashrabiyas - Translating Tradition into Dynamic Facades,< http://www.archdaily. com/510226/light-matters-mashrabiyas-translating-tradition-into-dynamic-facades> [accessed 11 August 2017] Tristram, Carfrae, “Engineering the water cube”, 1 july 2006, < http://architectureau.com/articles/practice-23/> [accessed 11 August 2017] Unreasonableman, John Conway Talks About the Game of Life Part 1, 2007 < https://www.youtube.com/watch?v=FdMzngWchDk> [accessed 11 August 2017] Yehuda E, Kalay, (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf

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Serrousi pavillion - http://farm3.static.flickr.com/2637/3709156721_4c01a33f6f_b.jpg quotes for installation 1 -https://www.facebook.com/theunknownquotes/photos/a.618572334833246.1073741825.170413949649089/ 1235798126443994/?type=3&theater and http://www.thethingswesay.com/img/3860.jpg quotes for installation 2 - https://i.pinimg.com/736x/fc/37/27/fc37272394911e9ea3a644aefd55fd2d.jpg People sitting under the tree image - https://i.pinimg.com/236x/40/64/a0/4064a0124f1439ffab38be346c49bcf1--baby-style-familypicnic.jpg Into the darkness images - Twisted Nightmare, Pinterest, https://www.pinterest.com/pin/540502392756117095/ Sphere projectors - video sphere balloon 0.9~10meter, https://www.youtube.com/watch?v=YPYz-jGf4NI. Tunnels images - http://animalia-life.club/other/green-bee-eater-nest.html projector screen images - Planetarium, https://www.google.com.au search?biw=1536&bih=759&tbm=isch&sa=1&ei=BaTwWcPBMYy_0gSY_qugBg&q=planetarium&oq=planetarium&gs_ l=psy-ab.3...15664.15664.0.15806.1.1.0.0.0.0.0.0..0.0....0...1.1.64.psy-ab..1.0.0....0.gWwt6aMN7v0 Gathering around fire image - https://ourgreengenes.files.wordpress.com/2014/07/people-around-camp-fire.jpg Gathering around projector image - http://www.teamliquid.net/forum/news-archive/231399-mlg-redeemed-columbus-recap Cavemen around fire - https://www.pinterest.com/pin/437271445053061926/ Modern camping - https://i.pinimg.com/236x/e2/af/de/e2afde898c4ebe8661b522d115e6961e.jpg It image - https://www.theverge.com/2017/3/12/14897214/it-reboot-pennywise-preview-sxsw-2017 3d printer machine images - Fablab website, https://msd.unimelb.edu.au/3d-printing. Floating piers,Christo Vladimirov Javacheff, https://www.yahoo.com/news/people-walk-water-italian-lake-201912070.html Archdaily, Coppenhagen harbour bath, BIG + JDS, 2009 < https://www.archdaily.com/11216/copenhagen-harbour-bath-plot> [accessed 11 August 2017] Frearson, Amy, Dezeen, Silence by Tadao Ando and Blair Associated, 2011, https://www.dezeen.com/2011/07/14/silence-by-tadaoando-and-blair-associates/ [accessed 11 August 2017] Map image and the river conditions - Nearmap

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