Air Journal by Evan Zhu

AIR 2017, SEMESTER 1

FINNIAN WARNOCK YIWEN ZHU 743447

INTRODUCTION Hi, my name is Evan. I am a third year architecture student in University of Melbourne. I come from Guangzhou, China and finished my high school in my hometown. Then I moved to Melbourne to continue my study. I planned to become a landscape architect in my first year. After undertaking some architecture subjects, I found that architecture is not only about building house for people to live in. Architecture is how we generate, visualize, and materialize ideas. Everything around you can be the inspiration of new spatial arrangement in architectural design process. That is why I decided to switch my major. In my opinion, digital design is a new tool that can assist architects in generating forms. It is equal some traditional design method such as sketching and modelling. However, digital design plays a more and more important role in contemporary design for it capability of assisting architects in dealing with more complex spatial relationships.

A 4

CONCEPTUALISATION A1 DESIGN FUTURING 1.1 ORGANIC SKYSCRAPER 1.2 X SEA TY A2 DESIGN COMPUTATION 2.1 HARD ROCK CAFE FACADE 2.2 MEISO NO MORI MUNICIPAL FUNERAL HALL A3 COMPOSITION/ GENERATION 3.1 PRIZMA 3.2 UNDER MAGNITUDE A4 CONCLUSION A5 LEARNING OUTCOME A6 SKETCHES/ REFERENCE

“ ... many of the challenges we face today are unfixable and that the only way to overcome them is bywe chang“ ... many of the challenges face ing our values, beliefs, attitudes, and today are unfixable and that the only behavior. “ way to overcome them is byFry chang-Tony ing our values, beliefs, attitudes, and behavior. “ -- Tony Fry

DESIGN FUTURING With the development of technology, we do not manage to get a better future. In fact, the sustainibility of nowadays society and natural environment is alarming due to our anthropocentric mode of habitation.

Design, as a tool to fulfill humanâ&#x20AC;&#x2122;s need, needs to be redefined to cope with the challenge of achieving a more sustainable future.

A 1.1: RECYCLE/ INHABITANTS AS CONSTRUCTOR PROJECT: ORGANIC SKYSCRAPER ARCHITECT: CHARTIER-CORBASSON ARCHITECTES DATE: 2014 LOCATION: UNBUILT As Dunne and Raby mentioned in “Speculative Everything”, it is harder for us to imagine a hopeful future than becoming extinct.1 There is no doubt that every aspect of our lives such as the natural environment around us, our needs and norms are rapidly changing due to our anthropocentric way of habitation.2 It is crucial for architects to rethink how design can do to cope with the defuturing condition. The Organic Skyscraper done by Chartier-Corbasson Architects shows us how design can make our mode of habitation more sustainable. The Organic Skyscraper guides us through a new way of construction. Inspired by the bamboo growth and the bamboo scaffolding as used in Asian countries, it can grow based on the waste from its residents as demand for floors increases (figure 3). All the residents of the building will make an effort on constructing the skyscraper since their waste will be processed into the floor panel and façade panel for the building (Figure 2). This actually redefines the relationship between inhabitants and the building. They are not only the users of the building, but more become part of the owner and builder of this building. This will probably increase a sense of belong-

Figure 2: Facade panel 8

ing for residents. Moreover, it changes how people think about waste. Waste becomes valuable resources we can make use of instead of something we need to get rid of. Prefabricated hollow cubes work as a structural frame as well as scaffolding. Little wind turbines that are contained in the tubes will help generate energy for the residents.3 However, the brilliant idea about using recycled material can be gross if they fail to treat waste properly. It will make the inhabitants feel like living with rubbish. This is probably one of the main reason that this project can only be a conceptual design for now. Nevertheless, using recycled material is one of the things we can learn from this project since we will use recyclable material such as paper, timber veneer, and fabric. We just need to make sure the recycled material we use is in good quality. The other thing we can learn from this project is involve inhabitants into construction. If we manage to modular fabricate our ceiling/wall structure elements, we can let its inhabitants or even general public to finish building this structure. Let them define their ceiling/wall structure. In this case, we actually allow more possibilities in our design.

Figure 3: Growing process

1. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 2. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 3. Mark Magazine: Another architecture, Organic Skyscraper, vol. 48 (Melbourne, 2014), pp. 6.

Figure 1: Organic Skyscraper

A 1.2: BIO-ENERGY/ CARBON-ABSORBING/ FLOATING PROJECT: X SEA TY ARCHITECT: X- TU DATE: 2010 LOCATION: SEA OF THE WORLD (UNBUILT)

As Fry states, we are pushing ourselves to extinction by the anthropocentric technologies we developed.4 Human is plundering resources from nature in a rate much faster it can reproduce resources. Human tend to forget we are not only the user but also contributor in the whole ecological system. Guided by this thinking pattern, human break the balance among human, nature and other species. Designers and architects need to take the challenge of redirecting this anthropocentric thinking pattern to think more about the planet as a whole. X SEA TY done by X–TU pictures a new relationship within human, technology, and nature. It presents us how technologies link with principles such as sharing, networking resources, and ecological symbiosis. 5 X SEA TY is a floating city serves as eco-friendly habitat for human and other species and energy producer. Due to the rising of sea-level, human will have to face the scarce of land resources. A floating city will become one possible option for coping with the future condition. The hive shape structure (figure 4) is porous concrete covered by photosynthetic algae. The photosynthetic algae will transform carbon dioxide into oxygen and biofuels. The

Figure 4: Energy transformation

city is self-sufficient. It provides itself all the energy it needs while improving the surrounding environment at the same time. Besides, this nutrition-rich “living façade” will also encourage plants to take roots and provide animals shelters. By using this ecofriendly habitation, human perform as energy user and producer at the same time. It makes the idea that human, nature and other species are actually working as a whole more clearly. There is no doubt that it will help drive human from self-interest to think more about the whole natural world. X SEA TY also allows more freedom to construction. The hexagonal shape structure is pre-fabricated and assembled like hives.7 It can be built anywhere and move freely based on the demand of its inhabitants, which allows it to meet the quick changing needs of the society. Nevertheless, the idea of using high technology living facade to achieve bio-energy and a carbonfree city is extraordinary. X-TU still cannot fix the fundamental issue about how the city floats on the sea. Design is not only about producing great concept but also practicing in reality.

Figure 5: Floatong city

4. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 5. Mark Magazine: Another architecture, X SEA TY, vol. 52 (Melbourne, 2014), pp. 78. 6. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ 7. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/

Figure 6: X SEA TY

â&#x20AC;&#x153; ... many of the challenges we face today are unfixable and that the only way to overcome them is by changing our values, beliefs, attitudes, and behavior. â&#x20AC;&#x153; -- Tony Fry

DESIGN COMPUTATION

A 2.1: AESTHETIC/ FUNCTION PROJECT: HARD ROCK CAFÉ FACADE ARCHITECT: ARCHITECTKIDD DATE: 2011 LOCATION: BANGKOK, THAILAND

In the hard rock façade project, architects manage to connect music and architecture with the help of computation. They materialized the sound wave in a curved steel frame with countless black reflective panels. Each panel is rotated in a different angle to get a dynamic interpretation of music. There is no doubt that without the help of computation, Architectkidd would not able to assemble thousands of panels all in different angles. In term of the design process, the starting point is the shape and structure of music. Later, they tried to visualize the sound wave. The architects were not satisfied just visualized the sound, they also wanted to add a sense of tactile into this façade. To achieve this aim, they started to make prototypes based on their digital model until they found the black reflective panels that suit for this project.8 Their design process emphasis how computation renewed the traditional role of architects – builder. Design concept and fabrication seem to be isolated in the contemporary design process. Computation manages to relink them together. 9

strong visual impact in the façade, I will criticize them for only focusing on aesthetic. Critical thinking plays an important role in the design process. As designers, we need to think beyond aesthetic. The function is one of the most crucial parts we need to deal with in our design process.10 Architectkidd could have done more work with their rotated reflective black panels than just a cool look façade. They can control the angles to manage what they want the users to see. Those panels can even combine with ventilation and shading system to provide a more comfortable inside environment for the user. When it comes to our own project, we need to think carefully what a ceiling or wall can achieve before we aiming to make any cool look staff. Besides, their material testing just stayed on the stage whether the material looks good or not. Material properties and performance will be explored more in the second case study.

Although Architectkidd succeeded in creating a

Figure 7: facade development

Figure 8: External look

8. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 9. Architectkidd, Hard rock cafe facade, (2011), http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ 10. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45.

Figure 9: Hard rook Cafe

A 2.2: FORM FINDING/ MATERIAL PROPERTY PROJECT: MEISO NO MORI MUNICIPAL FUNERAL HALL ARCHITECT: TOYO ITO & ASSOCIATES DATE: 2006 LOCATION: GIFU, JAPAN In the last few decades, the relationship between design intent and material properties is more and more isolated. However, Computational process manages to reconnect design intent an material.11 Meiso No Mori Municipal Funeral Hall sets and example of how information flows between architectural design proposal, parametric optimization, and material properties. “Meiso No Mori” is the Japanese words meaning “forest of meditation”. Toyo Ito designed the undulating roof canopy and the treelike columns to act as a reflection of the landscape and forest of kakamigahara. It is hard to make sure the flowing curved canopy roof is structurally sound by using traditional design method. Furthermore, as the architects wanted to have a lightweight roof, the concrete used for the roof need to thin. However, computing can help designers to get an organic shape to be more structurally sounded by using mathematical optimization. Mathematical optimization is the process which, on the basis of one or more chosen criteria, takes advantage of the computation power of the computer to interactively search for optimal solutions to a problem from among a series of possible candidates.12 In this project, by using parametric optimization, there are thousands of possible solu-

Figure 10: Roof reinforcement

for the idea of an undulating canopy roof. As designers, we just need to pick best one for the project without changing the original idea of a flowing roof. Moreover, affecting by the irregular nature of the undulating roof plane, the stress levels are varied across the roof surface (figure 10). Additional steel reinforcement is needed for the roof. The different levels of stress are mapped out by computer modeling. They just did a test model on a small scale and input the data to computer program. Computation will give the best solution about where to put reinforcement will make the structure work. With the help of computation, architects managed to get the thickness of the roof down to 20cm.13 In this case study, computing shows how powerful it can be in information workflow and testing out the limit of material. In terms of our ceiling/wall installation, material property is also a crucial part of our design since we will use flexible materials such as timber veneer, paper, and fabric. Learnt from this project, we will need to make a few prototypes to test out the material limits such as bending capability before we go any further in our design process.

Figure 11: External look

11. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 12. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25

16 13. Engineer writes, Toyo Ito MEISO NO MORI MUNICIPAL FUNERAL HALL, (2008), https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/

Figure 12: External look 2

“ ... many of the challenges we face today are unfixable and that the only way to overcome them isthe bydigital chang“ Through computation, aring our values, beliefs, attitudes, and chitectural design environment has behavior. “ both the ability to construct complex -Tony models of buildings and giveFry performance feedback on these models. “ -- Brady Peters

GENERATION/ COMPOSITION

A 3.1: DESIGN OBJECTIVES/ DATA ANALYZING PROJECT: PRIZMA ARCHITECT: BIOTHING DATE: 2012 LOCATION: BUDVA, MONTENEGRO (UNBILT) With the development of computing technology, architects are now able to generate much more complex forms by using algorithm. An algorithm is taking the place of pen and paper to become the tool for architects to sketch their ideas. As architects, we now need to develop the skill of algorithmic thinking, which requires us to understand the results of generating code, knowing how to modify code and exploring further design options. Thinking algorithmic is shifting architects from computerisa14 tion to generation. However, generative design methods are always unpredictable. Generative design methods will not work unless we have a sufficient understanding of algorithmic concepts and our design intent. Otherwise, driven by the fancy results of scripts, we will easily become craftsmen instead of architects.15 In this case, Prizma done by Biothing can be a good example in balancing generative design methods and real design objectives. Inspired by the morphology of the Budva’s old city architectural fabric, Biothing designed Prizma with a heterogeneous packing of rectangular volumes along its building façade as a response to Budva’s environmental conditions. Budva is experiencing an increasing need for high density urban housing due to the accretion of population. Biothing let para-

Figure 13: Data analysis

metric modelling define the building’s architecture. They use generative design methods in making use of data such as the relationship between different vectors and parameters associated with intensity and location of light and slab set back location to simulate building performance (Fihure 13).16 Those windows and terraces are not random crazy staff generated by computer. They are in their particular shapes and orientations for reasons. They provide sunlight, shading, and views for the inhabitants. As Wilson points out that “an algorithm is a recipe, method, or technique for doing something”.17 Algorithm is a tool to assist design process. Biothing uses this tool properly without letting it overwhelm their design intent. This is what we should do in our own project. In the process of using parametric design, we might lose ourselves in some fancy outcomes of it. Nevertheless, we should keep in mind our design objectives. The arrangement of different rectangular volume can be helpful in our project. It is possible for us to start with a module and then resize and rearrange it to form other interesting structures.

Figure 14: Facade

14. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15.

Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 20 15. 16. Biothing, Prizma//Budva Montenegro. (2012), http://www.biothing.org/?p=484

17. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

Figure 15: Interior design

A 3.2: GENERATIVE FORM/ MATERIAL SYSTEM PROJECT: UNDER MAGNITUDE ARCHITECT: MARC FORNES & THEVERYMANY DATE: 2016 LOCATION: ORLANDO, FLORIDA Under magnitude is a two-story-height permanent structure suspended over the atrium of Orange County Convention Center acting like a second ceiling. In this project, Marc Fornes and his studio THEVERYMANY combine generative forms with selfsupporting structure. 18 The two main system of this project correspond with each other successfully. One is the material system which the architects managed to make the aluminium skin down to one millimetre thick.19 The other is the crossed-branches- like structure system. The structure will experience different level of stress like the roof of Meiso No Mori Municipal Function Hall since they are both irregular structures (figure 16). The architects make this vulnerable-look structure to be strong enough not to collapse when people walk on by the priciple of “Intensive Curvature”. according to THEVERY MANY, “Intensive Curvature,’ which is the maximization of double curvature across the project while constraining maximum radaii. The result is a structure that has much tighter curvature with constant change of direction, and results in more structurally performance.”20

First is the visual presentation. During their sketching process, they did try to colour the Under Magnitude. The colourful version of this project gives a completely different visual impact compare to the final pure white one. We can use different colour fabric or paper to make some prototypes to get the best suitable visual expression for our project. How they detailed the surface is also inspiring. Those spot all cross the surface help to reduce the weight, influence the structure performance, and act as ornamental elements of structure. If we do similar hollow pattern in our material, it might perform in different way. We also can learn from how they balance material system and the structural system since we might use similar thickness material.

There is a lot of things we can learn from this project.

Figure 16: Stress level 18. Under Magenitude, (2016) https://theverymany.com/ 19. Under Magenitude, (2016) https://theverymany.com/

Figure 17: Render of Under magnitude

22 20. Under Magenitude, (2017) http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany

Figure 18: Under Magnitude

CONCLUSION Start from week 1 topic design futuring, air studio part A clarify the role of designers in building a more sustainable future. As designers, we should not only think about the contemporary society. We should foresee the possibilities of incoming future while directing our design intent towards a more preferable future. To build this future, I explore recycled material and self –sufficient architectures by researching the two examples of Organic Skyscraper and X SEA TY. Although they have put forward some interesting possibilities for future design, they just remain as paper-design for they do not fix the fundamental practical issue in their concept.

as well as huamn needs and norms. Both human and the natural environment can be benefit from this design method. In terms of our own design approach, we will use flexible material. As a result, testing material properties will crucial part we need to explore. Since we are designed for a real project, the client demand and the users’behaviour also need to be included in our data analysis. We can input all these data in computation programe to help us generate forms most suitable for this project.

To help architects in redirecting people values, interests, design computation was introduced in week 2 as a powerful design tool. “Architects are increasingly experimenting with computation to simulate building performance to incorporate performance analysis and knowledge about material, tectonics and parameters of production machinery in their design drawings” – Brady Peters. Computation especially in data analysis helps designers to continue in improving building performance. By using computation, architects can generates much more complex forms that can better responds to natural environment,

LEARNING OUTCOMES I have done Digital Design and Fabrication before I learn anything about parametric design. During the studio, it was hard to compose complex geometry forms just by CAD and Rhino, especially in detailing joints of the model. As a result, we got some troubles when we assembled our final model. At that time, I stayed in the stage of computerisation. Digital software is a tool which help me to visualise my design. Without algorithmic thinking, I did not know how to use computation to explore more potential with my design. Moreover, I need to make many prototypes during the studio. At that time, I have not realised the importance of prototypes which is testing the material properties. We just did a few prototypes to explore forms and structure. We did not test the ma-

terial limit in our prototype. We ended up choose a material which we were not familiar with its material properties. The final model is not as flexible as we expected since we failed the prototype stage. I can improve my previous design work in two main aspects: used parametric design to explore possible outcomes from my original design concept and improve my final model by testing out which is the material that suitable for our eproject.

ALGORITHMIC SKETCHES

ATTRACTOR LINES

ATTRACTOR POINT

IMAGE SAMPLER

REFERNENCE 1. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 2. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 3. Mark Magazine: Another architecture, Organic Skyscraper, vol. 48 (Melbourne, 2014), pp. 6. 4. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 5. Mark Magazine: Another architecture, X SEA TY, vol. 52 (Melbourne, 2014), pp. 78. 6. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producingfloating-city/ 7. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producingfloating-city/ 8. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 9. Architectkidd, Hard rock cafe facade, (2011), http://www.architectkidd.com/index.php/2011/10/hardrock-cafe-design-summary/ 10. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 11. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 12. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 13. Engineer writes, Toyo Ito MEISO NO MORI MUNICIPAL FUNERAL HALL, (2008), https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/ 14. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 15. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 16. Biothing, Prizma//Budva Montenegro. (2012), http://www.biothing.org/?p=484 17. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11, 12 18. Under Magenitude, (2016) https://theverymany.com/ 19. Under Magenitude, (2016) https://theverymany.com/ 20. Under Magenitude, (2017) http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany

IMAGE SOURCE Figure 1: Organic Skyscraper, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle Figure 2: Façade panel, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residentsrecycle Figure 3: Growing process, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle Figure 4: Energy transformation, https://fpsbutest.wordpress.com/tag/x-sea-ty/ Figure 5: Floating city, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ Figure 6: X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ Figure 7 Façade development, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-designsummary/ Figure 8 External look, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ Figure 9 Hard rock café, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ Figure 10 Roof reinforcement, https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/ Figure 11 External look, http://openbuildings.com/buildings/crematorium-in-kakamigahara-profile-45079 Figure 12 External look 2, http://openbuildings.com/buildings/crematorium-in-kakamigahara-profile-45079 Figure 13 Data analysis, http://www.biothing.org/?p=484 Figure 14 Façade, http://www.biothing.org/?p=484 Figure 15 Interior design, http://www.biothing.org/?p=484 Figure 16 Stress level, http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany Figure 17 Render of Under Magnitude https://www.dezeen.com/2017/01/25/marc-fornes-very-many-under-magnitude-coral-installation-orlando-convention-centre-installation/ Figure 18 Under Magnitude https://www.dezeen.com/2017/01/25/marc-fornes-very-many-under-magnitude-coral-installation-orlando-convention-centre-installation/

B 2

CRITERIA DESIGN B1 RESEARCH FIELD 1.1 STRIP & FOLDING B2 CASE STUDY 1.0 2.1 ITERATIONS 2.2 SELECTED OUTCOMES B3 CASE STUDY 2.0 3.1 DOUBLE AGENT WHITE 3.2 REVERSE ENGINEERING 3.3 FINAL DRAWING B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: PROTOTYPES B6 TECHNIQUE: PROPOSAL B7 LEARNING OBJECTIVES AND OUTCOMES B8 APPENDIX - ALGORITHMIC SKETCHES

RESERACH FIELD

B1.1 STRIPS & FOLDING Strips as a architectural compoent is commonly use in comtemporary design since architecture is the combination of art and structure. 1 Strips can not only serve as a structure element but also form the skin at the same time. It fullfills the two basic characteristic of architetcture. Moreover, parametric design as a new trend in architecture also help to push the boundary ofthe use of strips and floding. It is hard to fabricate complex computation-base geometry by using traditional construction method.2 However, complex geometry can always be decompose into simple basic geometries. Take UNDER STRESS done by THE VERY MANY

Figure 1: ICD/ITKE RESEARCH PAVILLION 2010

as an example, the skin of this structure is double curve surface. They decompose the skin into flat strips which are much more easy to fabricate.3 Therefore, strips and folding enable the work flow from computation to fabrication. Strips and folding also is a good method to incorporate with material properties. In the project EPFL and ICD/ITKE Research Pavillion 2010, they both used strips and folding to highlight the bending properties of their material. 4&5

Figure 2: EPFL

1. Marc Forne, ‘The Art of the Prototypical’, Architecture Design, 2, 86,(2016) pp. 60 2. Wolf Mangelsdorf, ‘Structring Strategies for Complex Gemetry’, Architecture Design, 4, 80(2010) pp.40-45 3. Under Stress, (2016) https://theverymany.com/ 4. ICD/ITKE Research Pavillion 2010, University of Stuttgart (2010) http://icd.uni-stuttgart.de/?p=4458 5. EPFL, In Silico, https://insilicobuilding.wordpress.com/

Figure 3: UNDER STRESS

“ ... many of the challenges we face today are unfixable and that the only way to overcome them is by changing our values, beliefs, attitudes, and behavior. “ -- Tony Fry

CASE STUDY 1.0 PROJECT: SEROUSSI PAVILLION ARCHITECT: BIOTHING DATE: 2007 LOCATION: PARIS

FIGURE 4: SEROUSSI PAVILLION

B2.1 ITERATIONS SPECIES 1

ADD SPIN FORCE / POINT CHARGE

Add spin force S 1.6, R 7.30

2 spin force (S1.6, R7.30 & S3 R30) Ad point charge

SPECIES 2

RULESURFACE& LOFT

Top plane

Bottom plane

Curvy plane

Twisted plane

SPECIES 3 PROJECT

, dd

Additional points for new point charge

Top plane & bottom plane

Curvy plane

New divided curve as piont list for point charge

Add spin force S1 R5

Brep

SPECIES 4

CHANGE INITIAL CURVES

Circle

Single polyline

SPECIES 5.1

REPLACE CIRCLE WITH POLYGON

Segement = 3

Segement = 4

SPECIES 5.2

REPLACE CIRCLE WITH WB MESH EDGE

Pyramid

Dipyram

mid

Intersect curve

Segement = 5

Dodecahedron

3D curve

Segement = 6

Prism

SPECIES 6

ADJUSTING GRAPH MAPPER

Perlin

Gussian

Conic 1

Linear

Square root

Conic 2

Parabola

Power

B2.2 SELECTED OUTCOME AESTHETICS: 7 SPATALITY: 4 COMPLEXITY: 5 FLEXIBILITY: 4 FABRICATION: 7

In this interation, strips are acting as pattern wrapping arond the surface of a brep.

AESTHETICS: 7 SPATALITY: 5 COMPLEXITY: 6 FLEXIBILITY: 5 FABRICATION: 7

Different from open curve, a closed circle will generate more regular filed lines .

AESTHETICS: 5 SPATALITY: 7 COMPLEXITY: 6 FLEXIBILITY: 7 FABRICATION: 6

Instead of generating pionts from 2D curve. I try to get curves from mesh edges to improve the spatality of those filed lines. AS a result I got a 2 sets of filed lines pointing at different direction.

AESTHETICS: 6 SPATALITY: 8 COMPLEXITY: 6 FLEXIBILITY: 6 FABRICATION: 8

By adjusting graph mapper, I can get different shapes of lines. A volume can be formed from the curvy lines.

CASE STUDY 2.0

B3.1 REVERSE ENGINEERING PROJECT: DOUBLE AGENT WHITE ARCHITECT: MARC FORNES & THEVERYMANYâ&#x201E;¢ DATE: 2012

Double agent white is one continous surface formed by 9 intersectant spheres. this project is one of the prototypical architecture. The key idea of Double agent white is to generate fabricatable developable surfaces to construct double curved surfaces. Double agent white ids defined by a double agent system. The first one is to control the overall geometry with

FIGURE 5: DOUBLE AGENT WHITE

6. Double Agent White, THE VERY MANY(2012)

minimul amount of developable surfaces that can be cutted in a flat sheet. The second agent is higher resolution, more schizophrenic and expressive set is detailing aperture as ornament. The resulting structure adheres to a myriad of formal and technical constraints that provide a dynamic structure of spatial nuance.6

FIGURE 6 DOUBLE AGENT WHITE

FIGURE 7: DOUBLE AGENT WHITE

B3.2: REVERSE ENGINEERING PROCESS

STEP 1: Loft a Surfac

STEP 2: Construct planes on the point populate on the surface

STEP 5: Scale the curve generate by voronoi

STEP 7: Loft the two setc of curve to create surface

STEP 3: Construct planes on the point populate on the surface

STEP 7: Smooth the geometry by WB bird

STEP 4: Use voronoi to intersect the geometry.

STEP 8: Generate developable surface from the mesh

B3.3 FINAL DRAWING

PERSP

FRONT 24

RIGHT

PECTIVE

TOP

TECHNIQUE: DEVELOPMENT

SPECIES 1 STRIP

Horizontal

SPECIES 2

STRIP + GRAPH MAPPER

ertical

Random

SPECIES 3.1 SOLID UNION + DELAUNAY MESH

WB Catmul_clark

WB Offset Mesh

WB Mesh

WB Bevel E + Thicken

SPECIES 3.2

LOFT SURFACE + DELAUNAY MESH

WB Catmul_clark

WB Offset Mesh 30

WB Mesh

WB Bevel E + Thicken

h Window

Edge

Window

Edge

WB Stellate

WB Bevel Vertices

WB Stellate

WB Bevel Vertices

SPECIES 4

CHANGE INITIAL CURVES

Cone

Dipyramid

Rectan

Dod

SPECIES 5 KANGAROO PHYSICS

Spring force + Anchor point

Spring force RL = 0.8 32

Spring RL = 0

Unary

ngular

decahedron

g force 0.2

y force UP

Cylinder

Pyramid

Spring force RL = 0.5

Unary force DOWN

SPECIES 6

ALTERING GEOMETRY

Circle

Pyramid

SPECIES 7

CULL PATTERN

Linea

Inters

sect curve

WB mesh edge

Undulated curve

B2.2 SELECTED OUTCOME

AESTHETICS: As ceiling/wall installation of a hotel ballroom, aesthetics is basic ele LIGHTING: Lighting is one key part to form the atmosphere of a ballroom. ACOUSTIC: our site has a very high ceiling which will impact on the acoustic perf as lighting effect FABRICATION: Fabrication possibilities is the critical part of a real project.

AESTHETICS: 8 LIGHTING: 6 ACOUSTIC: 5 FABRICATION: 5

AESTHETICS: 8.5 LIGHTING: 7 ACOUSTIC: 3 FABRICATION: 3

ement that need to be considered.

formanc. And the acoustic effect is same important

AESTHETICS: 8 LIGHTING: 7 ACOUSTIC: 8 FABRICATION: 6

AESTHETICS: 6 LIGHTING: 8 ACOUSTIC: 7 FABRICATION: 6

TECHNIQUE: PROTOTYPES

MATERIAL

FIGURE 8: MELISSA CRYSTALIZED

The one on the left is dichroic acrylic which will reflect radiant color whe it has the same radiant effect but much more lighter and flexible. The on it is rigid. But it can easily be heat up to get different shape. Moreover, PE material on time. As a result, we decided to test our prototype by using p 40

FIGURE 9: StalacTite ,Tessellated Manifolds

en combine with light. We want to use dichroic film as our material since ne on the right is PETG plastic which is clear perspex- like material when ETG plastic can be color coating. However, ee did not get our intended polypropylene and perspex since they have similiar materiality.

PROTOTYPE 1 Prototype 1 is based on the strips interation from B4. I choose this interation as the starting point of prototype is because our design brief is to capture the dynamic motion in the ball room. This floating strips give me the sense of movement. However, it is hard to make the strips floating in the

air without any support. So I made a transparent frame to hold it up. This prototype is aim to test the effect of irregular floating structure and its framework.

PROTOTYPE 2 Prototype 2 is also to test how irregular curvy structure can be join. Moreover, we want to see how flexible plastic-like materialperforms in different kind of joints.

of what we expected due to the strength and and flexibility of polypropylene. We should consider more about the material perfrmance in the next design.

We used wires and pin joints to join the strips together. Then the strips perform in a different way

PROTOTYPE 3 These 2 prototypes aim to push the boundary of joints. In this interation, each geometry consts of 13 pyramid shape sub-geometries. These 13 geometries are shared edges on the top part. We chose these pyramid have a volume inside that can incorporate with lighting effect.

In prototyep 3, we tried not to deal with the top part. Instead, we used a 3D print joint to hold those sub-geometries. As a result, the geometries are fixed.

PROTOTYPE 4 Since we already tried fix joint. A flexible connection is introduce in prototype 4.

the design possibility will be enriched in this structure.

The 13 sub-structure are connected by metal rings at the top part. Flexible movement are possible in this prototype. Due to the flexible movement,

PROTOTYPE 5 Prototype 5 is to fabricate double curve surface through decompose the surface into triangulated panels. Since our material is farely rigid, we want to make the structure more flexible thriugh its joints. So we used the same joints as pro-

totype 4 to allow the movement in the share edges, However, these leads to a new problem that we can get the same angle as our rhino model. In the next step, 3D print joints can be one option for this kind of model issue.

PROTOTYPE 6 Due to the problem we came across in prototype 5. We decided to try 3D print joints and more rigid joints in a similiar triangulaed panels structure. The 3D print plate did help us to get the exact angle of our rhino model but the cable ties failed this task due to its dimensions.

When we tried to tie the structure into the perspex by using wires. It immediately changed its shape. In the next step, we will think more about framework and how to better hold the structure that we create.

PROTOTYPE 7 Prototype 7 is to try conceal joints in flexible material. At first, we attempted to glue the shared surface of this structure. We failed because glue does not perform welll in polypropylene and the glue mark was not aesthetically acceptable.

surface by stapler. These open a new of how to connec two pieces and get a boltfree surface at the same time. The filed of tesselation should be what we need to research abount in actual fabricatuon stage.

Then we just staple the shared

PROTOTYPE 8 The last prototype is to refabricate a similar curvy surface as our previous case study. By applying tensil strength into the structure base on the materiality of polypropylene, the curvy surface actully form a volume . A rigid joint is needed for creating strength. So we used metal brads to shared vertices of these

triangular panels. For next step, we will record the material performance data for the part c parametric design to get a more contrallable outcome.

TECHNIQUE: PROPOSAL Double curve surface and irregular geometery may be easy to generate through parameteric design. However, it is hard to covert them to actual fabrication stage. As a result, we produced a few prototypes to test the limits of material and joints at this stage, aims to explore the potential of our actual fabrication and try to find out the most effective way to convert our design into reality. For the next stage, we will more focus on: Bring more depth & volume into our design. For part B, we were mainly deal with surface. But a gemetry that have a volume will be more suitable to incorporate with lighting and acoustic need of a ballroom.

tested out our idea using some materials that have similar properties. But real material may perform in a different way. Their weight, span possibility will heavily influence our design such as the connection in our design. Capture a motion in a ballroom. Our design brief is to create a refelction of the dynamic motion in the ballroom. For now, our inspiration is just from our case study, a real ballroom motion may be help to push our design brief further. Pick a the most suitable potentialway. In part B, we opened up our possibilities by protyping. Now it is time to narroe down our stream. And try to find the best way to balance the difficulty and reality.

Use actual material. In part B, we

LEARNING OBJECTIVES AND OUTCOMES Part A introduced parametric design to me. Part B guide us to explore more about computation -base design and fabrication process.

ation of detailing, joinary and material performance. We have to choose the suitable material and connection type for fabrication.

The whole part B flow is very clear and logic. We first research the parametric design method. After B2, we got more knowledge in grasshopper and how parametric design works.

From the beginning of part B, I was exposed to a series of precedent through research, interations and reverse engineering. I can see how the architects turn monitor image to reality. And this also the filed we need to spend most of our time on in part C.

B3 enable me to create my own defination by reverse engineering an existing project. Before, I was just random component to whether they works or not. From B3, I get to understand the logic of parametric design. The other important part I learnt from part B is how to convert computation design to fabrication. In grasshopper, a few click may already can generate a amazing structure. But when it comes to the fabrication stage, the structure will fail for any misconsider-

APPENDIX REFERENCE 1. Marc Forne, ‘The Art of the Prototypical’, Architecture Design, 2, 86,(2016) 2. Wolf Mangelsdorf, ‘Structring Strategies for Complex Gemetry’, Architecture Design, 4, 80(2010) 3. Under Stress, (2016) https://theverymany.com/ 4. ICD/ITKE Research Pavillion 2010, University of Stuttgart (2010) http:// icd.uni-stuttgart.de/?p=4458 5. EPFL, In Silico, https://insilicobuilding.wordpress.com/ 6. Double Agent White, THE VERY MANY(2012) IMAGE SOURCE: Figure 1: http://icd.uni-stuttgart.de/?p=4458 Figure 2: https://insilicobuilding.wordpress.com/ Figure 3: https://theverymany.com/ Figure 4: http://www.arch2o.com/seroussi-pavilion-biothing/ Figure 5-7: https://theverymany.com/ Fihure 8: http://softlabnyc.com/ Figure 9: http://www.frombo.com/Images/Marcelo/Tessellated%20Manifolds%20Book%20PDF_s.pdf

SKETCH

C 60

CRITERIA DESIGN C1 DESIGN CONCEPT 1.1 PART B FEEDBACK 1.2 PRECEDENT STUDY 1.3 SITE ANALYSIS C2 FORM FINDING & PROTOTYPES 2.1 FORM FINDING 2.2 SELECTED OUTCOME & PROTOTYPING C3 FINAL DETAIL MODEL 3.1 OVERVIEW MODEL 3.2 DETAIL MODEL C4 LEARNING OBJECTIVES AND OUTCOMES 4.1 FEEBBACK FROM PRESENTATION 4.2 LEARNING OBJECTIVES AND OUTCOMES

C 1.1: PART B FEEDBACK 1. Can introduce layering in the next stage to bring more depth into the design since our intended material has a dichroic effect. 2. Record something happen ballroom such as dance steps as the starting curve instead of a curve generate by grasshopper. 3. Bring more depth into the structure instead of just using surface. 4. Step back to penetrate into one idea. 5. Put moe effort in detailing the joints.

SELETED PROTOTYPE: 1

Flexible free form strips provide an interesting dynmic form. However, fabrication will be a challenge since itâ&#x20AC;&#x2122;s hard to control the overall shape.

SELETED PROTOTYPE: 8

Flexible material and pin joints work well in connecting triangle panels. Can be a good fabrication method yet the overall form is too simple.

C 1.2: PRECEDENT STUDY FIGURE 1

FIGURE 2

PROJECT: ‘YOU ARE A GLORI-

PROJECT: STELLAR CONSOLE

OUS, DESOLATE PROSPECT’

TABLE & STELLAR MIRROR

ARTIST: JUSTINE KHAMARA

ARTIST: JAKE PHIPPS

DATE: 2010

DATE: 2012

The design concept of this project is to create a reflection of dynamic motion in ballroom. Multifunction will be one of the key characteristics for the ballroom today. We intended to design a ballroom ceiling that can fit different events. As a result, our intended material in part B was dichoric acrylic since we wanted to get a color changing effects in creating different atmosphere for the ballroom in different events. Unfortunately, there is not supplier for dichoric acrylic in Australia that we had to give up on this material. We change to other material such as mirror acrylic, clear perspex and clear polypropylene to test out the lighting effect. The two precedent studues we found both have an interesting lighting effect with triangulated mirror acrylic panels. They all used different sized panels which allow the final outcome to have multi-angles to reflect lights. But we have to rconsider how to detail the joints since these two precedent studies were glued together. This fabricatio method is not applicable for a ballroom scale ceiling. Figure 1

Figure 2

C 1.3: SITE & DESIGN Our site is the ballroom of W hotel which facing north-west. Ballroomâ&#x20AC;&#x2122;s dimesion is 30000mm length by 16000mm wide space with 7100mm high ceiling. It has 4 columns in each side and 2 window curtains. A parttition wall is i the middle to separate the ballroom into two section when needed. Targeting at young generation and Melbourne context design. Since we want to keep a high ceiling for ballroom, we need to consider the ceiling space our ceiling structure will occupy. Thus, we need to control the scale of our ceiling installation especially in height. The span of the structure and materal is also an important issue to consider since the site is large in scale. The 2 curtain walls give a chance to incorporate with natural light during day time. Structure detailing need to be carefully design to prevent over-lighting because mirror acrylic has a reflecting effect. Based on the characteristics of this ballroom, our design will based on 3 criteria: 1. Fabrication possibility 2. Aesthetics 3. Design intend

7100MM

SCREEN

16000MM SECTION

A SE

TIN

O TIT

TIN

R SC

PERSPECTIVE

C 2: FORM FINDING

G & PROTOTYTPES

C 2.1: FORM FIN

Fabrication possibility is the part C design process. This d ing process through algorith typying. We tried to acheiev ing out our iterations through

SERIES 1: COMBINE STRIPS & PANEL

SERIES 2: COLLECTION OF STRIPS

SERIES 3: UNDULA

We started our form finding process through combinding strips and panels since we wanted to our selected prototypesâ&#x20AC;&#x2122; features. But the outcomes were not fullfill our design intend. We decided to switch to strips.

Moved on strips. we tested out the interations by several prototypes. Limited by the aesthetics and fabrication possibility, we hardly have any further development.

The third series i form formed by strips. Since every in differentr angle unique visual eff bring fabrication same time.

NDING SERIES

key criteria that guided our design process is a form findhmic interations and protove our design intend by testh prototyping.

ATING FORM

is an undulating a set of twisted y strips are twisted e, it will create an fect while it also difficulties at the

SERIES 4: STRIPS AS OVERALL FORM

FINAL OUTCOME

Then we step backwards to test out long strips as our overall form.

Taken materiality into account, we panelized our long strips into small triangular panels for fabrication purpose. Moreover, these triangular panels will create multi-angle to reflrct light.

C 2.1: FORM FINDIN

SERIES 1: COMBINE

SERIES 2: COLLECTIO

We begin with new strip forms. But the outcome is not too simple.

We also tried to use contour to create strips. The final outcome is too regular.

NG - INTERATIONS

E STRIPS & PANEL

ON OF STRIPS

By using graph mapper, we adjusted our part B script to a proper scale to fit the ceiling installation.

Then we moved on to generate rotated 3D strips by using fractal pattern.

SERIES 3: UNDULATI

Due to fabrication issue, we move onto undulating form by using point charge and graph mapper.

SERIES 4: STRIPS AS O

We used graph mapper and attractor point to generate a curve based on dance motion.

Transform the curve into developable surface to test out the visual effect.

ING FORM

During the process, we used attactor points to move points in 2 directions. By lofting the interpolate curve, we can get a twisted

Looking at different angle, the twisted panels will generate a dynamic visual effect.

OVERALL FORM

FIANL FORM

The final form we came up with.

Panelized the strip form.

Scale and orienate the final form.

TOP VIEW

PERSPECTIVE VIEW

Add pattern to the panttern to generate a softer visual effect.

C 2.2: SELECTED FORM We tried many different methods to generate strips. This one is one of the most aesthetic desirable outcome. To generate the strips, we construct spheres based on random populate points and contour the spheres. Then, we get irregular strips by adjusting graph mapper. However, when we tried to fabricate those strips, we found that the number of supporting frames we need is more than the the strips. It end up looks very messy. We have to seek a different frame to support those strips.

DETAIL: STRIPS (BLACK) & FRAME (WHITE)

PERSPECTIVE VIEW

Aesthetic: 4.5 Fabrication possibility: 2 Design intend: 3

TOP VIEW

C 2.2: SELECTED FORM Since the outcome driven by random populated points and graph mapper was too hard to control, we tried to generate pattern by using fractal pattern. It allows curves to grow like tree branches. We first created two base curve, then the continous curves will keep growing at the end point of previous curves. We can control the scale and rotation angle of the new generated curves. However, we also bump into the fabrication wall. Continous curves grow 3 dimentionally. It is hard to stable them.

DETAIL: PREVIOUS STRIPS (BLACK) ; CONTINOUS STRIPS (WHITE) & CONNECTION BALLS (GREEN)

PERSPECTIVE VIEW

Aesthetic: 3.5 Fabrication possibility: 2.5 Design intend: 3

TOP VIEW

C 2.2: PROTOTYPE 1 In this prototype, we extract the curves generated by fractal pattern. Then offset curves based on the x vector of PFrame to obtain a flat curve surface for laser cutting. Lastly, we made a ball connection at strips connection point. Although this prototype has a good visual impact, It is too fragile. When it scale up to fit the ceiling size, the perspex may be easily broken. Moreover, the 3D print connection ball is not suitable for actual installation for 2 reasons: it is not accurate enough and it can not hold the strips in 3 dimensional space.

3D PRINT JOINT

LASER CUT PERSPEX

C 2.2: SELECTED FORM This prototype we first divided surface into points. Then used attactor points to move the surface points. Later, draw interpolate curves based on the rearranged points. By lofting 2 sets of curves, we can get a set of twisted strips. These strips are twisted in 3D space, so a dynamic visual impact will be created. Nevertheless, in the fabrication stage, we hardly found any material that can generate the twisted effect properly.

FRONT VIEW

PERSPECTIVE VIEW

SIDE VIEW

PERSPECTIVE VIEW

Aesthetic: 4 Fabrication possibility: 2 Design intend: 3.5

TOP VIEW

C 2.2: PROTOTYPE 2 We made 2 prototypes for this form. In the first one, both the side supporting strips and the initial strips are used polypropylene as material. In this way. The initial strips and supporting strips are flexible. So that we can have a curvy suporting strips for a better visual impact. However, because of the flexibility , initial strips as well as supporting strips did not end up the shape we expected.

SET 1 TOP VIEW

In the second prototypes, we used rigid material for the supporting strips. As a result, the initial strips perform better than the previous one thpugh they still failed to twist in the same way as the digital model.

SET 2 TOP VIEW

SET 1 PERSPECTIVE VIEW

SET 2 PERSPECTIVE VIEW

C 2.2: FINAL SELECTED FORM The final form we selected is from the series â&#x20AC;&#x153;strips as overall formâ&#x20AC;?. Since it is hard to fabricate long span thin strips, we combine it with our previous script to panelize the long strips into trangular panels which will be a advantage for fabrication. To enhance the lighting effect of our material, we etch a pattern on it. Ligh can go through these patterns to create a different visual effect than just reflecting light. We create these curve pattern also intend to soft the sense of rigidness bring by mirror acrylic.

PERSPECTIVE VIEW

Aesthetic: 3 Fabrication possibility: 4.5 Design intend: 4

TOP VIEW

FINAL MODEL

C 3.2: DETAIL MODEL

STEP1: Extract panels

STEP2: Offset the pan-

STEP3: Scale the verti-

STEP4: Trim holes for pin

form original model.

els based on material

ces of individual pan-

joints and add hooks

These extracting pan-

thickness.

els. Then union those

for

els do not have a

vertices to get the right

strings.

thickness.

angle of 3D print joints.

the

transparents

HOOK & TRANSPARENT STRING

3D PRINT CONNECTOR & BOLT

MIRROR ARCYLIC PANELS

ETCH PATTERN

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LEARNING OUTC

COME & OBJECTIVES

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C 4.1: PRESENTATION FEEDBACK 1. Such long span thin strips is not pratical enough. The scale is not very suitable for the ceiling istallation. 2. the visual effect did not fulfill our design intend. 3. We have put too time focus on getting a form finding iteration that is interesting and fabricatable, yet we did not choose our best iteration for our final prototyping as not suffoicient time. 4. We did not choose the most suitable option to develop. Being restricted in certain script end up limit our possibility for the final outcome.

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C 4.2: LEARNING OUT Objective 1: “ Interrogating a Brief” Our brief is designed a ceiling installation for W hotel ballroom. Our initial design intend is to create a reflection of dynamic motion in ballroom. However, it actually keeps changing in Part C. We spend a lot of time in narrowing the most suitable brief. Through this process, I understand that a design brief is changable. We need to find the best one to suit the current situation. Objective 2: “ Generate a variety ” Both in part B and part C, we tried to generate a varity of possibilities for our design brief. In this way, we can open up our design options. However, apart from generating a varity, we also should know when to stop and keep develop the best options. Objective 3: “ Developing skills in various 3 dimensional media” In part C, we further developed our skills on parametric design by using grasshopper to push opur design to next stage. Moreover, to produce analttic aldiagrame, we also enhance our skills on other 3 dimensional media. Objective 4: “understand the relationship between architecture and air” This is quite different from part B since we finally got to the actual fabrication stage. In previous study, we primarily focus on paper design. In part C, we have to think about actual construction, which help us improve our understanding of how architecture works on real world.

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TCOME & OBJECTIVES Objective 5: “Making a Proposal” In part B presentation, we did not present our ideas straight forward. This might cause confuse since we have many intended options. As a result, in part C, we tried to present our idea in a more logical way. Objective 6: “ Analysing projects” We did not have this step in our previous design process. We started to analyse our design brief especially our site in part C. Thus, we finally realize how our design repose to the site. But I think we should have a deeper understang to the ballroom. Objective 7: “ Understand computation design” This objectives developed from the start of studio air and further developed through out the whole semester. After part C, we all have a deeper understanding of how computation design works. Objective 8: “ Personalized Repertorie” During the whole semester, apart from grasshopper, we also learn a lot about construction, detailing and materality. This is not only for studio air, I can use them in my other projects in the future.

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2017 STUDIO AIR EVAN

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