Studio Air Journal Faye Ye by Faye Ye

STUDIO AIR JOURNAL 2016, SEMESTER 2 TUTOR: CAITLYN FAYE (XUFEI) YE 757598

Table of Contents

A.0 INTRODUCTION

A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION & GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOME A.6 APPENDIX REFENRENCE B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE DEVELOPMENT B.5 TECHNIQUE PROPOSAL B.6 TECHNIQUE PROTOTYPE B.7 LEARNING OUTCOME B.8 APPENDIX REFENRENCE C.1 DESIGN CONCEPT C.2 TECTONICS & PROTOTYPE C.3 FINAL DETAIL MODEL C.4 LEARNING OUTCOME

A.0 INTRODUCTION

M y name is Faye, I am currently a second year architecture student in the University of

Melbourne. Art and designing has always been where my passion’s at, thus this was one of the reason I choose architecture. However, stepping into this course, I was amazed by the products students are to produce and the variety of mediums to assist us doing so. I was fortunate over the past studios to learn about programs such as Rhino, Autocad, Photoshop etc. Although Grasshopper I have had no experience at, I am excited and anxious to learn about it. To me, architecture is an infinite zone, the process is endless. There are no ‘perfect’ final outcome, the process of design is continuous, there are always areas for improvement. I have gradually learned that architecture surrounds the theme of humans. The interaction and relationship between the two is closely knitted and inseparable. We shape architecture. Architecture shapes us. We may give definition to what it is, yet the space we built ultimately effects us. It can determine how we feel, the experience we have in it. Yet everyone’s perception would be different. Architecture is a complex and compelling world. I am thrilled to be studying and becoming part of it. This studio, I would learn more about the concepts behind it and be equipped with skills to develop my own perception of architectural design.

CONCEPTUALISATION

Digital Design and Fabrication: Sleeping Pod

Studio Earth: A Place for Keeping Secrets

CONCEPTUALISATION 5

A.1 DESIGN FUTURING

CONCEPTUALISATION

T here has been a risen concern of design practice’s impact in our future, this was specifically

targeted by the book ‘Design Futuring’ by Tony Fry. Environmental degradation has been closely linked to the design practices committed in the past, present and even future. The idea of finite resource is rarely recognised today.1 We are blinded by the modernisation and trends of design that led us to become inconsiderate over the world we are in. Design ethics are hardly developed because of our incapability to recognise how problematic things will get until the ‘tipping’ point. Yet it is also useless with urgent solution in terms of our rate of resource utilisation is 25% faster than planet’s rate in renewal.2 The criticism raises that we are only designing for the appearance and style, instead of committing towards sustainable practice, thus resulting in degradation in our future’s capability. We are ‘defuturing’ ourselves. The question raises of how design should redirect us towards more “sustainable modes of planetary habitation”. Fry claims it through the focus on design intelligence, that allow future generations to be supplied with recessive knowledge and

Dunne and Raby’s concept emphasises more on using design as “means of speculating how things could be”. Encourages more imaginative and creative thinking, using future as a tool to assist imaginative thoughts. Not predicting what the future is like, but using design to explore the many possibilities of future.3 Generating future that can be opened to public’s eye in order for them to discuss and debate the future all desires. Thus this increases probability of more desirable future rather than predicting the future. The concept of critical design is also introduced, which allows us to explore on the impact of design in human interaction,4 especially in public spaces which can be seen as part of political framework. Both Fry and Dunne & Raby believes design can be a practice to challenge our current unsustainable way of habitation. Our future designs should be responsive and developing towards sustainable and natural context. The precent studies will further explore on the theme of future and sustainability.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1–16 2 Fry, Design Futuring, pp. 1–16 3 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) pp. 1-9, 33-45 4 Dunne, Speculative Everything, pp. 1-9, 33-45

CONCEPTUALISATION 7

A.1 Design Futuring | The Plug-in City

Isomething nspiration does not always have to come from built. A conceptual design can also

be evoking. The Plug-in City proposal was developed between 1960s-70s along with other drawings such as the Walking City. Produced by Peter Cook from Archigram, an avant-garde group, in 1964, it brought people’s eyes to a city plan they would have never had imagined.1 The sense of neo-futuristic challenged people’s perception of a city. Like Dunne’s idea, it was a design that lead to debates and discussion. It questioned people’s desire for the type of city they see themselves at in the developing years.

Fig.1 & Fig.2 Plug-in City/Archigram

CONCEPTUALISATION

The Plug-in City has giant cranes as the centre, where residential units are ‘plug in’ to the it, allowing it and transportation and other services to be movable.2 It reverted many’s initial perception of city being stable and firmly fixed. The idea of home to be one location rather than traveling around. Whether the plug-in city is accomplishable has always been debatable, on one hand, the exaggerating and enormous network may seem impossible to built. But it is these ‘impossible’ that makes the graphic evocative even till today. It’s bold use of colours such as figure 1 and 3, which was influenced pop art, created bigger visual impact.

It explores the movement and speed through out its design, emphasising on the importance of infrastructure, the connections that holds up a city. This urbanism network/ mobile architecture was a ‘modernist answer of suburbia’ 3, in relation to the growing population. The sketches and plan produced in this period may have also been heavily influenced by the economic reconstruction of Europe. Where the constructions sites of that time is somewhat characterised in Archigram’s drawing. It later became inspiration for the ‘Pompidou centre’ , which was one of the symbolic architecture in the brutalist movement. 4

Fig.3 Plug-in City/Archigram 1 Simon Herron, ‘Plug-In, Clip-On, Tune-Up: A Throwaway Architecture with Optional Extras’. Architectural Design, Volume 83, Issue 5, (2013), pp.94–101. 1 Simon Herron, ‘Plug-In, pp.94–101. 1 Simon Herron, ‘Plug-In, pp.94–101. 4 ‘AD Classics: The Plug-In City/ Peter Cook, Archigram’, ArchDaily, 2013 < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [accessed 28 June 2016]1 Simon Herron, ‘Plug-In, Clip-On, Tune-Up: A Throwaway Architecture with Optional Extras’. Architectural Design, Volume 83, Issue 5, (2013), pp.94–101. CONCEPTUALISATION 9

A.1 Design Futuring | Hy-Fi Pavilion

T he ‘Hy-Fi’ pavilion was designed by David Benjamin of New York architects The Living.

It is scheduled to be a temporary summer pavilion that was exhibited in the MOMA. 1 The unique characteristic about this building was its materiality and the technique used to built it. It contributes to the further futuristic development towards sustainability through using these organic, biodegradablee bricks. The brick is constructed of farm waste and fungus that is grown to fit a brick shaped mold. The structure become a zero carbon emission and self-grown structure. The studio uses Ecovative, a packaging technique to manufacture these bricks, see figure. 5.2 The idea of reinventing bricks, considering a substitute for bricks that is organic and sustainable seems to good to be true. It’s a material with potential and it can be decomposed to compost, creating zero wastes.

Fig.4 Hy-Fi Pavilion

CONCEPTUALISATION

Fig.5

Ecovative

technique

Although the ‘Hy-Fi’ was a built project, it was temporary architecture, which was also said to be a test bed for larger, permanent buildings.3 Thus there is an ongoing development with this kind of technique we may be able to see in the future. But the question is, is this the future building material we see will become the mainstream. Having a life cycle on our building, where every now and then a building is decomposed. It seems the future possibilities of this may be low, although the advantage is being able to achieve sustainability. But people’s values are difficult to alter into a future with temporary architecture.

Fig.6 Hy-Fi Pavilion

1 ‘Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard’, ArchDaily, 2014 <http://www.archdaily.com/521266/hy-fi-the-organic-mushroom-bricktower-opens-at-moma-s-ps1-courtyard> [accessed 28 June 2016] 2 3

Terri Peters, ‘Sustaining the Local: An Alternative Approach to Sustainable Design’, Architectural Design,Volume 85, Issue 2,(2015), pp.136-141. Terri Peters, ‘Sustaining the Local’, pp.136-141. CONCEPTUALISATION 11

A.2 DESIGN COMPUTATION

CONCEPTUALISATION

T he comparison between computerisation and computation is discussed. Computerisation sets

up boundaries as they using what that’s already been conceptualised. They are set designs presented using CAD programs. Thus it can be argued that computerisation is limiting the creativity of designers. There’s imaginative side cannot be fully explored and it’s plainly just digitising pre-existing forms. Computation on the other hand shifts from visualising and drawing into logical thinking. That is using algorithms to create own unique code that produces a design that is not set up. It allows designers to create forms and spaces that can never have been conceptualised. Not pre-determined forms can generate new fantasies and ideas.1 Rather than being the victim of the limiting softwares, we have to recognise our own ways of thinking. Transferring it from our head into codes (algorithms) that direct the computer create unique forms. We become the dominant ones, rather than having computers controlling how we imagine and design.

1 2

Although software programs may risk limiting our imaginative thought. They are incredibly useful in producing and generating an end outcome. The process from digital design into fabrication relies heavily on technology. 2 And it is through programs such as grasshopper and rhino we are able to create a template in fabricating it. During this process, archietcts become more and more involved in terms of the fabrication, There’s shift in focus towards the engineering aspect, whether the design can be fabricated without collapsing. Thus computation becomes cruicial throughout the process.

Oxman, Rivka and Robert Oxman, eds., Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 CONCEPTUALISATION 13

A.2 Design Computation | ICD-ITKE Research Pav

T he ICD-ITKE Research Pavilion is a research project worked on by ICD-ITKE University of Stuttgart. This pavilion

in 2013-14 relies heavily on computational design and its fabrication. The projectâ&#x20AC;&#x2122;s aim is to develop a structure of winding technique using double layered fibre. While reducing the required form also maintaining geometric freedom.1 This project looks closely to its environment and factors that would be effect it. Itâ&#x20AC;&#x2122;s site specific as its placed on public space, thus consideration of lighting and wind bearing are all crucial.

Fig.7 ICD-ITKE Research Pavilion 14

CONCEPTUALISATION

vilion

This design is a complex and intriguing design that requires top technology in producing it. Unlike average, standard manufactured buildings, its form and space exceeds the pre-exisiting forms, and developing its own unique geometry that fits the site. The process is evident of using different robots to navigate the fibre, and methodology such as robotic coreless winding method that are uncommonly seen.2 It generated this twisting web form using fibre, see figure.7. Every component is different in its size and shape.

It is change from using ordinary and traditional design methodology, to achieve a project that is lightweight yet exaggerating in its geometric form.3 The end outcome of structure is nearly impossible to achieve through traditional design techniques. It shows that we are developing better and better technology to keep up with our imagination, to be able to fabricate these ‘impossible’ imaginations.

Fig.8 ICD-ITKE Research Pavilion

1 ‘ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart’ ,ArchDaily, 2014 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itkeuniversity-of-stuttgart> [accessed by 1 August 2016] 2 ‘ICD-ITKE Research Pavilion 2013-14’, ArchDaily, 2014, [accessed by 1 August 2016] 3 Moritz Doerstelmann et al., ‘ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based on Beetle Elytra’, Architectural Design, Volume 85, Issue CONCEPTUALISATION 15

A.2 Design Computation | Fondation Louis Vuitton F ondation Louis Vuitton is a project worked together by Gehry Partners. Itself contains the symbolic characteristic of Frank Gehry himself, with the complex form and ‘deconstructing’ form.

The fondation attempts to represent the vision of iceberg through the use of material such as glass as well as the collaboration of lighting for the loom transparent look. With Gehry signature chaotic planes represented as 12 immense glass ‘sails’ supported by wooden beams in this project.1 (see figure.9) The simulation becomes extremely important due to its form. Whether this design can be presented in the same form in real life is heavily relied on the engineering aspect.

Fig.9 Interior of Fondation of Louis Vuitton

CONCEPTUALISATION

n The fabrication process of this monument sure can be defined as extremely difficult, it hits a new high in the use of digital and fabrication technologies. There were more than 400 people involved in the design process, such as the design models and engineering aspect. The structure itself contains 3,600 glass panels and 19,000 concrete panels. These facades used advanced robots and 3d modelling programs in order to produce this complex design. Conventional computerisation was unable to satisfy this project, thus a new 3d software was developed.2 Computational design can allow structures to become for efficient, this is done through advanced algorithmic platforms. Reaches the outcome of the minimal yet expressive design.

1 2 3

Fig.10 Fondation of Louis Vuitton

‘Fondation Louis Vuitton / Gehry Partners’ ArchDaily, 2014 <http://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners> [accessed by 1 August 2016] ‘Fondation Louis Vuitton’ ArchDaily, 2014 [accessed by 1 August 2016] Terri Peters, ‘Sustaining the Local: An Alternative Approach to Sustainable Design’, Architectural Design,Volume 85, Issue 2,(2015), pp.136-141.

CONCEPTUALISATION 17

A.3 COMPOSITION & GENERATION

CONCEPTUALISATION

T here has been a shift from composition to generation using computational technologies.

This has influenced the design process greatly, which digital medium are not limited in the design process and fabrication, but also in the earlier stages of generating design concepts. Generative design is similar to nature’s growth, it’s evolving slowly while exploring many potential options.1 Like what was mentioned in the lecture. Generative design is the equation of the growth of the tree (Lindenmayer), while composition visualises the drawing of a tree (Gainsborough). Both resulting in the same outcome, however, generative design allows tracing back to many of its options, which composition cannot. The advancement in computational design in undeniable. Many more have been changing into producing their own algorithms. The major reason for the shift is due to the wide range of potential outcome that can be explored. The different branching leading to infinite outcome, thus able to create forms unrestricted and unique.

Terri Peters, ‘Sustaining the Local: An Alternative Approach to Sustainable Design’, Architectural Design,Volume 85, Issue 2,(2015), pp.136-141.

CONCEPTUALISATION 19

A.3 Composition & Generation | Heydar Aliyev Cen Z aha Hadidâ&#x20AC;&#x2122;s Hayder Aliyev Centre in Azerbaijan explores the relationship of continuity and flow. The fluid like surface

is patterned with continuous calligraphy lines, in relation to create a blend between the architecture and land. Computation assists in achieving this smooth organic form. The data of the topography was extracted and utilised in the building. This continuous relationship is maintained throughout the structure, not only on the surface.1 The interior, see figure. 13, with layered seams and strips of light, following the direction of the flow, creating coherence within the interior and exterior.

Fig.11 Heydar Aliyev Center

CONCEPTUALISATION

nter

Computation is critical is forming these kind of structure, the continuous surface and complex structure is to be dealt with. But also the space in between and framing system uses computational tools saves time in the construction process. Besides computation, Hadid also sketched few of her concepts in combination to clarify the structure.2 The layering of surfaces is maintained throughout the building. Creates a very elegant and simple wave. The use of computation allowed this style to be present both inside and outside of the building.

Fig.12 & Fig.13 Heydar Aliyev Center Interoir & Exterior 1 2016] 2

Heydar Aliyev Center / Zaha Hadid Architects, ArchDaily, 2014 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed by 11 August Thomas Winterstetter et al., ‘Engineering complex geometries – the Heydar Aliyev Centre in Baku’, Architectural Design, Volume 8, Issue 1,(2015), pp. 65–71. CONCEPTUALISATION 21

A.3 Composition & Generation | Metropol Parasol

M etropol Parasol is the world’s largest timber build structure that is located in Spain, designed by the architect Jürgen Mayer.

It’s shaped into a mushroom form, with a large spread top and stable cylindrical base. This structure is difficult to create in it’s scale, materiality and form. Thus it result in taking approx. 6 years to complete. Because of it’s scale, the material constructing must have large load bearing strength to support all the weight on top. Where this is where most the time have been wasted, the structural assumption was not been tested, thus there was concern that it may exceed the weight the material can carry. Addition structural support also failed as it added more weight onto the structure.1

Fig.14 Metropol Parasol

CONCEPTUALISATION

Computation in this case was used in developing the structure, however, the part for testing the capability of material was overlooked, resulting in the delay. However, the connecting web for structure was generated through digital tools, that allowed the joinery element to be modelled out. Producing a grid system with overlapping timber panels that are interlocked with specific designed joinery.

The construction of walking path on top of the Metropol Parasol. Allows users to expericne from ground up to the sky. Also a closer look into the joineries of the timber panels. Reinforced with steel joinsts to maintain the shape of the palaza.

Fig.15 & Fig.16 Metropol Parasol & Path

Robert Bevan, ‘In the Pursuit of Pleasure: The Not so Fleeting Life of the Pavilion and its Ilk’, Architectural Design,Volume 85,Issue 3, (2015), pp.16–25.

CONCEPTUALISATION 23

A.4 CONCLUSION

CONCEPTUALISATION

Through exploring Part A, many aspects have been explored. The perception of design, how we utilise design to achieve a target and the mediums that are part of the design. Architecture is not simply about designing a building that fits with the trend, there are many aspects that are to be considered. The surrounding we are in, the finite sources that cannot keep up with our destruction rate. The ignorant people we are overlooking the most important part of architecture, the land we build it on. Thus, it important that we use design, not to solve this problem, but to use it to change the value of the people around us. Changing the value of their focus on sustainability, thus future generations are to work towards a sustainable habitation life style. ‘Traditional’ architecture is shifting towards generative design, where designing programs and digital tools are there to assist you to define your own code of design. Writing your own algorithm to produce unique form. We are able to manipulate and create our imaginary, nor using pre-sets that creates existing designs. Computational design has allowed architecture to be involving in not only the concept and drawing, but further into the engineering and becoming collaborative with the whole industry. Through Grasshopper, I want to explore the natural systems and the concept of movement and fluidity. Manipulating this program may produce some forms that might inspire further. It’s important to not only use parametric modelling/ digital methods, but also the combination of what’s traditional/ compositional methods can also produce a satisfying outcome.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1–16

CONCEPTUALISATION 25

A.5 LEARNING OUTCOME

CONCEPTUALISATION

Over these past few weeks, I have definitely experienced the intensity of Air, and the workload that is pretty heavy. Having to maintain both the journal and algorithmic sketch book is pretty challenging. Once you fall behind, it is difficult to catch up. I have been trying to keep up, but sometimes its tough. Although online tutorial videos are long, I find them quite interesting, especially when I start grasshopper and being able to produce outcomes that I have never thought I would be able to. I have definitely gained much more knowledge about grasshopper, and is more confident in using it. However, Iâ&#x20AC;&#x2122;m only able to follow the video tutorials, but further elaboration in developing my own algorithm still requires much more effort.

Looking back at the previous work, my Digital Design projectâ&#x20AC;&#x2122;s workload could have been deducted immensely if I knew how to use grasshopper. Also knowing more about rendering would have made my final outcome in Studio Earth have a better presentation.

CONCEPTUALISATION 27

A.6 APPENDIX

CONCEPTUALISATION

VORONI TRIANGULATION

BOX MORPH

BREP

VORONI TRIANGULATION

BOX MORPH

LOFT & BOX MORPH CONCEPTUALISATION 29

REFERENCE BIBLIOGRAPHY ‘AD Classics: The Plug-In City/ Peter Cook, Archigram’, ArchDaily, 2013 < http://www.archdaily. com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [accessed 28 June 2016] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, Volume 83,Issue 2, (2013), pp.8–15. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) pp. 1-9, 33-45 ‘Fondation Louis Vuitton / Gehry Partners’, ArchDaily, 2014 <http://www.archdaily. com/555694/fondation-louis-vuitton-gehry-partners> [accessed by 1 August 2016] ‘Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard’, ArchDaily, 2014 <http://www.archdaily.com/521266/hy-fi-the-organic-mushroombrick-tower-opens-at-moma-s-ps1-courtyard> [accessed 28 June 2016] ‘Heydar Aliyev Center / Zaha Hadid Architects’, ArchDaily, 2014 <http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed by 11 August 2016] ‘ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart’ ,ArchDaily, 2014 <http://www.archdaily.com/522408/icd-itke-research-pavilion2015-icd-itke-university-of-stuttgart> [accessed by 1 August 2016] Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 Moritz Doerstelmann et al., ‘ICD/ITKE Research Pavilion 2013-14: Modular Coreless FilamentWinding Based on Beetle Elytra’, Architectural Design, Volume 85, Issue 5,(2015), pp.54-59. Oxman, Rivka and Robert Oxman, eds., Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 Robert Bevan, ‘In the Pursuit of Pleasure: The Not so Fleeting Life of the Pavilion and its Ilk’, Architectural Design,Volume 85,Issue 3, (2015), pp.16–25. Simon Herron, ‘Plug-In, Clip-On, Tune-Up: A Throwaway Architecture with Optional Extras’. Architectural Design, Volume 83, Issue 5, (2013), pp.94–101. Terri Peters, ‘Sustaining the Local: An Alternative Approach to Sustainable Design’, Architectural Design,Volume 85, Issue 2,(2015), pp.136-141. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2009), pp. 1–16 Thomas Winterstetter et al., ‘Engineering complex geometries – the Heydar Aliyev Centre in Baku’, Architectural Design, Volume 8, Issue 1,(2015), pp. 65–71.

CONCEPTUALISATION

REFERENCE IMAGE Fondation Louis Vuitton Museum, 2014, <http://www.forbes.com/ forbes/welcome/> [accessed by 11 August 2016] Fondation Louis Vuitton Museum, 2014, <http://aasarchitecture.com/2014/01/ fondation-louis-vuitton-pour-la-creation-by-frank-gehry.html/fondation-louis-vuittonpour-la-creation-by-frank-gehry-17> [accessed by 11 August 2016] Heydar Aliyev centre, 2014, <http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects> [accessed by 11 August 2016] Hy-Fi, 2014,< http://www.wired.com/2014/07/a-40-foot-tower-made-offungus-and-corn-stalks/> [accessed by 11 August 2016] Hy-Fi, 2014,<http://www.archdaily.com/521266/hy-fi-the-organic-mushroom-bricktower-opens-at-moma-s-ps1-courtyard> [accessed by 11 August 2016] ITKE pavilion, 2014, <http://aasarchitecture.com/2014/07/research-pavilion-2013-14-icditke.html/research-pavilion-2013-14-by-icd-itke-07> [accessed by 11 August 2016] ITKE pavilion, 2014, <https://vimeo.com/98783849> [accessed by 11 August 2016] Metropol Parsol, 2011, <http://andaluciainside.com/eng/andalucia-stories-andinformation-blog/plaza-de-la-encarnacion.html> [accessed by 11 August 2016] Metropol Parsol, 2011, <http://www.panoramio.com/photo/79477538> [accessed by 11 August 2016] The Plug-in City, 2013 <https://myarchitecturalvisits.com/2014/02/05/centrepompidou-beaubourg/archigram_pic-max-p/> [accessed by 11 August 2016] The Plug-in City, 2013 <http://www.slideshare.net/sjamini/archigram-architecturewithout-architecture-simon-sadler> [accessed by 11 August 2016] The Plug-in City, 2013 <http://www.megastructure-reloaded.org/archigram/> [accessed by 11 August 2016]

CONCEPTUALISATION 31

B.1 RESEARCH FIELD

CONCEPTUALISATION

CONCEPTUALISATION 33

B.1 Research Field | ITKE Pavilion 2010

n part B, we will now explore patterns/strips & folding as a communicative tool for the parametric architecture. Further enhancing and pushing our knowledge and skills within grasshopper to experiment with designs that are highly technical. Furthermore, there would be exploration with more tools in grasshopper to relate the creativity of a designer. The two fields we are researching on are patterning and strips & folding. Patterning would tend to fall in to the category of ornamentation, shaping the physical and visual experience for users. While strips and folding would contribute to the form and body of the structure. The different methods it can stand nd reasons behind its built.

Fig.1 &2 Interior of ITKE Pavilion

CONCEPTUALISATION

The ITKE pavilion was a resembling project of the system strip and folding. This pavilion explores the new possibility of structural and architecture form through computation and numeric simulation both of the structural frame and the materialâ&#x20AC;&#x2122;s performance based on the elastic properties of the plywood sheet.as interesting. Its system of interlocking was very interesting as they were self supportive and 2 sets of strips joined as one.

Fig.3 ITKE Pavilion

CONCEPTUALISATION 35

B.2 CASE STUDY 1.0

CONCEPTUALISATION

The reason why I selected the Biothing pavilion was its very interesting form. Its nature in spreading branches and also forming this bolume under was something I wanted to explore futher. I look forward to seeing the results of such small manipulation can cause to the whole form.

Fig.4 Biothing Pavilion

CONCEPTUALISATION 37

B.2 Case Study 1.0 | Biothing Seroussi Pavilion

Divide/Radius

Graph Mapper/Reverse

Graph Mapper

Spin Force/Radius

CONCEPTUALISATION

CONCEPTUALISATION 39

B.2 Case Study 1.0 | Biothing Seroussi Pavilion While changing the types of graph, various forms were created, also manipulating the height of it can create a different sprawl. This iteration was selected because of its very natural organic form of a forest. Like tress stretching out their branches. It reminded me very much or the nature around Merri Creek.

A very tall and revrse form of what we see before. It creates a sense of depth and infinity through this rotates form.

CONCEPTUALISATION

The manipulation and addition of spin foce allowed the pipes to be tangled together in a shifting movement, It forms very interesing hills through the manipulation of the graph as well.

This was from the same iteration as the one above, howver, the radius of the circile was enlarged, resulting it to almost â&#x20AC;&#x2DC;fallâ&#x20AC;&#x2122; aprt. The connection becomes invisible and the spin force looks like a whole rathe than individual. Just some small alterationgs such as the radius can create enormous effects.

CONCEPTUALISATION 41

B.3 CASE STUDY 2.0

CONCEPTUALISATION

CONCEPTUALISATION 43

B.3 Case Study 2.0 | ITKE Pavilion 2010 Point Point Charge Field Line Graph Mapper Deplane Amplitude Move Offset Loft

CONCEPTUALISATION

My second attamept resulted in me using the the grid system, where I created the basic curves of the outline of the pavilion and used arc three points to connect them, then using graphmapper to further alter the shape while offsetting. This attempt also had the problem twisted strips from the base point. The reasons behind it was due to the shift of curves from the begining when creating the grid sheel that caused some overlapping. Resulting it in this form.

Curve Divide

This was my first attempt in creating the pavilion, where I started off using point charge and field to create the lines for the strips, later changing to graph mapper to create the curve of the lines. However, I had problems in increasing the width of the strips, where the issue was around the amplitude and range area, causing the strips to be very fin although the basic shape was created..

Explode Tree Arc Three Points Rebuild Divide Graph Mapper Move Offset Loft CONCEPTUALISATION 45

B.3 Case Study 2.0 | ITKE Pavilion 2010

Curve

Divide

Explode Tree

Arc Three Points

Rebuild

Geodesic

Cull

Graph Mapper

Move

Interpolate

Loft

Move

Interpolate

Rotate

Loft

CONCEPTUALISATION

Stage 1 Basic curve of the pavilion form

Stage 2

Stage 3

Dividing them into points and forming arc

Culling the geodesic

Stage 4

Stage 5

Graph Mapper Set 1

Lofting

Stage 4

Stage 5

Graph Mapper Set 2

Lofting

Stage 6 Combing 2 sets and rotating set 2

CONCEPTUALISATION 47

B.4 TECHNIQUE DEVELOPMENT

CONCEPTUALISATION

CONCEPTUALISATION 49

B.4 Technique Development | ITKE Pavilion 2010

Graph Mapper/Pipe

Spin Force/Pipe

Graph Mapper/Pipe

Polygon Curve/Pipe

CONCEPTUALISATION

CONCEPTUALISATION 51

B.4 Technique Development | ITKE Pavilion 2010

Rotate Curve/Mirror

Rotate Curve/Loft

Rotate Curve/Pipe

CONCEPTUALISATION

CONCEPTUALISATION 53

B.4 Technique Development | ITKE Pavilion 2010

Box Morph

Rotate Curve/Mirror

Polygon Curve

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B.4 Technique Development | ITKE Pavilion 2010 The selection of these developed form is based on a few elements. Firstly, whether the design is suitable for the concept behind merri creek project. Secondly, does it provide aesthetically interesting form or idea that can be taken into the garment. The most practical to think of is whether it is build-able, is the form not overly extract that it can be impossible to fabricate.

One of the most dynamic form out of the iterations, the structure of the piece is almost complete that I am able to visualise how it can fit on a human body. It takes similar form of a sprawling tree, where it branches out in a twisted form. This is the type of body and volume i would like my design to have. This outpouring concept that can catch peopleâ&#x20AC;&#x2122;s attention immediately. I wanted to compare the different it had from the lofted strips and pipe. The pies give out a better vibe, looking much lighter and the tangled details can be seen. While the strips look a bit heavier but it is more build-able than a piped design.

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The reason this was selected was that its form was very interesting, the way it overlaps on to each other makes the strips intersect and can create a pattern from the view/illusion by far when its not intersecting.

By rotating the curves and intersecting them, it forces the pipes to also intersect creating this almost shell shape form. Trying to push the form to an extent where it cannot be recognised form the original.

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B.5 TECHNIQUE PROTOTYPE

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Through grasshopper, there has been many iterations of the pavilion made, allowing it to trasnfer from its original form to more complex and creative shape. Also allowing me to examine the types that can contribute to my final design or some that may inspire me through its system. From the four iterations I have selected, I’m leaning towards the sprawling pipe that form a ‘heart’ as that is one of the most intrguiing structure. I’m looking to explore it further and applying it onto a human body to test out its effect and create a draft of the initial garment I have in mind. Also, there would be experimentations with differemt materials, whether they are rigid or flexible. I would try to mould them into the form I desire and select the system and materials that would be most suitable for the development in Part C. Te materials I would be experimenting with are MDF, timber, metal wires and polypropylene. I would also create my own joint as well as using pre-made joints to allow the elements to be assembled and attatched.

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B.5 Technique Prototype | Garment Drafting

This is the initial draft i have developed from the technique development stage. I wanted to recreate the neck piece that sprawls outwards, while having it to be connected with the patterned sleeves to create the concept of roots crawling down and wrapping around the arms. While having this draft. i looked at ways in constructing these two seperate components. Also considering whether it should be one piece together or separated into two for the convenience of wearing it.

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Potential material in using this 2mm diameter wire. Flexible in altering its shape to create different curvature, however, itâ&#x20AC;&#x2122;s extremely hard to trim off into pieces to allow the piece to be created. Its effect is much weaker than the grasshopper model. Piping may not be a good solution when prototyping.

Recreating the pattern on the arm using carboard. Not suitable material as its too thick and heavy in comparison with the computer form. However, it shocases the overlapping qualities thats the main focus. CONCEPTUALISATION 61

B.6 Technique Prototype | MDF MDF 3mm thick with timber sticks 3mm diamter While exploring different options and materials, I first looked at more rigid materials. Testing whether they can bend and form curves. Joints movable to adjust the degree of curvature of the sticks. The closer the joint moves down, larger the curve it creates until it snaps. Not very flexible wood, may be unsuitable in attempt to re-create the pipes.

MDF 3mm Besides bending them, I experimented with another type of fixed joints that can lock planes into a certain position. The curved planes was ideas to use rigid material in representing the soft and fluid water. I wanted to see how it creates wave around cylindrical figure that can be the arm. However, because its in a circle and the gap between is too wide, difficult to see the pattern intended and effect not obvious.

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The wooden sticks breaks easily after pushing the joints further. And its not easy to manipulate it through the hole. Thus this material may not be very suitable. Turning my attention towards more flexible materials that can represent pipes. I looked ay this garden wiring, it could bend easily, however, it doesnâ&#x20AC;&#x2122;t create the tension i want. Being too flexible doesnâ&#x20AC;&#x2122;t not create a very dynamic effect.

These are two types of the joints I created to intersect with the plane or wooden sticks. More holes/cuts may create more desirable effect as the current number of gaps and holes are too little.

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B.6 Technique Prototype | Polypropylene 0.6mm Polypropylene From the reverse engineer project, the idea of self supportive and interlocking strips is experimented. However, the distance is too long, thereâ&#x20AC;&#x2122;s barely an arch created. Lacks volume.

0.6mm Polypropylene Pins allow two strips to be intersected, depending on the position its placed, it helps to create different arcs and bendng movement.

MDF 3mm thick with 0.6mm polypropylene Movable nail joints that allows strips to rotate. However, the MDF joints are unable to hold twisted forms of polypropylene. As its a small piece, unable to resist much force. And the movable joints does not help to sustain it in the position it twists.

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B.6 Technique Prototype | Polypropylene 0.6mm Polypropylene Using simple long strips and pins allow for a patterned strip system to be created. The bended strips and nail attached causes the middle strip to bend. As the archs getting larger allows it to be rotated.

0.6mm Polypropylene The result of using smaller archs/ shorter distances has a vast different with the first experiment. The strap being pinned on starts to curl up in a spiral form.

0.6mm Polypropylene Having to pin archs throughout the strap, the effect is shown on the image, where theres a rotation occuring. Testing effect on the body, it can wrap around the arm, however, the pins would be a problem as theres no capping on it.

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As on the second image, you can clearly see the second strip rotating 45 degrees as the strap pinned to it has a longer distance with taller arch. Its an interesting pattern to be continued explored.

There would need to be continue exploration in this form, to understanding the reason behind what that is causing it to rotate and what allows it to continues straight. Also the pins need to be substituted with safer ones.

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B.6 TECHNIQUE PROPOSAL

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B.6 Technique Proposal | Merri Creek

Fig.5 & 6 Merri Creek Pollution

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T he creek was the site of heavy industrial use throughout much of the 20th century, accepting waster runoff and landfills from neighbouring factories. Leaving behind pollutants such as heavy metals and various greases. Also shown through the images of other manmade pollutions, small things such as rubbish that piles up in degrading the environment. Although there has been many re-implmentation and planting of native vegetations done by volunteer groups, the issue of environmental depredations cannot be ignored. Thus I want my garment to focus on this environmental issue, having the intention to be raising awareness of the society, that actions must be taken against all unsustainable undertakings as mentioned earlier in designing future. Although the current situations may look like its reviving, but it can soon be demolished again though ignorance. I want may garment to be dramatic, volumetric to be exaggerating in a way that people would be reminded of the pollution problems. The form of garment inspired by the sprawling of trees, symbolising the struggle for nature to survive. A twisted yet growing form.

While exploring the pins and strip system, I attempted to add more layers of strip to see its impact on the current system. Where the third layer also began to rotate coming to then end. The large the distance, the uneasier it holds on, thus cuases it to flex and slightly rotate. This system can be applied on the garment as structure that wraps around the body areas intended. It can also be manipulated to sprawl out. However, because its a flexible material, its not as rigid as MDF where it holds its shape. There may need to be considerations for having another main stable structure to hold it in places.

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B.7 LEARNING OBJECTIVES & OUTCOMES

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Through exploring Part B, many aspects have been explored. From the begining of selecting systems to actually able to re-create existing buildings using grasshopper. There has been many chllenges faced, espcially in grasshopper. However, while encountering these difficulties, I was able to solve more and become more knowledgable over this program. Through Grasshopper, I explored the natural systems and the concept of movement and fluidity. Especially in fields. Manipulating this program may produce some forms that might be suitable for the garment. Beyond grasshopper, we were able to explore the natural characteristic of the materials and the strip system. The bendability of MDFs and timber, but also ways we can increase the rigifity of flexible materials such a polypropylene. In the future, Im looking forwards to experiment with more materials and their form. But also needing to improve alot more on my grasshopper skills as they are still lacking.

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B.8 APPENDIX

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REFERENCE BIBLIOGRAPHY ‘ICD/ITKE Research Pavilion 2010’, University Stuggart, 2010 < http:// icd.uni-stuttgart.de/?p=4458> [accessed 30 August 2016] Biothing Pavilion, 2016, <http://3dprintart.tumblr.com/post/88001086860/mesonicfabrics-algorithmic-states-explored-by> [accessed by 11 September 2016] Merri Creek, 2014, <https://fabulous4w.wordpress.com/merricreek-walk/> [accessed by 11 September 2016] Merri Creek, 2014, <http://www.cesaraustralia.com/latest-news/all/platypusfound-entangled-in-merri-creek> [accessed by 11 September 2016]

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PART

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C.1 DESIGN CONCEPT

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C.1 Design Concept

Evelyn Ma

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Evelyn Wei

Three of us had very similar concept in terms of the material we looked forward to explore on, which is polypropylene. Evelyn. M explored on weaving to create surface while using connections to create volume.While Evelyn.W and I had similarity in bending strips and using minds as joints to create different form. I explored further on the buckling effect of attaching polypropylene in different lengths and the natural twisting motion it had. Thus we tried to figure a design that could combine our ideas into one.

Faye Ye

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C.1 Design Concept

Further from Part B, the concept of creating a dramatic and loud garment that could attract public attention towards the environmental issues in Merri Creek was agreed to be the aim. We wanted the garment to be an exaggerated form, and parts of it represent the sprawling trees visible everywhere in Merri Creek. As a symbol for the struggle to live in a twisted form.

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This garment by Marc Forner was one of our initial inspiration â&#x20AC;&#x201D; leading to the idea of creating a wearable pavilion that is able to hold it form. This concept directed us to create a rigid primary structure underneath to function as a permanent form that shells around the body. While utilising the strips as the fascia and attach them onto the structure. Thus we created a waffle grid around the arm using grasshopper, and produced them using laser cut. The materials settled on clear perspex, because we wanted the black polypropylene to be the main attention. A transparent materials would have less attention on itself.

Although we were pleased with the transparent effect, the materiality of perspex and its weight totalling up made it too heavy for a person to carry as only an arm piece. As we though about having the whole upper body in this kind of system, the weight would be unbearable. Perspex also broke off very easily when we were piecing them together, parts became loose and required glue to attach, while some parts were too tight. Another disadvantage towards using this was that it gradually lost the main concept we had in mind; which was utilising the flexibility of polypropylene and have that to bend and spread across the body. While this Marc Fornes, Les Danseurs du Tailor Character D Inspiration

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C.2 TECTONICS & PROTOTYPE

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C.2 Tectonics & Prototype We scrapped the idea of a rigid structure and looked back at polypropylene. Having more experimentations in the different forms it cam create. Evelyn first developed the idea to create surface on the body. The idea of creating a dome-like structure was from the plain weaving prototype. Strips are connected at four corners to create a puffy effect.

Shoulder Piece Located on both sides of the shoulder to create a symmetrical look.

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Connection The chest piece attached to the shoulder to form the garment, Thus the shoulder supports most of the wesight of the garment. The type of connection becomes crucial.

Chest Piece A larger and wider form derived from the shoulder piece. Covers the front and back of the body. Increasing the amount of strips provides more coverage.

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C.2 Soulder Garment Prototype

Applying patterns to the shoulder mimic the shape of Merri Creek. V have larger gaps, while some ma shape. The holes on the first shou

a certain pattern or image and pr

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piece. The curvy strips was to Various curves created, some ke the dome more out of its ulder piece could develop into

roject through the garment.

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C.2 Chest Garment Prototype We wanted to utilise the same system from the shoulder. Thus the chest piece also applied the weaving method, creating dome that deforms the body. Experimentations were conducted: Altering the point location to create different forms; apply more strips; altering the strip form, gradual change from small to large

Rotating the strips to create various forms

Applying more strips to both ends to create a more nested look

We decided to create patterns on this chest garment using the natural twisting motion of the strips. Thus I explored on attaching external strips onto the strips of the chest piece, ranging from different distances and directions. However, having them in different direction made it look very messy as there were no patterns or sequence to it. Alternatively, I created this asymmetric pattern strip directing from one direction down to the corner, representing also the form of Merri Creek. While having different distances to create a looping effect.

Having strips twist into different directoin gives a overly complex facade

Final Result

Having the strips transform from 10mm to 20mm, gives the middle a more concentrated and fuller look

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Head Piece

The first modelâ&#x20AC;&#x2122;s vertical stripsâ&#x20AC;&#x2122; width was smaller than the rotating ones, thus the model was weak in maintaining its form. While second model made the strip widths the same, it stand tall without bending.

Initial concept with the self rotating characteristic

Having a grid underneath to sustain the form desired. The connection between them are round head pins

My concept of this circular twisting strip was one that I really wanted to utilise into the garment design. I thought of a way to sustain the curse to create a tube form, which i thought at first its suitable to use for the arm. However, Caitlyn provided a different inspiration of creating something more out of the box and using it as a head piece to create more volume in our design. Final Result CONCEPTUALISATION 95

C.2 Tectonics & Prototype Black Drawing Pins

Brass Plated Round Head Nail

Bolts

The black pins had the advantage of being invisible, the connection details blend in with the black polypropylene. However, itâ&#x20AC;&#x2122;s not an ideal joint for a wearable garment and strips fall off easily.

Eeyelet

The screws were safe and easy to plug in, allow for tight and loose state. However, holes are required to be punches beforehand, cannot be done on the spo 96

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o ot.

The gold plated nails were the ideal decorative connector we were after, its also stable in connecting strips. However, the needles are too sharp to be worn.

There were many problems that we faced during the fabrication process. Whether it was the stripsâ&#x20AC;&#x2122; length being a bit too long, thus we were forced to re-laser cut everything. Or was determining the pattern on the chest piece. Connections was one of the major challenge we had to overcome during this process. The joint in connecting two strips together was the main design principle in our garment. We experimented with various kinds of connections during this process, in the end, we chose to use screws that were secure in attaching strips together and they were less harmless like pins that could hurt users body. While we wanted to keep the gold pins jewel like effect, we were unable to find a joint that was safe yet could also act as a decoration. We tried to hammer or clip off the sharp bits of pins but strips would slip off. The solution for this became that we snip off the heads of the pin and glue them onto the screws.

The gold eyelet is secure and still allows rotation of the strips to create the twisting effect, however, the hammering process would take too long and its difficult to attach more than 10 strips layering together. CONCEPTUALISATION 97

C.2 Tectonics & Prototype

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C.3 FINAL DETAIL MODEL

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C.3 Final Detail Model

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The end product is this garment thatâ&#x20AC;&#x2122;s harsh its form, with a Mad Max theme to it. Yet its softened by the patterned strips in the front of the chest piece. Our garment is like an armour that protects the body, yet it deforms and obscures the true shape of the body.

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C.4 LEARNING OUTCOME

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Feedback The feedback we have gotten was there could have been quite a lot of areas of improvement. One is with our presentation, audiences were a bit confused with the garment because it was not showcased on the body when we dissected into three parts and presented them separately. The presentation fell short because it felt like it was individually done. How did the weaving relate to the site, the connection was not very strong. Also another area was that the twisting and buckling motion of strips took only as part of the decoration role, as the patterned fascia of the chest piece. Where it could have been utilised as forming the shape around the body rather than attaching to the dome. It was suggested that the pattern could have ran longer than just on the from, but also extending onto the shoulders as a connection, thus giving it a function.

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C.4 Learning Outcome

Further Development If we had more time to further develop this project, there would have been so many directions we could have gone into. The garment could have covered more areas of the body, expanding maybe into the arms and larger area of the upper body. The connections could have had a more proper finish to them, as having to glue to pin top on the screw is still quite rough. Another idea is maybe to embed the human movement and integrate it together with the design, when we move our arms or start walking, how would the strips change and twist; because i though we hadnâ&#x20AC;&#x2122;t really explored that part well enough, which matches to the feedback given. We could have explored further using grasshopper iterations, which was really one of our weak points. We made more prototypes than using algorithms, which i thought we could have done equally as much on both.

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Reflection Over this past semester, Studio Air has really been a challenge in its technicality and work load. The amount of work done would be equivalent to the final grade being received. Its taught me far more than computational parametric, but also further during part c the importance of communication, time management, teamwork in general. It has tested our strength in the delegation of tasks and capability to how well we work with other, as this will become a more important part in our future and careers. The word AIR has brought many aspect that I have overlooked in the past. The essence of nature and creating it through digital computational components, exploring them in parametric designs. I thought the technical aspect of algorithms have overshadowed other elements in this course, because throughout the semester, we greatly focused on using grasshopper. However, it was till the end project that really brought us merging the technical tools into fabrication, turning the non-existence conceptual into its true form. We understand that Air is more than a technical class, but it engages us into the think process behind each idea and precedent architecture we had chose to explore. I have accomplished many during this course, met my strength and flaws. As there are no perfection in design, flaws make it intriguing. I look forward into bringing my understanding taken from this studio into future studies.

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