CONTENT INTRODUCTION About
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CONCEPTUALISATION Design Futuring
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Design Computing
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Composition/Generation ...... 14 Conclusion
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Learning Outcome Appendix
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CRITERIA DESIGN Research Field Case Study 1.0 Case Study 2.0
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Technique: Development
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Technique: Prototype
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Technique: Proposal
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Learning Outcomes
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Appendix
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DETAILED DESIGN Design Concept
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Tectonic Elements &Prototypes...... 56 Final Detail Model
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Learning Outcomes
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APPENDIX Algorithm Sketchbook
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ABOUT
JOY GONG SHANGHAI / MELBOURNE
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ello, my name is Joy, a secondyear undergraduate at the University of Melbourne, major in architecture. I was born in Shanghai, China, and moved to Melbourne since I was 15. My passion for drawing and designing was triggered by Japanese comics and animations, while my interest in architecture was nurtured by my engineer parents. For me, architecture is a way to lead to a better space and a better life quality. I believe that architecture was never a pure piece of art, but instead it serves to human beings. through the art of planning.
My proficiency in ditigal design tools is somehow limited, as I was not exposed to many modeling softwares before commencing the bachelor degree except AutoCAD. Entering to studio Air excites me a lot as it introduces a new algorithmic tool Grasshopper to assist ditigal modeling. I was amazed by its efficiency and accuracy, which I think are crucial to testing our models at different stages. I am looking forward to acquire a new skill and hope to gain more confidence.
PART.A CONCEPTUALISATION
A.1. DESIGN FUTURING
FIG1. AERIAL ROBOTIC BRIDGE CONSTRUCTION.
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n Tony Fry’s book - Design Futuring1, he calls attention on the pressing need to change the way we live, act and engage the world since we have reached a critical moment, when our world is under terrible conditions. He argues that ‘sustainability’ can be achieved by design.
CASE1. THE BRIDGE Relating to Design futuring, the project of the Aerial Robotic Bridge Construction, will be the first case study I'd like to explore, as it contributes to the idea of “a future secured by design” from its technology breakthrough. This AA.DRL project uses drones to automatically arrange threads into a suspended geometric cocoon shape. The marriage of drone technology and 3D printing result in unlimited possibilities
on structures for designers to envision beyond the traditional construction method.
SUSTAINABILITY This way of conctruction cuts a large proportion of cost on labors, which brings significant economic and social benefit, espically in a ageing society where labors are valuable resources. Besides, as the construction phase generates almost no waste or CO2 emission, it helps to ease the terrible condition of global warming. In addition, the real-time feedback function further improves the efficiency and accuracy during the construction process.
FIG2.THE THREAD
FUTURE The bridge appears as a pathway between two natural cliffs, where is extremely risky and almost impossible to build a bridge if it was in a traditional way. However, the new technology enables it to become possible, to create a common spcae for people and the deep mountain, and it allows more possibilities in future to explore the opportunities to connect human beings and the nature. I believe a harmony in the relationship between people and the nature is the key to the balance of ecological system. The aerial robotic bridge project succeed to act as a beacon to the possibility to create a more intimate relationship between mankinds and the nature.
INSPIRATION Even though it is a not ‘built’ project but only a prototype, its inspiration on future architecture is much more meaningful than the building itself. It is not a show off on the new technology, but instead, it changes the way people think how architecture is done, from traditional planning and drawing, to programming. For me, the bridge is revolutionary as it suggests that the role of architects might be shifting from master builders, to expert coders.
1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
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CASE2. THE CRYSTAL
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he second case study related to design futuring I will look at is The Crystal in London, designed by Wilinson Eyre. The Crystal is a global exhibition building for the future of cities. It sets the benchmark for sustainable building design, as it runs entirely on electricity, which the majority is generated by photovoltaic solar panels. Besides, the building’s roof collects rainwater, while sewage is treated, recycled and re-used onsite.
SUSTAINABILITY When people talk about sustainability on architecture, I think the focus should not only be given to the construction stage, but considering the whole life cycle, also the maintaining stage. In other words, a sustainable building should be a ‘long-life’one.
The reason I chose the Crystal as the second case is that I would consider it as a ‘breathing’ building, having a whole energy recycling system running through itself, just like human body metabolism. And, the building puts itself into a larger natural ecological system, where it merges into the water cycle, instead of only taking resources from the nature selfishly.
FUTURE The concept of energy-saving building system engaged in the Crystal will be surely appreciate and widely used in future architecture projects. Tony has pointed out in his book, ‘the relation between creation and destruction is not a problem when a resource is renewable’. I think the Crystal has been a role-model in utilizing renewable recourses such as solar energy, and it expands more possibilities on incorporating
FIG3. THE CRYSTAL, LONDON recycling system and architecture. There are some existing designs on wind turbines and rainwater collecting building, and I believe it’s a certain trend in future architecture buildings.
INSPIRATION The Crystal is quite important as a built project, because it allows examinations on
how efficient the energy system works. However, at the designing stage when the building was not yet built, the planning of details and calculations are also important. The Crystal inspired me on designing something functional to people, and meanwhile ecological friendly to the natural system.
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A.2. DESIGN COMPUTATION I
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n the last few decades, design processes evolved from craftsmanship through hand drawing, to computer-based drafting, and these days, computing was borrowed to assist in the design process. As Dr. Stainslav Roudavski has addressed in his lecture, computation in design does not merely refer to computerization, which is limited to supporting humans emulating drawings from paper-based work, but rather, it shifts a view to a concept-forming process in computer. More importantly, computation in design enabled a rational problem solving process. The “intelligent” design system is able to propose design solutions for further development. In application of computation, the richness and complexity has widened future possibilities in architectural design.
BENEFITS Engaging with contemporary computational design techniques, there is a large effect on the design process. At the phase of problem analysis, computers assist in organizing collected data in a manner that will be useful for subsequent steps2. In solution synthesis, computation breaks the traditional wall of subjective design, but through calculations, it provides solutions with extremely impressive efficiency and accuracy. Inspirations on architecture forms can be conceived through attempts on functional planning. When it comes to the evaluation phase in design, software or plug-ins such as Kangaroo Physics would allow it easily to run performance simulations as many times as wish. Further more, trying different parameters would result in better performances, which avoids modifying complicated design details. A collaborative design between the architect and the engineer can be achieved3. This application saves huge amount of time and labors in designing performance-oriented architecture, especially sustainable buildings which needs precise calculations and accurate prediction on running energy-saving systems.
2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 3. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
GEOMETRY Computation design software allows exploration on self-organizing patterns of geometries in a certain space and iterative logic relationship. There is more flexibility to optimize conceivable and achievable geometries, avoiding rigid geometries or simply replication. With the aid from parametric design software, design elements can be linked organically by parameters to form a smoother coordination. This process is similar to the self-reproduction of cells, that they differentiate with each other, but meanwhile they are similar and interrelated, to present various forms. This might expand future opportunities on urban planning, which requires differentiation and consistency in various function areas at the same time, to create a dynamic social space.
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FIG4.5.6.7. KARTAL-PENDIK MASTERPLAN
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CASE1.. KARTAL-PENDIK MASTERPLAN
he Kartal masterplan reflects the implementation of parametricism in urbanism. It is a proposal for a new civic, residential, commercial and transport hub designed by Zaha Hadid Architects. The project is to constitute a sub-centre on Istanbul’s Asian side to release the pressure on the historic centre. The site is being reclaimed from industrial estates and is flanked with the small grain fabric of sub-urban towns.
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The integration of these lateral connections with the main longitudinal axis creates a soft grid that forms the underlying framework for the project. This fabric allows the existence of different typologies of buildings that respond to the various demands of each area. Through subtle transformations and gradations, the fabric creates a smooth transition from the surrounding context to a higher density development. By composing the rhythm of the city skyline, parametric designers planned the widening and narrowing space of urban fabric. Through a logical rulebased calculations, they brought out the elegance and clarity of the urban landscape. FIG8.9.10. KARTAL-PENDIK MASTERPLAN
CASE2. THE BIRD NEST.
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eijing National Stadium in China, also knowm as 'The Bird Nest', is a marvelous piece of architecture using parametric design in its structure. With the aid from parametric software, numerous complicated structural calculations were solved. It played a significant role in ensuring that the web of twisting steel sections fitted correctly, in order to reach an accurate angle and degree to follow the curved surface. Meanwhile, it assures a wide span over cross the concourse, to create a spacious area more multi-functions such as refreshment and merchandising stalls. Focus was also given to designing a stadium which is able to withstand earthquakes without much damage, to give itself as much flexibility as possible for future use.
FIG11. THE BIRD NEST
Computational fluid dynamics (CDF) simulation based on the Games-time situation has been used to calculate the temperature and airflow speed at each angle of the structure and optimise all ventilation facilities accordingly. It is intelligent design systems that provides the Bird Nest with a great environmental building system through performance simulations. Computation 1. is crucial in designing such performance13 oriented buildings as the most important thing for operators is to make sure everything runs correctly and every factor needs to be in control, and computation contributes with reliable and sophisticated algorithm designs.
A.3. COMPOSITION/GENERATION
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FIG12. THE SMITHSONIAN INSTITUTION, WASHINTON
ith the application of computation in architectural world, the design process has shift from traditional composition to intelligent generation in computers. Brady argues that ‘computation is redefining the practice of architecture4’, as it can be fully integrated into the practice and the actual design process, through an understood model which can be expressed as an algorithm. To define ‘algorithm’, Wilson addresses the concept that algorithm is “made up of a finite set of rules or operations that are unambiguous and simple to follow”. In a design process, the initial state is the input, and the final state is the output. The operations correspond to state transitions, where the states are the configuration of the tokens, which changes as operations are applied to them5. In this way, there is no clear separation between design intent and computational technique, as each steps to be done are rational.
One of the advantages that the use of generation in architecture has is the capability to obtain performance feedback at various stages. According to Peters, using these tools, structural, material or environmental performance can become a fundamental parameter in the creation of architectural form4. It brings us new design opportunities on more functional and developed projects. Even it comes to the stage when people occupy the building, the feedback between users and the building can still be updated instantly, to reflect changes and needs for modification. Yet, there are some inevitable challenges for generating parametric architecture. The complexity of parametric packages might be a serious issue for most users at first glance. To solve a design problem, sometimes excess information might be unnecessary and only make the design process more complicated.
4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 5. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12
According to Aish and Woodbury, parametric modelling 'decisions and increases the number of items to which attention must be paid in task may require additional effort, may increase complexity of local design completion6'. When parametric design enables us to develop an algorithm relation within the design process, designers are facing another challenge that they must be careful and patient, since a simple mistake in change of one parameter could result in a ripple effect on the design. Thus, applying parametric methods requires an excellent managerial insight from architects.
CASE1. THE SMITHSONIAN INSTITUE The enclosure of the Smithsonian Institution’s central courtyard was prompted by a desire to transform the public's experience of the Smithsonian's galleries and create one of the largest event spaces in Washington. The roof is composed of three interconnected vaults that flow into one another through softly curved valleys. The geometry of the roof is generated by a single computer program, written by Brady Peters, an architect on the design team and a member of Foster + Partners’ Specialist Modelling Group. The computer code was used to explore design options and was constantly modified throughout the design process. It was also used to generate the final geometry and additional information needed to analyse structural and acoustic performance. The generation of the roof further visualizes the space, articulating new and old through raising the roof above the walls of existing building. And more, it creates fabrication data for physical models. 6. Robert Aish and Robert Woodbury, 'Multi-Level Interaction in Parametric Design', in Andreas Butz et al. (eds.), Smart Graphics (Lecture Notes in Computer Science, 3638: Springer Berlin / Heidelberg, 2005), p. 151.
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CASE2. AAMI PARK
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AMI Park Stadium in Melbourne has a very unique appearance like a few soccer balls been connected together. Designed by the application of shell theory and 3D modelling tools, the roof is made up of 20 interdependent shells and a single layer of structure that shares the load through a combination of arching, cantilever and shell action. The use of 3D modelling and computer technology significantly streamlined the design process. Generative Component software was used to prepare parametric models to define the roof structure, allow for testing of alternative geometric configurations, creating wireframe models, and presenting the final geometry for fabrication and construction. The structural design team also used inhouse optimization software to study the structural efficiency of the roof. By optimizing the member sizes, the most efficient structure was determined, resulting in considerable savings in the amount of steel required for construction. The shell and other concrete works were fully realised in 3D from concept to construction. Advanced pedestrian modelling ensured optimal external circulation for patrons, improving safety and avoiding bottlenecks around the concourse and in surrounding streets.
FIG13. THE AAMI PARK .MELBOURNE
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A.4 CONCLUSION I
n conclusion of the previous three chapters, sustainable architecture is a preferred design today since more and more people concern about our living environment on the earth. Addressing to current environmental issues, computing shows its capability in helping to solve them in a much more efficient and accurate way through algorithm in parametric design.
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Inspired by some precedents of parametric architectures, my intended design might also start from addressing some ecological issues such as water pollution or unprotected animal habitats. I believe algorithmic computing software such as Grasshopper can help build a highly functional space with a controlled environment in terms of temperature, lightness, and humidity, which are very important to create a harmonized environment for both human and the nature. Meanwhile I hope to obtain an organic architecture form from parametric design, in order to integrate with the local landscape without performing interruption.
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earning the theory of computing from readings helps me establish a fundamental understanding on architectural computing, which involves rigorous algorithmic relations between each input and output. But the most useful tool for me is through watching tutorial videos and practice that allows me to explore each button in Grasshopper and how a single parameter can affect my model to a large extent. From the beginning with zero experience in computing architecture, my knowledge has been broaden very much. If I could have used my new knowledge to improve a past design, I would try more curved surfaces because they bring vitality to the buildings, and perhaps to use more repetitive but differentiated geometries to form the faรงade.
A.5 LEARNING OUTCOMES
A.6 APPENDIX
-ALGORITHMIC SKETCHES SPHERE
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hrough the exercise of creating a sphere, I practised some definitions in Grasshopper such as Loft, Explode Tree, and Random etc. I chose the following example from my works because I appreatiate the randomness that an algorithmic software brought to us. It breaks our tradition of rules and easily creates unregular patterns without a sense of messy. With this randomness I believe more natural patterns can be produced in my future designs because they avoid being deliberate but instead, an order in disorder.
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GRIDSHELL Gridshell is a tool I think I can apply to cable beam structures because it allows curves to intersect and simulate tension force. It can also be used for roofs and stadiums.
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PLANARY Contour and planary tools help me to transform a simple geometry into panels. These two definitions might be applied to panel facades of building which can function as shading device to a building system, so that to achieve a sustainble building environment.
SMOOTH MESH Smooth mesh eliminates rigid edges and corners of a geometry, to create a more smooth and dynamic form of a building. It helps a building to intergrate with the surrounding landscape more smoothly.
PART A. REFERENCE BIBLIOGRAPHY 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 3. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. –10 4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 5. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 6. Robert Aish and Robert Woodbury, 'Multi-Level Interaction in Parametric Design', in Andreas Butz et al. (eds.), Smart Graphics (Lecture Notes in Computer Science, 3638: Springer Berlin / Heidelberg, 2005), p. 151.
IMAGE Fig1. AADRL. Aerial robotic bridge construction Retrieved March 2016 from: http://drl.aaschool.ac.uk/ Fig2. AADRL. The bridge Retrieved March 2016 from: http://drl.aaschool.ac.uk/ Fig3. Wilkinson Eyre Architects. The Crystal Retrieved March 2016 from: http://www.archdaily.com/275111/the-crystal-wilkinson-eyre-architects Fig4~10. Zaha Hadid Architects. Kartal-Pendik masterplan. Retrieved March 2016 from: http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/ Fig11. Herzog DeMuron. The Bird Nest Retrieved March 2016 from: https://www.herzogdemeuron.com/ Fig12. The Smithsonian Institution Retrieved March 2016 from: http://www.fosterandpartners.com/projects/smithsonian-institution/ Fig13. The AAMI Park Retrieved March 2016 from: http://www.aamipark.com.au/
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PART.B CRITERIA DESIGN
B.1 RESEARCH FIELD STRUCTURE
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ne of the research field I found interesting is the Structure. As structure involves intersections, tension and compression, it is possible to achieve with the help from drones. Some of the precedents in Part A relating to structure are the Bird Nest and the roof of the Smithsonian institute. To narrow my field, I will be focusing on the Structure system in the Lunchbox plug-in. It forms average trusses and lattice within a defined surface. In testing various shapes and radius, patterns and waffles can be achieved in computational structural design as well. Focusing on structure might shift a bit away from traditional building design, but meanwhile, it opens more opportunities on engineering structures. Shelters, bridges, and towers are some possibilities that worth a try. The concerns for fabricating a structural design might range from material performance to load bearing capability. Simulations for tension and compression are vital, therefore testing different phases in Kangaroo Physics will be helpful to develop a more optimized result.
HERZOG DEMURON - BIRDS NEST
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STUDIO GANG - SOUTH POND
IBA ARCHITECTS - CANTON TOWER
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B.2 CASE STUDY 1.0 - STRUCTURE GRIDSHELL
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GRIDSHELL
TOWER
GRIDSHELL
PIPE
WAFFLE
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B.2 CASE STUDY 1.0 - OTHER EXPLOR BIOTHING
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CONTOUR
GRIDSHELL
RATIONS GRID WAFFLE
IMAGE SAMPLING
GRIDSHELL
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SELECTION CRITERIA
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y selection criteria will be corresponding to the brief of building with drones. The outcomes that I am satisfied with should be applicable with strechting cable construction and rely on tension force as much as possible. Interesting patterns should be formed through drone technologies such as knotting and weaving. The first outcome is barrel vault structure with a relatively dense diagonal grid. Through changing the parameter of the number of rows and columns, I found that the denser the grid is, the tighter the cables are. Tension force is what I want to achieve in a drone-built structure therefore this one meets my expectation. 28
The second grid is formed with a combination of perpendicular and diagonal lines, which make the cable structure look similar to a panel structure. This outcome inspired me a possibility in applying panels to cable beam structures for future development. The third one, a tower constructed from inclined cables, is the one I found most interesting and applicable in a structure based on tension force. Stretching the cables into different degrees of inclination creates an illusion of a twisted tower. The fourth dome structure is formed by the combination of perpendicular and hexagonal gird. The parameter for rows and columns were set different for two components therefore it formed a new pattern which looks like a knitting design.
SPECULATE Stretching cables through tension force opens a new possibility for building a tower structure. Or further it can be applied to a tower in a suspension bridge structure because tension force allows a wide span over cross a large area. In grasshopper definition, the bottom of cables can be extended to two or more directions to hold a bridge panel. Patterns formed through weaving have a more soft characteristic therefore I would consider not to count them as part of structure but a decorative or directive ones. They can go around the cables with tension force, and through changing density or shape to create different emotions.
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B.3 CASE STUDY 2.0 INCLINED ELLIPSE WAIST
STRAIGHT COLUMNS
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DIAGONAL LATTICE
RINGS
FOUNDATION ELLIPSE
0 - CANTON TOWER T
o explore the filed on structure, I chose Canton Tower for a case study. Canton Tower is designed by Information Based Architecture (IBA) , a Dutch architecture firm based in Amsterdam. The concept of the tower consists of a simple idea of a twisted tower. The form, volume and structure of the towers is generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 m. These two ellipses are rotated relative to another. The tightening caused by the rotation between the two ellipses forms a "waist" and a densification of material halfway up the tower. This means that the lattice structure, which at the bottom of the tower is porous and spacious, becomes denser at waist level. The waist itself becomes tight, like a twisted rope. Further up the tower the lattice opens again. [1]Columns rings and diagonals form together a web that varies over the section of the tower. The columns are all perfectly straight although the lean over to one direction, giving the tower a dynamic twist. In this section, I will try to reverse-engineer the structure of Canton Tower using Grasshopper, and explore how a hyperboloid structure can be applied to my design.
1. China Highlights, Canton Tower, retrieved April 2016 from http://www.chinahighlights.com/guangzhou/attraction/canton-tower. htm
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CANTON TOWER REVERSE-ENGINEER 1. Draw two identical ellipses along the same y-axis in Rhino. Then define them as multiple curves in Grasshopper
3. Adjust the number of division into 20. Scale down the upper ellipse with the parameter of 0.8.
5. Incline th around 30 de
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2. Divide the two curves then connect them with staight lines.
4. Rotate the upper ellipse. Set the middle point within the ellipse as the base point then rotate around 120 degrees to create a waist.
he upper ellipse egrees.
7. Use braced grid component (from LunchBox plugin) to create lattice grids along the surface.
8. Turn lines into solids using pipe component.
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6. Create a loft surface from the two ellipses.
8. Adjust the number of rows and columns. Input in U direction was set 25 and 15 for V direction.
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CANTON TOWER REVERSE-ENGINEER
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B.4 TECHNIQUE DEVELOPMENT
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n this section, I developed some iterations derived from the Grasshopper definition for Canton Tower. Variables for these iterations are basically the curve type, number of rows, columns, and the degree of rotation. Through the exploration, I found that the number of rows and columns would affect the overall
visual impact, as the smaller the numbers are, the less curvy the structure seems. But in all iterations, the basic idea remains unchanged, that all lines are in perfectly straight.
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Developing the technique which I learned from Canton Tower actually inspired me on some new opportunities. Decreasing the number of rows and columns not only makes the whole structure look much simpler, but also shows a more tensile structure. Each line does not represent a steel tube anymore.
It’s no longer a compression element as in Canton Tower, but instead it turns into a tension element, which represents strings, cables, ropes etc. Adjusting the subtle angle of each string is the key to give the whole structure a dynamic form.
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would want my design to achieve dynamic and continuity in form. Strings are different from normal construction materials. In most cases, they are not even included in conventional architecture or housings because they are soft and almost invisible. But on another hand, a series of strings compose a surface, which can be vague and easily integrate to its surrounding environment. Therefore dynamic and continuity are the two crucial criteria for my design. Meanwhile, considering the fabrication of an actual model can be complicated, simplicity is another important factor I will count in my design.
My most satisfied iteration is the triangular twisting tunnel outlined by perfectly straight strings, as it meets my criteria of dynamic, continuity, and simplicity. The form reminds me on stringed instruments. Therefore I would explore the possibility on a huge walk-in musical instrument, which plays actual sound when strings are vibrating.
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B.5 TECHNIQUE: PROTOTYPE M
y testing with the prototype starts with a refined version of my favorite iteration in Rhino. I gave the three thread-holders a volume of a pipe, so that they can be distinctive with threads. In model-making, I used timber material to represent the hard part of my design and threads to represent chords. However, my design is somehow floating, so the first step to start with model making was to determine the location and length of the bracing by numbering each timber piers.
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After setting up my bracing piers and thread-holder timbers, I started to twine the thread onto equally divided points of each timber. As the friction between timber and thread is too small to prevent from sliding, I used glue to temporarily fix them in place. The result with timber and thread seems okay but the thread performs terribly loose. The reason I recognized is that threads are holding three timbers tightly as a tension force. As a result, the bracing structure inclines inward. Therefore I decided to add another tension force to pull the structure outwards, in order to offset the inward force. So I tied another set of cotton threads with timber piers to the ground. Finally I placed a 1:100 person to show the approximate scale my design could probably work.
Cotton thread Timber pier
Holder
Thread
1.
Tension Force
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ANCHORING THREAD
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In the first attempt, glue was used to anchor the thread onto the timber temporarily. However it’s not a practical nor a stable way to proceed. Therefore my group mate and I worked together particularly on the joint of timber and thread. We’ve discovered three ways to connect two elements: ONE. Twine the thread onto the which was inserted into the timber. the easiest and quickest way to do, the thread is very likely to slide
pin It’s but off.
TWO. Pass through the pin with a hole on its end. It’s easy and efficient. But it can be loose if either end of the thread is not anchored tightly.
THREE. Twine the thread onto the pin then knot. It’s time-consuming but tight, and each thread works independently in terms of tightness and stiffness. Yet, our options are not limited to these three ways. There are certainly much more options to be discovered, such as sewing, or customized 3D printed joint elements, as long as the structure is stable, strings are tight, and preferably each string works independently to make different sound. Besides, the materials are not limited to timber and thread either. More case studies on actual musical instruments can be done to help discover more opportunities on acoustic materials, such as base wood, ebony, bamboo for a hard part, and brass, bronze or even natural fibers.
B.6 TECHNIQUE: PROPOSAL
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B.6 TECHNIQUE:PROPOSAL- CHORD
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DESIGN CONCEPT To build an interactive acoustic bridge which allows people to play a music within the sound of nature.
SITE SELECTION The bridge is built across the creek. Our selected location is considered as quiet and only sound of water and birds can be heard. However the nice area does not have any reason for people to stay and have a listen to the sound of nature, where a few hundred meters away the only sound left is the noise from vehicles.
CLIENT The bridge draws attention from pedestrians who would take a walk around the area and invite them to stay for a longer time. By providing a piece
of huge musical instrument, people would be more sensitive to the surrounding sound. The chord bridge not only functions as a recreational piece of infrastructure, but also builds intimacy between pedestrians and the natural reserve area. The anticipated result is a splendid piece of music composed by human and the nature.
MATERIAL SELECTION Bamboo will be used for piers and holders as it’s more environmental friendly. For chords, Nylon strings are preferred, because they produce a clear sound and they have a relatively low risk from hurting users. A semi-transparent pathway is further added to the design, which allows people to walk on, so that they can see the creek running underneath the bridge while listening to the sound of it. But a drawback here would be the complicated replacement of chords .
DRO
Drones the string twine the drones ar is becaus can be i in diffe of each fundamen work as a instead
D BRIDGE
ONE TECHNOLOGY
can be used when building gs. They can carry chords and em onto the joint. The reason re preferred than human labors se a precise location and force input as a data, which results erent tightness and stiffness chord, which is ntal for our bridge to a rational instrument of a noise-maker.
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B.7 LEARNING OBJECTIVES AND OUTCOMES
FIG1. DJI PHANTOM VISION+ QUADCOPTER
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ur studio looks into the construction technology of building with drones. In the ETH Zurich's article of ‘Building a Bridge with Flying Robots2, the author has particularly researched on the fabrication of tensile structures with quadrocopters. The same idea is applicable with my design of a chord bridge. In terms of construction for our design, it will be good to divide them into two phases. The first phase will be erecting supporting bamboo structures with human labor force. For the second phase, using quadrocopter is a good option to stretch the strings.
NODES Intersections of strings and structure can be realized by flying machines. In prototyping models, we found the nodes can be easily slid away. Therefore we decided to carve a thin piece, smaller than Âź of the bamboo tube, to form a notch where can anchor the nodes. Follow the drawing of knots, a node is realized as a series of circular movements. Assuming there is enough flying space.
FIG2. DRONE-BUILT ROPE BRIDGE In previous research and experiments, the flying machine creates a surfacelike structure by flying a zigzag with an additional pullback movement after every crossing. Similarly, a pullback is necessary for our structure in order to achieve tightness and independency of each string.
DRONE SET UP A quadcopter is able to move in every direction but the unpredictability is the problem that needs to be overcome. GPS and IMU would make the flying machine more precise on x-y axis as they tell locations and horizontal movement. And pressure sensor with a LiDar would provide feedback on the height spontaneously. Futher, a semidense visual odometry for a monocular camera would allow for a better control in an environment. However, the unpredictability still results in a 2-meter deviation, which is the most destructive factor for the bridge construction. Unless the deviation is controlled in 20cm (which is the proximate interval of each string), a simple shift away could cause crossing of strings, and unpredictable sound, and more importantly, it might ruin the whole aesthetic experience of a parametric design. Another factor needs to be concerned is whether the drone has the capability to pull the strings in a particular force, for example, 10 Newtons. It’s the most crucial part of the final performance of chords, as well as the strongest reason to build in a drone instead of human labors. If the force cannot be controlled, substitutions need to be found to achieve similar outcome, such as acceleration and vectors, which might affect the force.
LEARNING OUTCOME In doing part B, I became more familiar and able to use Grasshopper as a parametric design tool. By doing iterations I explored how different parameters could have a large effect on the basic model and how they generates new opportunities. The form of my design is actually derived from one of the iterations from Canton Tower, but it has a completely different looking and function. Using Grasshopper has now taken place of my original purpose of using Rhino, even a simple command I would prefer to do it in Grasshopper because it allows changes to happen and opens more possibilities for an innovative design. Fabricating physical model prototype helps it make more sense of my design in terms of scale, material effects, geometry, and assembly. My research on drone technologies enabled me to be critical on my design as some parts are not practical. Drone technologies set limit for my design, not only the material weight and complexity of construction process, but also a deeper meaning behind the design and constructability. In next stage I will focus into detailed design, where each joint will be specified and a more detailed drone construction workflow will be outlined.
2. Ammar Mirjan et, al. (2016). Building a Bridge with Flying Robots. Springer International Publishing Switzerland
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B.8 APPENDIX
-ALGORITHMIC SKETCHES
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JOKER PORTRAI BUILDING IMAGE SAMPLING
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PANEL EVALUATING FIELDS
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SECTIONING
INITIAL INTERIM DESIGN STRUCTURE
PART B. REFERENCE BIBLIOGRAPHY 1. China Highlights, Canton Tower, retrieved April 2016 from http://www.chinahighlights.com/guangzhou/attraction/canton-tower.htm 2. Ammar Mirjan et, al. (2016). Building a Bridge with Flying Robots. Springer International Publishing Switzerland
IMAGE Fig1. DJI PHANTOM VISION+ Quadcopter Retrieved April 2016 from: https://www.youtube.com/watch?v=ptVJGrOpyok/ Fig2. Drone-built rope bridge Retrieved April 2016 from: http://www.cnet.com/news/watch-a-swarm-of-drones-build-a-rope-bridge/
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PART.C DETAILED DESIGN
C.1 DESIGN CONCEPT REFLECTION ON INTERIM During the interim presentation we received a lot of insightful suggestions. From them, we found our biggest challenge is the site tectonic for the design. It is important to rethink about the precise location of our design, how the object is connected to the site, and more importantly we need to justify the reason for its existence and position. The function of itself being a musical instrument is acceptable but the form of a bridge is controversial. Further, details of drone construction techniques are to be finalized, in terms of connection details and flight path.
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DESIGN AGENDA To build an interactive sound-making device for pedestrians, inviting them to walk in, play with the chords, and hear the sound they made, triggering people to be more sensitive to the surrounding nature sound.
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TECHNIQUE CONCEPT Our technique design concept same as the Canton Tower, which has a twisting tunnel feeling through rotating the straight lines. The reason to do so is to create a spatial experience of a rhythm that is shifting gradually from entry to exit, while the change remains continuous. Keeping the lines straight and tight aims to make sure the design functions as an acoustic device. Through more than 50 iterations we generated from Canton Tower, we chose the one which has a simple structure and constructible with drones, also the form is highly adaptable to the site, as it can change easily according to the topography and vegetation characteristics without sacrificing its unique pattern. 54
TECHNIQUE EVOLUTION
ENVISAGED CONSTURCTION PROCESS
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C.2 TECTONIC ELEMENTS & PROTOTYPES
FIG 1. TYPICAL CREEK VEGETATION PROFILE
Eucalyptus camaldulensis River red Gum
Eucalyptus camaldulensis
River red Gum all States and Territories Origin: Mainland Australia, Origin: Mainland Australia, all States and Territories Characteristics Characteristics
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Growth Rate Moderate Growth Rate Moderate Habit Rounded to spreading; Habit Rounded to spreading; open open Height Height 12-30m12-30m Width 10-15m Width 10-15m Lifespan Long Lifespan Long Botanical Description Type Locally indigenous BotanicalPlant Description Leaf Flowers
Dull green lanceolate, pendulous White, inconspicuous
Waterlogging
High
Plant TypeFruit LocallySmall indigenous Image: Treelogic woody capsule Leaf Dull green lanceolate, Bark Smooth, decorticatingpendulous white, pink grey over whole trunk Flowers melanoxylon White,and inconspicuous Acacia Image: Treelogic Fruit Small woody capsule Environmental Tolerances Landscape Notes/ Design Qualities Blackwood Bark Smooth, decorticating white, pink Acacia melanoxylon Develops thick trunk and large twisting branches with pH Complete and grey over whole trunk age. A tree that requires space to develop, sudden limb Compaction High Blackwood failure in mature specimen, particularly in Summer a Origin: Queensland to Tasmania, and South Australia problem and therefore best planted away from potential targets.
Drought Tolerances High Environmental Origin: Queensland to Tasmania, and South Australia Frost Moderate Characteristics
Landscape Notes/ Design Qualities
Prefers deep moist soils with clay component though will growDevelops well in a wide thick range oftrunk conditions and large twisting
Aerial Salt Moderate Characteristics Complete Aerial Pollution Not Known
branches with pH Growth Rate Moderate age. A tree that requires space to develop, sudden limb Compaction High Moderate Growth Rate failure in mature specimen, particularly in Summer a Habit Broadly conical to torounded Habit conical rounded Waterlogging High Broadly Pest & Disease Planting sites/and Root Space best planted away from potential problem therefore Height 6-15m Height 6-15mSusceptibility Drought Width Highfree.6-10m Generally trouble Lerp psyllid can be a problem on targets. Nature strips ; Width 6-10m stressed trees. Lifespan Long Frost Moderate Cut-out Prefers deep moist soils with clay component though will Lifespan Long Aerial Salt Establishment Moderate Outstand Requirements grow well in a wide range of conditions Botanical Description Aerial Pollution Not Known May require staking Roundabout ; Raised planters Type Locally indigenous BotanicalPlant Description Leaf Deep to dull green phyllodes Beneath electrical wires Availability broadly lanceolate Common Pest Type & Disease Planting Root Space Plant LocallyCreamy indigenous Flowers Susceptibility pale yellow balls Minimum nature stripsites/ width 3.5m Fruit Paledull brown, narrow, coiled, to Leaf Deep to green phyllodes Image: Treelogic Generally trouble free. Lerp12cm psyllid can be a problem on broadlyBrown-grey, lanceolate Nature strips ; Bark rough & fissured stressed trees. Flowers Creamy pale yellow balls Cut-out Fruit Pale brown, narrow, coiled, to Environmental Tolerances Landscape Notes/ Design Qualities Image: Treelogic Outstand Establishment Requirements 12cm Acid 4-6 rough & fissured Bark Good street tree once established, May require pH staking Brown-grey, Roundabout ; Compaction Moderate Casey Tree Manual Waterlogging High Species Drought High Frost Moderate
Availability Environmental Tolerances
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developing attractive habit in cooler climates. Street Tree Raised to planters Adaptable a wide range of conditions. Prefers fertileelectrical soils and wires high rainfall though Beneath Landscape Notes/ found over a wide climatic range.Design Qualities
POSITIONING BRIDGE THROUGH TREES We changed the basic structure of our design, to get rid of its supporting element from the ground so that it is entirely suspended from the trees. The reason to do so is to encourage a more drone-dependent construction process without human labour assistance. Therefore the form of the design would be closely related to the location and characteristics of trees at merri creek. The reason for our design to be a bridge is not only to activate human-nature interaction, but also to borrow the support from trees on both sides. We came to the conclusion that the closer to the creek, the small the trees are. We identified the small trees are Eucalyptus camaldulensis. And the big trees which are further to the creek, are identified as Acacia melanoxylon.
From analyzing both varieties in terms of height, width, growth rate, water logging, we expect Acacia melanoxylon could be strong enough to hang our design. However, to minimize the hurt from dead load and live load to the trees, our design would be a defined as a temporary recreational device to this area. But due to its high adaptability and quick construction with drones, it can travel around any point along merri creek or even Melbourne. When fixing the position, we considered the entrance and exit point of the bridge, which is faced to the gap between large trees as much as possible. Also the location of the trial has a large influence on our bridge. The large end of entrance is positioned closer to the intersection on the west, in order to attract people, and the smaller end faces to a sparser area with only a few residential dwellings. 1.
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Through fixing the position, we considered the entrance and exit point of the bridge, which is faced to the gap between large trees as much as possible. Also the location of the trial has a large influence on our bridge. The large end of entrance is positioned closer to the intersection on the west, in order to attract people, and the smaller end faces to a sparser area with only a few residential dwellings. Since the position is fixed, the form of our design can also be fixed. We consider that the form is hard to be kept especially when the whole structure hanging from the trees, therefore we have decided to solidify all the edges of bridge, and capped them with a fixed connection joint of specified degrees. To do so, we built a model of joints in Rhino and 3D-printed them in 1:50 scale.
3D-PRINTING JOINTS
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bridge looks like floating in the air. It blends into the surrounding nature better than other material does. COTTON THREAD
NYLON STRINGS
STEEL WIRES
BRONZE WIRES
Very soft, very easy to bend No elasticity, never bounces back
Soft, easy to bend Low elasticity, not likely to bounce back
Stiff, easy to bend but memorable Low elasticity, not likely to bounce back
SHAPE
Good in keeping a shape despite the loose feeling
Excelling in keeping a shape, can be very tight
Moderate shape, uneven when bend not appropriately
COLOUR
White
Silver
ACOUSTIC PERFORMANCE
Stuffy sound when vibrating
Semitransparent Clear sound when vibrating
Very stiff, hard to bend High elasticity, very easu to bounce, hard to anchor Bad shape, cannot be anchored to the desired point Bronze
STIFFNESS ELASTICITY
MATERIAL TEST RESULT In testing with physical materials, we used the following four types of strings to simulate the chords: cotton thread, nylon strings, steel wires, and bronze wires. Test result is put into a table to compare and contrast the performance of each material. As a result, we have decided to use nylon strings as our chords, as they have low elasticity and a relatively high stability in keeping the shape without bouncing, while they are also very safe acoustic material used in traditional guitars with no harm to fingers. Plus, nylon strings have an almost transparent colour, so that from a far distance, the chord bridge looks like floating in the air. It blends into the surrounding nature better than other material does.
Not acoustic performance
Low and elegant sound when vibrating
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DETAILED INSTALLATION Notches will be carved out from the pole to anchor the nylon strings. Each notch is limited to contain one string, so that the strings does not move too much but still allows space for vibrating.
The drone we are using are referenced from ETH Project. It is a quadcopter with a motorized spool that holds the strings. Ideally a brake can also be installed to the quadcopter, so that it can stop can pull the strings tightly.
QUAD COPTER
FIG 2. ETH QUAD COPTER
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FLIGHT PATH SIMULATION
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Multiple flight paths simulation were done in Kangaroo plug-in. In these diagrams, the green lines represent desired outcome of strings, while the red lines represent flight paths. Through these simulations, we found that the stopping point for drones should be kept a distance from the object to make sure they wrap the object, but the distance should not be too far because the strings would be too loose in that way. Also, the speed would largely affect the shape, as the slower it goes, the more precise the shape is. From my perspective, offset of 1 meter from the object with a speed of 0.05m/s is preferred. Final flight path simulation is made into a video which is included in the DVD.
FINAL RENDER
THE CHORD
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C.3 FINAL DETAIL MODEL
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Laser cut topography of selected area, clear perspex also laser cut into shape for the creek.
3D printed connection joints are printed for back up and
3D printed joints capped onto timbers, perfectly fit.
1:50 trees inserted according of merri creek is extracted fro
for the basic structure. 2 sets each one is clealy labelled.
Timbers cut into specific lengths according to the Rhino model, to represent bamboo poles. Each timber has 15 evenly carved out notches as anchor points.
g to the location data, colour om google map and printed .
Model wrapped in dental floss and hanged from clear perspex box. A piece of card board is used to represent the foot path and a 1:50 person model is placed on the bridge.
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C.4 LEARNING OBJECTIVES AND OUTCOMES FEEDBACK
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One other challenge that cannot be dismissed is the acoustic property of the whole structure. It is generally questioned if the device can actually make sound. Indeed, tests on strings’ physical materiality might not be sufficient. I looked carefully at my own guitar and found that a piece of musical instrument does not solely rely on strings’ materiality but also many other fields, including the length, thickness, tightness, and also the materially of its anchoring point. In addition, musical instruments incorporating modern techniques can be completely different from its traditional version, such as electric guitars. Principles on vocalization depends on various changing factors, and require hundreds of times experiments, which would take us into a more engineering-integrated field.
Feedback from the critics suggested a more friendly form for a better user experience, since our chords at the larger end seem far to reach by hands. For me it’s not only a very helpful and practical suggestion, but more it challenges and questions our form finding process. Anchoring the form with more attention on clients’ experience is where we can improve, in other words, the form of the chord does not have to be ‘looking good’ in an absolute equilateral triangle, but can be more vibrant and more inviting. In a more detailed perspective, finger experience can also be enhanced. Strings do not have to be in absolute straight, they can be undulating and smooth, as long as they make sound.
OBJECTIVE 1 "Interrogating a brief” Through multiple site visits to Merri Creek, we were able to record data of population flow, noise level, and vegetation types and analyzed the opportunities and limitations. The design agenda we derived has responded to the brief to achieve environmental responsibility and interaction between human and nature. The intervention we proposed contributes to the living system of Merri Creek and created new possibilities on future drone construction.
OBJECTIVE 2 “Ability to generate a variety of design possibilities for a given situation” The iterations I generated from the reverse engineered project have enabled me to achieve a controlled effect with greater adaptability and constructability. Through creating a matrix, I explored the potentials of orienting geometries, sectioning, expressions etc. Further, simulating on Kangaroo plug-in allowed me to complete the kinetic design and drone setting up.
OBJECTIVE 3 “Skills in various 3D media” I have developed my skills on designing and 3D modelling substantially through Rhino and Grasshopper. As controlling drones requires specific technology and command on Grasshopper, my skill on Grasshopper has
improved beyond basic pattern generation, into a more advanced level of physical property simulation with the Kangaroo plugin. Fabrication using computational method was not too strange for me, and in this project I had the chance to expose myself to laser cutting and 3D printing techniques. They made the process of fabricating tectonic assemblies much faster and easier, and again proves how powerful computational design is, and we get to see the trend of it in the future of architectural design
OBJECTIVE 4 “Understanding relationships between architecture and air” Due to the nature of drone construction, our design project cannot be called an architectural project, but the process of designing does not have much difference. Taking consideration on the site and its natural and social surrounding was the key to generate our design proposal.
OBJECTIVE 5 “Ability to make a case of proposals” Although it was hard to propose an innovative idea straight after being introduced a study field, especially when grouped with people of different field, through compensation and discussion we gradually found the way. At interim presentation, our proposal was still immature and seemed radical, but it evolved week by week as we see more and more potentials.
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OBJECTIVE 6 “Capabilities for conceptual, technical and design analysis of contemporary architectural projects” In part A and part B I had the chance to conceptually analyze the existing parametric structures, and especially in Part B through reverse engineering I developed technical skills to reach a fuller understanding that the parametric aesthetic which is actually not too hard to achieve.
OBJECTIVE 7
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“Understanding of computational geometry, data structures and types of programming” I was totally strange to computational design before the studio, but video tutorials online, tutor’s suggestions, and more importantly, my own messy explorations have all been very helpful for me to learn to use Grasshopper. I believed I have acquired new skills to create, manipulate and design using parametric modeling, and think in a programmatic mode in my design process.
OBJECTIVE 8 “Develop a personalized repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application”
In my perspective, computational design has been very helpful and interesting in forming repetitive irregular patterns which have certain relationship among each of them. Apart from its flexibility to change and modify, the aesthetic of algorithm through expressions has amazed me. However in another hand the fabrication can be complicated and expensive due to its customized nature. Another problem I encountered was that the more I immersed myself into computational design, the easier I get lost in programmatic languages because it sometimes goes too far from design agenda. Therefore in my design process I tended to combine both algorithmic design in Grasshopper and traditional drawings on paper to provide a clearer vision.
LAST FEW WORDS Lastly I would like to thank my tutor Julian for bringing the interesting objective to our studio and giving us constructive feedback on our design project. Drone construction has been a challenging theme as it limited design option and pushed us to think more on fabrication, but I believe I am lucky to learn in this environment and I am happy to see my unique outcome. Moreover, I would like to give a special thanks to my group mate John. Although the collision of different opinions in group work and time management sometimes can be frustrating, we brought our strength in different fields together into one project. Taking Studio Air and working with Julian and John has been a precious experience in my university life. 1.
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PART C. REFERENCE IMAGE Fig1. Typical Creek Vegetation Profile, Merri Creek Aquatic and Semi-Aquatic Planting Guide, Retrieved May 2016 from: http://mcmc.org.au/file/reports/merri%20creek%20aquatic%20and%20semi-aquatic%20plant%20guide.pdf Fig2. ETH quadcopter Retrieved May 2016 from: http://www.idsc.ethz.ch/research-dandrea/research-projects/aerial-construction.html
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STUDIO AIR
ALGORITHM SKETCHBOOK JIAYI GONG 6 9 9 1 5 1
WEEK WEEK 11 LOFT In the fisrt week I tested the 'loft' definition in Grasshopper to see how different curves might generate different forms of loft. I found that the outcomes of lofts can be smooth or can be straight. For future development, smooth result can be used for roofs, and straight result can be applied to panels and walls.
OC TREE Oc Tree component turns a surface into platforms. It was described in tutorial videos as a useful tool in game design, but I think it also helps to form platforms in real-world architecture.
VORONOI It is an interesting tool to divide a surface or solid into polygons. It creates interesting patterns around or among an object.
WEEK 2 WEEK 2 GRIDSHELL
PLANARY SMOOTH MESH
SPHERE Through creating the sphere, I practised definitions such as sphere, divide surface, explode tree, shift list, and loft. I developed an initial understanding of data tree, which I think is critical in using Grasshoper to design.
WEEK 3 WEEK 3
DATA TREE I tested more possibilities on the knowledge based on data tree. Panel component allowed me to define the formula and generate differentiated patterns.
WEEK 4 WEEK 4 SECTIONING This week I used Banq Restaurant (designed by Office dA) as my case study. In Grasshopper I specifically tested the contour component. I tried different patterns, lengths, radius, and some other parameters to see the effect on the outcomes.
BANQ RESTAURANT - OFFICE DA
Initial input and outcome
Second trial
Third trial
NTP NTP CASE STUDY: PORTRAIT BUILDING
A S H T O N R A G G A R T M C D O U G A L L PORTRAIT BUILDING
I did a case study on Portrait Building because I was shock when I first saw the face on the building from very far. A Grasshopper definition for the portrait building on LMS helped me discovered the secret of the stunning effect - image sampling. Through changing the image and width and number of slices, I made several portrai building with other faces. Also I found the colour contrast between the panels and building is important.
NTP NTP
STRUCTURE (LUNCHBOX PLUGIN)
WEEK 5 WEEK 5 EVALUATE FIELD Poping an valuate field component after dividing surface gives me a list of points. Through remapping the radius of circles based on the points, I evaluated the expression with variables y and z. This gives me an outcome of that the smaller the x, y and z value are, the bigger the circles are. It creates regular shapes on a surface.
WEEK 5 WEEK 5 IMAGE SAMPLING Similar outcome as above can be achieved by image sampling as well.
GRAPH CONTROLLER
CULL 0 TRUE 1 FALSE
CULL 0 TRUE 1 FALSE
CULL 0 TRUE 1 FALSE
CULL 0 TRUE 1 FALSE 2 FALSE
WEEK 6 WEEK 6 PREPARATION FOR INTERIM This bridge structure was the initial idea of our interim presentation. It's a helix bridge consists of steel strucuture and tensile rope structure.
Definition used: Divide curves, rotate, loft, structure (LunchBox Plugin), pipe, extend, offset, interpolate, planary, circle, geodesic, bang, graft, list item, etc.
WEEK 7 WEEK 7
INTERPOLATE DNA HELIX
HELIX BRDIGE RENDER
WEEK 8 WEEK 8
WEEK 8 WEEK 8
Definition used: Divide curves, rotate, loft, structure (LunchBox Plugin), pipe, inters
section, extrude
NEW PROPOSAL CHORD BRIDGE
WEEK 9 WEEK 9
RANDOM RANDOM
MORPH BOX Morph box projects a certain pattern onto a mesh
In this exploration I practised a few commands such as multiplication, evaluate surface, item list, and twisted box to achieve an undulating pattern which I think it can be applied to ceiling decoration.
TWISTED BOX
RANDOM RANDOM
PICTURE FRAME VORONOI In this section I made a basic voronoi structure using pop3D, list item, nerb curves, voronoi 3D, cull pattern, and solid union. Then I explored two outcomes with the Weavebird plug-in. Picture Frame gave me a rigid skeleton while loop sub-diversion gave me a smooth structure.
LOOP SUB-DIVERSION