STUDIO AIR
TAN HUEY JEAN, 797229 2017, SEMESTER 2, DAVID WEGMAN
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TABLE OF CONTENTS PART A
INTRODUCTION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX
PART B INTRODUCTION B.0. Fear B.1. Process Analysis B.2. Case Study 1.0 B.3.Case Study 2.0 B.4. Scripting the Process B.5. Proposal 1 B.6. Proposal 2 B.7. Learning Outcomes B.8. Algorithmic Sketches Bibliography
PART C INTRODUCTION C.1. DESIGN CONCEPT C.2. DESIGN CONSTRUCTION C.3. FINAL PROPOSALS C.4. LEARNING OUTCOMES BIBLIOGRAPHY
4 6 12 16 22 22 23
27 28 30 34 44 49 76 80 86 88 95
98 99 116 124 160 161
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INTRODUCTION ABOUT ME
TAN HUEY JEAN I am in my second year of the Bachelor of Environments and was born and raised in Kuala Lumpur, Malaysia. Art and Design has been my interest almost all my life, however I was only certain I had wanted to study architecture after I took a subject called ‘ Design and Technology’ in high school and fell in love with model making and designing spaces. My main interest has always been sustainable architecture and how architects can link the built environment with the natural one. I am really excited for Studio Air as it will introduce me to a new way of designing and allow me to learn new digital programs and fabrication methods.
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INTRODUCTION PAST WORKS
Digital Design and Fabrication
Designing and Fabricating a wearable form of Architecture in a group. In this project we explored deployable structures, minimal surfaces and laser cutting.
Architecture Design Studio: Earth
Designing a pavilion that interacts with the landscape of the Site through incorporating the three tectonics of above, under and on the ground plane.
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A.1. DESIGN FUTURING DESIGNING SOLUTIONS
Currently humans are destroying the future of the planet and ecosystems by consuming rapidly non-renewable resources and using up renewable resources faster than it can be replenished for economic, human centred gains.1 The design disciplines need to expand their world-view beyond finished products and territorial rules and incorporate a multidisciplinary systemic approach to design. According to Anthony Vidler, rethinking architecture as we know it requires us to destroy the traditional structure of the profession along with all its rules, typologies and ideologies. Therefore we should embrace the change of times and as architects, facilitate flow. Architecture should be seen as an iterative process rather than the final form of an outcome and through technologies such as 3-D parametric modelling, environmental performance analysis and other design aids and algorithms we can design solutions that will help shape a better future.2
1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1-16 2 Dunne, Anthony and Raby, Fiona. Speculative Everything: Design and Social Dreaming (MIT Press, 2013). p. 33-45 6
FIG.1 FUTUREISNOW BY ARCHIGRAM AND SUPERSTUDIO
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THE MUSEO SOUMAYA COLLABORATION FOR COMPLEXITY
FIG.2 MUSEO SOUMAYA
The Museo Soumaya Mexico City, Mexico Built 2011 by Fernando Romero EnterprisE (FREE) The Museo Soumaya is a public museum housing up to 70 000 works of a private art collection located in Mexico City. Completed in 2011, it was a revolutionary architectural project in Mexico due to the complexity of it’s structure. Collaboration through use of digital design technologies was key in ensuring the success of the Museo Soumaya. The process involved active collaboration between the architects, the structural engineering firm ‘Arup’ and the firm ‘Geometrica’ that designed the space frame façade structure. Digital modelling of the structure allowed teams to work on different aspects of the building from the façade structure, exterior façade and the interior ramps, structure and roof at the same time. This allows everyone to be updated on changes to the design as it is being done and allowed for convenient communication between the different teams. This creates an integrated approach where the whole design can be seen as whole and the relationships between it’s different aspects, this allows better understanding of the overall project unlike the traditional linear process. 8
The concept of the double curved design of it’s surface was that the size of each floor reflected the qualities of the collection being exhibited on that floor. The design and construction of the museum employed various algorithmic and parametric design techniques. The process began using laser scanning to develop a 3-D digital model from a physical model. Digital models were required to design the columns and horizontal steel rings on the surface of the design as well as the space frame that consisted of unique struts, each strut adapts to the conditions required to support the hexagonal façade panels. These struts lie between the surface of the interior and exterior surfaces. The hexagonal aluminium panels that make up the building’s stunning façade required use of parametric modelling to ensure a consistent gap between all the panels. To minimize the number of different panels that needed to be fabricated the surface was divided up into zones and then grouped into families and from the families they were grouped further. By using Gehry Technologies parametric modelling techniques further adjustments could be made to the panels to create the ideal surface. Currently the museum lies at the new commercial district called Plaza Carso also developed by FREE Architects, this district and the museum were an initiative to reshape an old industrial area of Mexico City. The museum allows free entrance, providing cultural education for the public 3.
FIG 4 . AXONOMETRIC DETAIL DIAGRAM Detail of the facade showing the double layer triodesic structure in red and green, the space frame facade structure and the parametric hexagonal panels.
FIG 3 FULL EXTERIOR VIEW OF THE MUSEO SOUMAYA
FIG 5 . HEXAGONAL FACADE TILING
3 Romero, F and Ramos, Bridging a Culture; The Design of Museo Soumaya. Architectural Design. 83 (2013),66-69 <DOI: 10.1002/ad.1556 >.
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ICD/ITKE RESEARCH PAVILION FORMATION THROUGH ELASTIC BENDING
FIG.6 THE 2010 ICD/ITKE RESEARCH PAVILION
FIG.7 FINITE ELEMENT METHODS FOR SIMULATING JOINTS
ICD/ITKE Research Pavillion University of Stuttgart, Germany Built in 2010 by Moritz Fleischmann, Jann Knippers, Julain Lienhard, Achim Menges and Simon Schleicher Built in 2010 in the University of Stuttgart’s campus the pavilion was a research project by the Institute of Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE). The plywood pavilion reshaped architecture by delving into new possibilities achievable through the use of advanced technologies. Instead of the traditional method of form finding through conceptualization, this project focused on implementing elastic bending to research how the material behaviour could form the shape of the structure. Elastic bending of materials is often used in vernacular architecture but few projects use bending-active techniques. The process of creating a bending-active design requires computational design for running tests to obtain information such as level of deflection of the elastically bent materials in different parameters. This information is then used for Finite Element Methods (FEM) to create simulations of the project and later for the robot to manufacture the plywood strips.
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Elastic bending is the behaviour of a linear material that is pin supported and elastically deformed. The project used 6.5 mm birch strips which has high load bearing capacity and low stiffness, these strips are planar elements that when connected to each other at specific joints creates alternately elastically bent and tensioned sections. The bent sections creates tensile stress into the straight sections creating a system at equilibrium with high structural stiffness. A parametric approach and digital computation was employed to produce 500 unique components. On site assembly was quick with the prefabricated materials as the strips just needed to be connected at the joints and to the structural base and to create the pavilion’s shape. This structure can protect users from the weather and creates seating spaces in the University’s campus. It also uses material resources efficiently, using exactly the amount required. The project shows that by use of design computation, material behaviours and properties can be the drive the design’s form rather than inhibit it. 4
FIG 8 INTERIOR OF THE PAVILION
4 Fleshing, M., Knippers, J., Lienhard, J., Menges, A. and Schleicher, S, Material Behaviour: Embedding Physical Properties in Computational Design Processes. Architectural Design. 82 (2012),44-51 <DOI: 10.1002/ad.1378 >.
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A.2. DESIGN COMPUTATION COMPUTATION OR COMPUTERIZATION When referring to the use of digital programs in architecture it must be understood that there are two ways of using it. Computerization , where analogue processes are replicated and translated into the digital form just to make the process more time efficient. The design is composed and is merely represented using digital programs. Computation is when creativity is part of the digital design process where algorithms help shape the form and performance. This makes the design process based instead of based on compositional form that dictates the buildingâ&#x20AC;&#x2122;s performance. The readings by Kalay breaks down the design process into four phases: problem analysis, solution synthesis, evaluation and communication. Problem analysis requires the designer to identify potential constraints in the project and identify all the different elements of a problem.5 Solution synthesis involves the formation of ideas and possible solutions by learning from similar precedents. Evaluation compared the different proposed solutions and identifies their drawbacks. Communication involves everyone in the design process and allows information sharing. The main method of designing involves setting goals and devising potential solutions to bridge the gap between the desired outcome and the current situation. Computation methods can help in all stages of the design process, by applying constraints an search processes to select the optimum solution.
5 Kalay, Yehuda E, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge, MA: MIT Press, 2004)p 5-25 6 Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture ( London; New York: Routledge, 2014) p 1-10
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Computation creates opportunities for revolutionary new designs through experimentation. Parametric design focuses on relationships between objects and the values of certain parameters.6 It allows us to model the material systems and how they perform structurally. This digital materiality enables us to produce outputs through digital fabrication such as by CNC router.
FIG.9 GUGGENHEIM MUSEUM IN BILBAO BY FRANK GEHRY
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LIVING CORE
PARAMETRICISM FOR STRUCTURAL PERFORMANCE
FIG.10 PATRICIA AND PHILLIP FROST MUSEUM OF SCIENCE
Grimshaw, Living Core Patricia and Phillip Frost Museum of Science, Miami, Florida Completed 2017
The Living Core lies in the Frost Museum of Science, it is a multi functional system used for science exhibits and wild life centres. It also requires structural integrity to hold the 2.3 million litre Gulf Stream tank. By use of digital programs such as Grasshopper, Rhinoceros and Revit the optimum design solution for the building was found after various iterations. This computational approach ensured the building’s structural and flexible performance as well as creating a stunning geometric form. The building’s geometry is made up of walls that are curved, inclined and vertical supported by a bent steel grid between the building’s cladding and structural floor.
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As the tiles cover the sloping, dynamic concave and convex surfaces it reflects light creating a fluid reflective surface. Parametric design was required to create the joints in the tiling as it had to handle heat differentials and therefore required expansion joints. These joint’s shape also had to strengthen the building’s envelope. By use of a meshing sequence to test for areas of maximum deviation in the form’s surface, a patterning process was developed. The joints were in the shape of parallelograms that can be cut from the rolls of tile. The use of computational in this design process created opportunities allowing for optimisation in construction and performance. By fully integrating computational design into the firm’s process it reduces constraints on future projects. 7 7 Edwards, S. Embedding Intelligence: Architecture and Computation at Grimshaw, NY. Architectural Design. 83 (2013),104-109 <DOI: 10.1002/ad.1563>.
NATIONAL BANK OF KUWAIT OPTIMIZING ENVIRONMENTAL PERFORMANCE
FIG.11 NATIONAL BANK OF KUWAIT HEADQUARTERS
FIG.12 EXTERIOR VIEW
National Bank of Kuwait Headquarters Kuwait City, Kuwait 2007 By Foster + Partners
The new headquarters for the National Bank of Kuwait in Kuwait City has a unique geometry and is designed to respond to the local climate. It’s use of computational techniques in the form of parametric modelling allows it to form geometrical solutions as well as optimize it’s environmental performance. East and West façade’s had vertical fins to shade the building from sunlight. Parametric modelling was used to create a functional form made up of all relevant performance parameters including architectural, structural, environmental, functional and operational requirements. Computation was used to study the buildability of the fits through testing and deriving different parametric designs in order to achieve a structurally sound and aesthetically pleasing design solution for the building’s cladding.
The use of computation allowed all 59 floor and plans and sections to be easily analysed down to it’s details and to make changes easily. Different variations of the shape of the building was designed through the parametric process to calculate it’s optimal solar, wind, acoustic and environmental performances.8
8 Popovska, D, Integrated Computational Design: National Bank of Kuwait Headquarters. Architectural Design. 83 (2013),34-35 <DOI: 10.1002/ad.1550>.
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A.3. COMPOSITION/ GENERATION NEW WAYS OF FORM FINDING Composition as a form- finding technique has been used throughout architecturally history. One often used devices is symmetrical composition, this was often used to instil a building with a sense of authority and to show that the building’s program is one that is fair and noble such as a courtyard or an institute of learning. Composition has in the past been primarily dictated by what abstract forms our minds could produce. However, with the development of digital technology we can use a generative approach to design instead of basing it around our own architectural ideas. By taking a process such as natural systems and creating an algorithmic script based on it, forms that the human mind could never think of can be created. “ I t ( C o m p u t a t i o n ) p ro v i d e s a f ra m e w o r k f o r negotiating and influencing the interrelation of d a t a s e t s o f i n f o r m a t i o n , w i t h t h e c a p a c i t y to g e n e ra t e c o m p l e x o r d e r, f o r m a n d s t r u c t u r e .’ – Achim Menges and Sean Ahlquist This quote, which was part of the definition of computation quoted by Brady Peters in ‘The Building of Algorithmic Thought’, shows how the computation as a generative process can create forms in architecture.9 The designer creates computer programs in order to solve a specific design problem. By customizing the algorithm it allows the designer to modify and explore more solutions by customizing their own tools. Computational tools have to constantly adapt in accordance to the parameters in architectural design that constantly increase and change. The use of computation allows us to input information, elements and find relationships between them this database of codes and ideas allow us to form a generative process in our designs. The performance of the building can be included into the design process to help generate form as well, as computation allows quick analysis of the results of our architectural decisions.
9 Brady Peters, Computation Works: The Building of Algorithmic Thought’ , Architectural Design, 83,2. (2013) pp 8-15.
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FIG.13 AERIAL FLOSS BY AA SCHOOL OF ARCHITECTURE 3D PRINTING FABRICATION USING AERIAL ROBOTS
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ICD/ITKE RESEARCH PAVILION WEAVING OF A SPIDER’S NEST
FIG.14 LEFT: INFLATED MEMBRANE, MIDDLE: REINFORCED FIBRE MEMBRANE, RIGHT: COMPOSITE SHELL STRUCTURE
ICD/ITKE Research Pavillion University of Stuttgart, Germany Built in 2014-2015 by Achim Menges and Jan Knippers The Diving Bell Spider spends most of its life underwater and has created a subaquatic nest consisting of a fibrous system. The construction of the spider’s nest consists of the structural sheet web of bundled fibre that traps an air pocket, cross-linked composite structures and surface filling fibre to reinforce the shell structurally. This design of the fibre reinforced pneumatic shell was a process-based design informed by biological principles. The biological process of the nest construction is transferred into robotic fabrication processes. A computational tool was developed embedded with data on adaptive fibre laying behaviour. Throughout construction of the dome, the fibre laying behaviour has to change and adapt to suit the shape of the pneumatic body. This computational tool created a digital agent that can adapt to the inflated membrane to create fibre arrangement that allowed the structure to self support after the air was released. By constructing the pavilion based on the fibre laying behaviours of the diving bell spider, the form is created through a generative approach. The fibre generation model generated a fabrication strategy based on the biological behaviour of the spider. 18
Constructed using a robotic end-effector tool, the robot adapts in real time to the changing shape of the ETFE membrane that has a dynamic shape. By using a sensor system and pre-programmed parameters the fabrication robot is able to control the fibre placement. Various type of fibre construction was implemented with different purposes within the system, fibres were bundled for structural performance where high load is applied, space filling of the fibres were conducted to reinforce the membrane and cross linking of the fibres were done to form a composite system. Through the use of computation, parameters and constraints such as structural analysis, fibre placement and connections of material helped generate the design of fibrous paths. This cyber-physical approach allows us to use computation to extract data, behaviour and material performances found in natural systems and incorporate it into the design process to generate new forms. The drawback to this form of generative design is that it could be considered taking an example from nature and replicating it with different materials. The design is a manmade version of the Diving Bell Spider’s nest incorporated into a pavilion, generative approaches require more creativity and adaptation from it’s source information. 10
FIG 15 EXTERNAL VIEW OF THE PAVILION
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Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L,
ICD/
ITKE Research Pavilion 2014-2015: Fibre Placement on a Pneumatic Body Based on a Water Spider Web. Architectural Design. 85 (2015),60-65 <DOI: 10.1002/ad.1955>.
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HYGROSKIN PAVILION METEOROSENSITIVE DYNAMIC STRUCTURE
FIG.16 COMPOSITION OF CONICAL PANELS MADE UP OF PLANAR SURFACES AND
FIG.17 WOODEN APERTURES IN THEIR OPEN AND CLOSED STATES
INSULATION
HygroSkin- Meteorosensitive Pavilion by Achim Menges Architect, Oliver David Krieg and Steffen Reichert France, 2013. Another type of generative form finding process is one based on material properties. The Hygro-Skin pavilion integrates the meteorosensitive properties of wood. The cellulosic structure of wood maintains moisture equilibrium by absorbing and releasing moisture from the atmosphere. This creates a 10% change in dimension along the grain as the wood structure swells and shrinks. By using this material property of sensing and responding to the outside environment a meteorosensitive deployable structure can be creating consisting only of wood and veneer composite materials. This allows the architecture to move without the need for machines or mechanisms as the material acts as the sensor and motor all in one. Built from elastically self forming structures, the 28 skin modules are created from elastically bent plywood plates that form a conical surface when connected with custom joints. Insulation core is sandwiched between two of these surfaces while the aperture elements which are open and close in response to weather conditions have a response range set between 30 and 90%.
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When the sun is out and humidity is low the apertures are fully open allowing light to stream into the interior while when the weather is rainy and humidity increases the apertures close up. The translucent nature of the elements creates indirect light creating spatial atmosphere and visual aesthetics. The apertures vary in openness according to fluctuations in weather conditions throughout the day, this links the architecture with the environment fluidly with the porosity of the structure changing and allowing glimpses to the outside. The utilization of computation to program the performance of the structure based on the material properties is another form of generative design that opens new doors to environmental design.11
FIG 18 EXTERNAL VIEW OF THE PAVILION
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Menges, A. and Reichert, S, Performative Wood: Physically Programming the Responsive Architecture of the HygroScope and HygroSkin Projects. Architectural Design. 85 (2015),66-73 <DOI: 10.1002/ad.1956>.
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A.4. CONCLUSION The computational approach to design is required for the future as it allows for more attention to detail and create design solutions that encompass multiple disciplines. By writing algorithms and creating three dimensional modelling software we are able to analyze structure, material properties, design, building performance and experience to achieve optimum results. Moving away from a linear process based design is required to allow architects, designers and constructors to work effectively together throughout the entire process. When the process is linear, it allows for design problems to be missed while a collaborative approach allows for them to be solved as they appear.
A.6. LEARNING OUTCOMES From the past three weeks of lectures, readings and thought provoking class discussions I have gained a deeper understanding of design processes. By use of parametric design and computational techniques we are able to create forms that are not limited by the human mind. Biological processes, geometry, performance analysis and user interaction can help inform and improve design solutions. Creating 3-D models to solve structural problems allows revolutionary constructions to be built. The use of parametric architecture and grasshopper would have been very useful in my project for Design Studio: Earth where I had struggled with composing my final geometric structure that consisted of equilateral triangles. The composition was created from tediously cutting and folding paper nets in various iterations before I could reach the final form. If I had used a computational approach, the final form could have been much more interesting and I could have created more different iterations at a faster rate.
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A.6. ALGORITHMIC SKETCHBOOK LETTING GO OF COMPOSITION
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BIBLIOGRAPHY
Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice. (Oxford: Berg, 2008) Dunne, Anthony & Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming. (MIT Press, 2013) Romero, F and Ramos, Bridging a Culture; The Design of Museo Soumaya. Architectural Design. 83 (2013),66-69 <DOI: 10.1002/ad.1556 >. Fleshing, M., Knippers, J., Lienhard, J., Menges, A. and Schleicher, S, Material Behaviour: Embedding Physical Properties in Computational Design Processes. Architectural Design. 82 (2012),44-51 <DOI: 10.1002/ad.1378 >. Kalay, Yehuda E, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge, MA: MIT Press, 2004) Oxman, Rivka and Robert Oxman. Theories of the Digital in Architecture (London; New York: Routledge, 2014) Edwards, S. Embedding Intelligence: Architecture and Computation at Grimshaw, NY. Architectural Design. 83 (2013),104-109 <DOI: 10.1002/ad.1563>. Popovska, D, Integrated Computational Design: National Bank of Kuwait Headquarters. Architectural Design. 83 (2013),34-35 <DOI: 10.1002/ad.1550>. Doerstelmann, M., Knippers, J., Koslowski, V., Menges, A., Prado, M., Schieber, G. and Vasey, L, ICD/ITKE Research Pavilion 2014-2015: Fibre Placement on a Pneumatic Body Based on a Water Spider Web. Architectural Design. 85 (2015),60-65 <DOI: 10.1002/ad.1955>. Menges, A. and Reichert, S, Performative Wood: Physically Programming the Responsive Architecture of the HygroScope and HygroSkin Projects. Architectural Design. 85 (2015),66-73 <DOI: 10.1002/ad.1956>.
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LIST OF FIGURES FIG 1: Postanimalism.blogspot.com, ARCHIGRAM+ SUPERSTUDIO| FUTUREISNOW, Pinterest ( n.d.) < https://au.pinterest.com/pin/195765915023167659/> [ 7th August 2017] FIG 2, 3, 4 and 5 Archello, ‘ Museo Soumaya’, Archello ( revised May 2012) <http://www.archello.com/en/ project/museo-soumaya/1039554> [ 6th August 2017] Archdaily, ‘ Museo Soumaya/ FR-EE Fernando Romero Interprise’ Archdaily ( revised November, 2013) < http://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romeroenterprise> [ 6th August 2017] FIG 6: ITKE, ICD/ITKE Research Pavilion 2010: Project video, Vimeo ( revised August, 2012) <https://vimeo.com/48374172> [ 6th August 2017] FIG 7, : Krieg, Oliver, ICD/ITKE Research Pavilion 2010, Oliver David Krieg (n.d.) <http://www. oliverdavidkrieg.com/?p=655> [ 6th August 2017] FIG 8: Structure, ‘ Research Pavilion ICD/ITKE University of Stuttgart 2010’ Structure ( n.d.) <http://www.str-ucture.com/en/what/research-and-development/reference/research-pavilion-icditke-university-of-stuttgart-2010/> [ 8th August 2017] FIG 9: Lomholt, Isabelle, ‘ Guggenheim Museum Bilbao’, e-architect ( revised December, 2016) <https://www.e-architect.co.uk/bilbao/guggenheim-museum-bilbao> [ 5 August 2017] FIG 10: Art and Entertainment District, ‘ 5 Things you need to know about the Frost Science Museum’ Arts and Entertainment District Blog ( revised October, 2015) <http://aedistrictmiami.com/blog/5-things-you-need-to-know-about-the-frost-science-museum/> FIG 11, 12: Foster and Partners, ‘ National Bank of Kuwait’, Foster+Partners (n.d.) <http:// www.fosterandpartners.com/projects/national-bank-of-kuwait/> [ 5th August 2017] FIG 13: AERIAL FLOSS Architectural Association School, DRL Phase 2: Aerial Floss, Aa 2016 ( n.d.) <http://pr2016. aaschool.ac.uk/Aerial-Floss> [ 6th August 2017] FIG 14, 15: Archdaily, ‘ ICD/ITKE Research Pavilion 2014-15/ ICD/ITKE University of Stuttgart’ ( revised July 2015) <http://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itkeuniversity-of-stuttgart> [ 6th August 2017] FIG 16, 17 and 18: Achim Menges, ‘ HygroSkin: Meteorosensitive Pavilion’, achimmenges ( n.d.) <http://www. achimmenges.net/?p=5612> [ 7th August 2017] Archdaily, ‘ HygroSKin- Meteorosensitive Pavilion/ Achim Menges Architect + Oliver David Krieg + Steffen Reichert, Archdaily ( revised September 2013) <http://www.archdaily. com/424911/hygroskin-meteorosensitive-pavilion-achim-menges-architect-in-collaborationwith-oliver-david-krieg-and-steffen-reichert> [ 7th August 2017] Azzarello, Nina, Hygroskin: A Climate Responsive Kinetic Sculpture, designboom ( revised September 2013) <https://www.designboom.com/architecture/hygroskin-a-climate-responsive-kinetic-sculpture/> [ 7th August 2017]
PART B: CRITERIA DESIGN
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INTRODUCTION
DIGITAL ALCHEMY For Part B, as part of the Digital Alchemy studio I explored how my fears can drive my design through a process based form finding technique. By gaining inspiration from the darkest, normally most hidden parts of myself, I aim to learn how to develop my design and architectural skills by moving away from the compositional form finding and into the parametric realm to produce designs that I would never have previously imagined. Part B consists of analyzing my fear, and designing with my fear as my starting point to gain a deeper understanding of myself and the design process in general.
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B.0. FEAR ISOLATION
MEANINGLESS LIFE
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R OF DEATH
RESPONSIBILITY
TRAGEDY
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FEAR OF DEATH During the meditation excercise I realized that I had many fears, all of which impact me in some way during my daily life. While analyzing these fears and trying to find a common theme among them I realized that
B.1.
FEAR
they all tie back into my biggest fear which is DEATH One of my main fears had always been a fear of responsibility and the consequences of my decisions. This links back to my fear of death as I fear my wrong decisions would cause catastrophe for myself and others. Another is my fear of being completely alone. As I have always had a stable support system of friends and family the thought of entering the after-life by myself is extremely frightening. I also fear tragedy or accidents as I have low pain tolerance and am sensitive to blood and gore. Therefore I tend to avoid high risk activities such as sky diving or bungee jumping. Irvin Yalom, an existential psychiatrist had classified ‘four givens of existence’ which are the main concerns of every human being, all other concerns stem from these. The first given is a fear of death and it’s inevitability. Secondly is the concern of freedom and responsibility in life. Thirdly is the concern of isolation and how we all born and die alone. Fourth and finally is the fear of living a meaningless existence.
PROC
BRE Limi Var Cap Situ
BREAK Revers Turning Forwa To a p
I found I related with those four givens as most of my fears seem to stem from those concerns. Taking my three ‘sub-fears’ that ultimately stem from my fear of death, isolation and responsibility I derived processes that bring about those fears in me.
BREA Num Loca Proxi Conn
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. PROCESS: DRIVING A CAR COLLISIONS
ACCIDENTS
R OF DEATH
DRIVING A CAR RESPONSIBILITY
CESS BREAKDOWN
ROAD SAFETY
VARIATION IN SPEED
EAK-DOWN itations and Rules riation in Intensity pability uational
DATA EXTRACTED Intensity levels Range Boundaries
TYPES OF MOVEMENT
K-DOWN sing g ard motion point
DATA EXTRACTED Direction Destination Distance Curvature
POPULATION
AK-DOWN mber of cars ation of cars imity nections
DATA EXTRACTED Distance Points Intersection of points Paths taken
PATHWAYS
BREAK-DOWN Intersection of paths Distance of paths Shape Similarities
DATA EXTRACTED Point location Distance Curvature or form
COLLISIONS AND OBSTRUCTIONS
BREAK-DOWN Collision Merging Textures and Terrains
DATA EXTRACTED Points of Intersection New forms Distance
SHAPE DEFORMATION
BREAK-DOWN Sliced separation Indentation New shape Surface
DATA EXTRACTED Patterns Contours Points
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DRIVING A CAR I chose the process of driving a car for my design as it is actually another one of my fears and also because it involves 3 of my main fears: responsibility, tragedy and isolation. When driving you have to take responsibility for your own life as well as the lives of others on the road. As well as that, tragedies and accidents often occur when driving and when you are in the driverâ&#x20AC;&#x2122;s seat you alone can make decisions on the road. To analyze this process I broke it down to different behaviours as well as actions and data that can be extracted from these behaviours.
PROCESS COLLAGE Firstly I had mapped all the roads that lead to the Melbourne Cemetary by tracing it off Google Maps. Then I had drawn squares of varying size, the cluster of small squares represent the location of the cemetary while the larger ones represent the city grid. I found information on the Victoria Roads website that give the exact locations where fatal crashes had occured and had represented them with circles. The larger the size of the circle the more fatal accidents happened in that region. The regions where the circles intersect with the squares are filled in with white to show the relationship between these two elements.
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PROCESS COLLAGE
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B.2
CASE STUDY 1
IWAMOTOSCOTT: VOUSSAIR CLOUD LAVA- GREEN VOID
Figure 1: ”Iwamotoscott Architecture | Voussoir Cloud”, Iwamotoscott.Com, 2017 <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 15 September 2017]. Figure 2: Ethel Pohl, "Green Void / LAVA", Archdaily, 2008 <http://www.archdaily.com/10233/green-void-lava> [accessed 15 September 2017].
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01.
Figure 3
VOUSSAIR CLOUD TESSELATION
Figure 4
Figure 5
INITIAL DESIGN
Designed in 2008 the Voussair Cloud’s form was inspired by Gaudi and Otto's ‘Hanging Chain’.1 The firm IwamotoScott used a software to hang virtual chains at points where the structure touches the ground. The form is also influenced by the material, which is a timber veneer. This allows material property to help create the geometry. The design explores using porosity and a vaulted geometry in order to create a minimal surface2 and the openings provide an interesting spatial effect as the lighting changes throughout the day. I chose this case study as I was interested in learning how to create geometrical forms and minimal surfaces.
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EXPLORATION For Species 1 and 2, I experimented with the script on a three dimensional form instead of a planar surface. I started out by lofting a surface and then I subdivided them according to U and V values, I then scaled the subdivisions and lofted between the original and subdivided surface. I found that it produces patterns and forms that could create a spatial and visual effect. For Species 3 and 4 I used point charges on a surface created from interpolated curves. The point charges created deformations on the initial rectangular form and an unintentional waffle pattern was created.
1 "Iwamotoscott Architecture | Voussoir Cloud", Iwamotoscott.Com, 2017 <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 15 September 2017]. 2 "Voussoir Cloud", Architizer <https://architizer.com/projects/voussoir-cloud/> [accessed 15 September 2017].
02.
Figure 6
GREEN VOID GEOMETRY
Figure 7
INITIAL DESIGN The Green Void is a large scale sculptural installation based on minimal surface tension. It was designed using computational methods of 3D computer modelling and also fabricated through digital techniques. The treated high tech nylon was cut using a CNC Router and seamed mechanically. The project shows how digital methods can use material efficiently by generating a precise model, it also required minimal on site adjustments and installation time was very short. The form produced is fluid and organic and the material interacts well with lighting. I chose this case study as I was interested in the use of lightweight, flexible materials and also how tensioned forms can be created through digital techniques.
Figure 8
EXPLORATION
Analyzing the script allowed me to understand how the Kangaroo Physics plug-in worked and how tensile surfaces can be formed on Grasshopper. For Species 5, I had experimented with meshes and creating subdivided and patterned meshes. For Species 6, I had experimented with mesh deformation and deforming a mesh based on points and how the graph types can produce different shapes of deformation on the mesh surfaces as well as varying the intensity and size of these deformations. The exploration also inspired me to use mesh deformation techniques for my designs later on in the semester. 3 Rose Etherington, "Green Void By LAVA | Dezeen", Dezeen, 2008 <https://www.dezeen. com/2008/12/16/green-void-by-lava/> [accessed 15 September 2017].
37
1.
U Count: V Count: Scale Factor(%):
2.
U Count: V Count: Scale Factor(%): Camullclark Level:
3.
Charge Value: Scale Factor:
4.
Charge Value: 38
6 6 0.31
11 9 0.65
13 3 0.80S
6 8 0.31 2
10 12 0.65 3
13 3 0.8 3.7
6632.2 0.75
8262.9 0.60
826 0.2
10000
4658.4
358
3 3 Satqu
3 3 80 79
62.9 275
84.8
15 15 0.60
01.
VOUSSAIR CLOUD
CASE STUDY
20 20 0.90 2.86
1. Subdividing Surfaces 2. Subdivision and Camullclark 3. One point deformation 4. Two point deformation 5. Mesh Subdivision 6. Mesh deformation
10000 0.869
5200 39
01.
BEST ITERATION WEAVERBIRD
This Iteration from Species 2 was interesting due to the variation of scale of the subdivided extrusions across the surface. This was unexpected as the algorithm was the same as the others. The different scales across the lofted surface creates a layered effect. This iteration would also allow a variation in light penetration, which would create a spatial effect from the inside or cast shadows.
40
01.
BEST ITERATION POINT CHARGES
The deformation in this iteration produced by a single point charge is quite intense, the sudden rise in the curve creates an interesting form. As well as that, the subdivided surface created a waffle pattern that was not written into the script.
41
02.
GREEN VOID CASE STUDY
5.
6. Radius: 120 Frame Distance: 26.9 Mesh Thicken: 7
Radius: 120 Frame Distance: 14.7 Mesh Thicken: 3
42
Bezier Graph Radius: 77 Influence Range %: 0.61 Bump Intensity: -200
Perlin Graph Radius: 83.9 Influence Range %: 0.431 Bump Intensity: 176.2
Radius: 85 Frame Distance: 30 Mesh Thicken: 10
Sine Graph Radius: 100 Influence Range %: 0.764 Bump Intensity: 152.6
Radius: 200 Frame Distance: 5 Mesh Thicken: 3
Conic Graph Radius: 120 Influence Range %: 0.800 Bump Intensity: 170
02.
BEST ITERATION
POINT DEFORMATION
This iteration from Species 6 produced the most original form, the folds and bumps created by the graph deformation produces an organic shape that could be interpreted in many different ways. The form looks plastic and malleable.
43
44
B.3
CASE STUDY 2 MONTREAL BIOSPHERE
Figure 9: "Biosphere (Biosphère, Musée De L'environnement) - Montreal Travel Guide", Montreal Travel Guide <http://montrealvisitorsguide.com/ biosphere-biosphere-musee-de-lenvironnement/> [accessed 15 September 2017].
45
03.
MONTREAL BIOSPHERE BUCKMINSTER FULLER
Figure 10
Montreal Biosphere By architect Buckminster Fuller Built 1967
The Montreal Biosphere helped innovate the architectural discourse through itâ&#x20AC;&#x2122;s use of technology and how it shaped possibilities for mass production of architectural elements or as it is more commonly known today as pre-fabrication tecnhiques. This allows the components to be built efficiently and also allows for monumental sized domes to be constructed relatively easily anywhere. The geometrical layered dome structure is constructed from three inch steel tubes and is subdivided into a series of equilateral triangles.4
4 David Langdon, "AD Classics: Montreal Biosphere / Buckminster Fuller", Archdaily, 2014 <http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller> [accessed 15 September 2017].
46
03.
REVERSE ENGINEERING 1
A parametric sphere that allows for quick variation in radius was created using the construct sphere component in Grasshopper.
2
A mesh was produced using the Mesh Brep component in order to subdivide the surface of the sphere.
3
The rectangular mesh was then triangulated so that the dome surface would be more similar to that of the biosphere.
4
The mesh was then thickened by using the Weaverbird Picture Frame component to create a three dimensional structure.
47
48
B.4. SCRIPTING THE PROCESS
ALGORITHM GENERATION
The process analysis provided a starting point a driving theme for my design exploration while the case studies helped increase my technical knowledge. For B.4. I created various iterations and designs based on my process, by using different components and parameters interesting forms that could be used for architecture was produced.
49
01.
FEAR OF DEATH
02.
PROCESS
03.
HUNCH
My main fear of death stems from four sub fears of responsibility, tragedy, isolation and leading a meaningless existence
SCRIPTIN PROCES 04.
COLLISION A
DRIVING A CAR
Driving a car is a process that involves three of my main fears. As driving requires you to make your own decisions, be responsible for the life of others and accidents often occur on the road
COLLISIONS
Based on my collage that diagrams locations of crash fatalities and how they intersect with the city grid I thought that scripting collision behaviour can produce interesting forms
50
MESH SURFACE
UN
NG THE PROCESS S TO SCRIPT TRANSLATION
ALGORITHM
INITIAL STATE
ACCELERATION
COLLISION
ION
POPULATE 3D
FRAGMENTATION
DEFORMATION
DISTORTION
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SPECIES MESH SURFACE UNION 01
1.1
Weaverbird CatmullClark
Min Edge: Max Edge: Frame Distance: Mesh thicken: Catmullclark Level:
1.2
5 5 2 6 3
Weaverbird Laplacian
Min Edge: Max Edge: Frame Distance: Mesh thicken: Laplcace HC Level: Polygonal subdivision:
52
2.6 2.6 17 3 2
3.1 3.1 3 1 4 2
5 5 1 1 6 4
0 0 7 7 3
10 10 10 6 27 3
0 0 22 10 3
0 0 6 4 10 3
7 7 22 10 6
6 6 7 3 22 3
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SPECIES MESH SURFACE UNION 01
1.3
Min Edge: Max Edge: Frame Distance: Laplace HC Level: Loop Level:
1.4
Min Edge: Max Edge: Frame Distance: Laplcace HC Level: Carpet level: Mesh Thickness:
54
Weaverbird Loop
1.68 1.68 1 10 2
4 4 2 16 3
6 6 4 19 3
4 4 10 4 4 2
1
Weaverbird Carpet
2.0 2.0 7 2 2 0
6 6 4 9 3
8 8 1 22 3
10 10 5 30 3
0 0 13 6 6 3
6 6 6 6 6 3
10 10 12 10 8 5
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SPECIES BEST ITERATIONS MESH SURFACE 01 ITERATION 1.3.3
56
This iteration created a complex facade and was very original compared to the other iterations of this species. It contains more solid patterns formed by the mesh but it also has a complex geometry of lines running across it. This makes it interesting as it provides a contrast between the more solid form and the light frame spun around it.
SPECIES BEST ITERATIONS MESH SURFACE 01 ITERATION 1.3.4
This iteration creates an organic looking form resembling honeycomb or a cacoon. This iteration stood out to me as it produces an interesting shape and texture and creates a curved volume. Unlike many of the other iterations, this one is more cohesive, some of the others retain too much of their initial form of a sphere and a cube.
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SPECIES POPULATE 3D UNION 02
2.1
XY PLANE MOTION IN Z DIRECTION
Domain: Steps: Metaball Threshold: Populate 3D:
2.2
35 31 0.540 28
XY PLANE MOTION IN Z DIRECTION
Domain: Steps: Metaball Threshold: Populate 3D:
58
44 22 0.600 28
44 22 0.190 84
35 31 0.100 84
24 30 0.470 28
24 30 0.170 84
22 34 0.420 28
18 40 0.300 28
21 34 0.150 84
18 40 0.130 84
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SPECIES POPULATE 3D UNION 02
2.3
YZ PLANE MOTION IN X DIRECTION
Domain: Steps: Metaball Threshold: Populate 3D:
2.4
17 23 0.150 68
YZ PLANE MOTION IN X DIRECTION
Domain: Steps: Metaball Threshold: Populate 3D:
60
22 15 0.160 68
22 15 0.160 90
20 19 0.150 90
14 30 0.112 68
25 22 0.130 90
10 40 0.080 68
31 33 0.060 68
35 29 0,110 90
41 22 0.090 90
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SPECIES FRAGMENTATION DISTORTION 03
3.1
Move Distance
3.2
Move Distance
62
POPULATE 3D COUNT 90
5
10
68
20
6
POPULATE 3D COUNT 103
5
8
90
130
68
90
130
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SPECIES FRAGMENTATION DISTORTION 03
3.3
POPULATE 3D COUNT 150
Move Distance
3.4
20
POPULATE 3D COUNT 184
Move Distance
64
5
5
20
68
90
130
68
90
130
65
SPECIES BEST ITERATIONS FRAGMENTATION 03 ITERATION 3.2.2
66
Although the form of this iteration seems quite generic I find that itâ&#x20AC;&#x2122;s form is very interesting as it is quite random and embodies the process of collision. I also like the tunnel like effect it creates, the form could be used as a park bench or an overhead bridge.
SPECIES BEST ITERATIONS FRAGMENTATION 03 ITERATION 3.4.4
It would be quite hard to create architectural forms from this iteration as the pieces are all seperated from each other. However I think that it would create a beautiful spatial effect if the user would be able to stand in the middle of the structure with all the different fragments exploding from the center point.
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SPECIES DEFORMATION DISTORTION 04
4.1
BEZIER GRAPH
Divide Curve Influence Range %: Bump Intensity:
4.2
6 0.40 -45
7 0.513 -50
CONIC GRAPH
Divide Curve Influence Range %: Bump Intensity:
68
5 0.305 -30
5 0.305 -30
6 0.40 -45
8 0.654 -65
7 0.513 -50
8 0.654 -65
10 0.800 -90
10 0.800 -90
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SPECIES DEFORMATION DISTORTION 04
4.3
Divide Curve Influence Range %: Bump Intensity:
4.4
Divide Curve Influence Range %: Bump Intensity:
70
PERLIN GRAPH
5 0.416 30
6 0.448 36
SINE GRAPH
5 0.416 30
6 0.448 36
7 0.528 56
7 0.528 56
8 0.65 60
8 0.65 60
10 0.90 93
10 0.90 93
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SPECIES BEST ITERATIONS DEFORMATION 04 ITERATION 4.2.4
72
This iteration has a very smooth rounded form that could be a park bench, however itâ&#x20AC;&#x2122;s shape it could likely only fit one person. I experimented a little bit more with this form by creating a waffle.
SPECIES BEST ITERATIONS DEFORMATION 04 ITERATION 4.2.3
This iteration stood out to me as it has a very organic form that looks almost floral. My first thoughts when I saw this was that it could be used as a water fountain or a bench.
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B.5. PROPOSAL DESIGN
01
OPTIMIZATION
THE IDEAL FORM
FRAGMENTATION TECHNIQUE POPULATE 3D COUNT: 150
74
1. MOVE AWAY DISTANCE: 3
2. MOVE AWAY DISTANCE
3. MOVE AWAY DISTANCE: 30
4. MOVE AWAY DISTANCE: 7
From all of my different iterations I was able to narrow down the designs to choose which can be turned into a form of architecture. I had decided I was interested in exploring the forms produced by the fragmentation technique. Since I had experimented with different parameters and input forms I knew what I was looking for going into Proposal 1. Therefore I decided to experiment further with my ideal forms to find the iteration that I would use. In the end I chose the 2nd iteration from my experimentation.
E: 10
70
75
PROPOSAL 01
PARK BENCH AND SHELTER SIZE: 3x3x3m
PERSPECTIVE RENDER 1
PERSPECTIVE RENDER 2 76
PERSPECTIVE RENDER 3 I chose this form for my Design Proposal 1 as I found the fragmented form creates the best visual impact out of all the species. As well as that, I like the spatial quality it produces for the users, the shape of the design allows people to sit on either side and even lie down. Children can climb around and play within the space. It allows embodies the process of collision and fear of death as it feels as if the fragments are falling down upon you or exploding away from you when you are seated inside the bench. However, this design is too simple in terms of form and geometry and not very practical to 3-D print as the fragments are not joined together. I could improve the design by creating a bounding box around the form which the fragments are attached to.
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PROPOSAL PARK BENCH SIZE: 3x3x3m 01
PLAN DRAWING SCALE 1:20 78
AND SHELTER
SECTION DRAWING SCALE 1:20 79
B.6. PROPOSAL
02
PERFORATED PAVILION Size 6x6x6m
PERSPECTIVE RENDER 1
PERSPECTIVE RENDER 2 80
PERSPECTIVE RENDER 3 When deciding on a larger scale structure for Proposal 2, I had chosen a more practical iteration from Species 1. Although the form was not the most visually interesting, it had the potential for an outdoor pavilion structure. The perforations in the spherical section of the pavilion would create varying light penetration throughout the day as well as interesting shadows. The form shows the process of collision quite well through the union of spherical and rectangular shapes, however it does not really convey the fear of death. I would improve my Design Proposal 2 by selecting a more relevant form that relates to my main fear.
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PROPOSAL
02
PERFORATED PAVILION SIZE: 6x6x6m
PLAN DRAWING 82
SCALE 1:50
83
PROPOSAL PERFORATED SIZE: 6x6x6m 02
SECTION DRAWING 84
SCALE 1:50
PAVILION
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Perspective View
HEALING THE FEAR
REFLECTION
Section Cuts
The feedback I had received from my interim presentation was that I should explore how to overcome or heal my fear of death, collisions and accidents. I decided to do a short reflection task of designing from one of my species iterations to create something that is more meaningful to me. I chose this rounded almost cacoon like form as I believe that, by being able to feel safe and secure my fear will not impact me as much. I had also used the Kangaroo mesh relaxation as the interior layer. The translucent tensile mesh and the perforations in the pavilion form creates an interesting light and spatial effect . I feel it would create a relaxing environment, almost like a solace from a the busy outdoor world and allow the user to feel at peace and give them a sense of security.
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B.7. LEARNING OUTCOMES
REFLECTION
Learning to design based on a process instead of through composition was quite challenge but proved to really help my understanding designing architecturally. When designing, there must be a logic or reasoning behind it that drives and influences your design. By having a process, it allows you to create a criteria in choosing which iteration works the best. In compositional design, you are limited to what you personally want to achieve and designs that can only be thought of from your mind. The challenge I mostly faced was incorporating the overarching theme of my fear of death into my later iterations. As the design process went on and more work was produced I found my outcomes started to deviate from itâ&#x20AC;&#x2122;s initial theme. Going into Part C, I would really like to combine the process and the design iterations together to create a cohesive outcome. However, despite the challenges I thoroughly enjoyed exploring my fears deeply and breaking them down into processes. By analyzing these processes it allowed me to write Grasshopper algorithms with a clear purpose in mind. If I did not have a process driving my design I would have struggled to create iterations as there are way too many options available. Exploring parametric design to create different iterations was insightful, just by changing a single number on a slider a more interesting or complex form could be produced. Through my explorations in Part B, I gained confidence in using the Grasshopper program and am excited to learn more techniques. From my design proposals and the interim presentation, I learnt that designing what seems the most practical is not always the best design. For Part C, I would like to create more designs that relate to my own personal fears and achieve a design outcome that I can be excited about.
87
B.8. ALGORITHMIC SKETCHBOOK
Hexagon
CONTROL POINTS REACTIVE FORCES GENERATING FORM
STEP 1: Creating a square grid
STEP 2: Grid to surface and center point of the areas is fed into the Closest Point component
STEP 3: Components bounds, construct Domain and Remap to scale the geometry according to the domain created
STEP 4: Scale component produces curves, extrude the curves to construct a three dimensional form
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Triangula
nal grid render
Experimenting with different types of grids to view the shapes produced
ar grid render
By inputting more than one point as the control point for the form more designs can be achieved
CRITICAL THINKING How to create more interesting forms, as it currently looks too uniform apart from the varying scale? - The heights throughout are all uniform just the diameters.
89
SURFACE DEFORMATION VARYING EXTENTS
STEP 1: Form two surfaces and set it on Grasshopper
STEP 2: Use the Divide Surface component and assign sliders for the U and V values
STEP 3: Connect the Points tab to the Line component to form lines connected the points on both surfaces
When a car collides w car when it collides a mation from a flat pla
STEP 4: Add an addition component for the U value and a point on surface component and connect both to surface on point component
90
with another object it will deform according to the shape of that object. The speed of the also impacts the extent of the deformation. This algorithm shows different degrees of deforanar surface to a distorted wavy surface.
CRITICAL THINKING How can this algorithm be applied to a three dimensional volume this would relate more to my process than a flat surface
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SURFACE DEFORMATION FORMING SHAPES BY UNION AND DIFFERENCE
Solid Union and Solid Difference allows us to either combine two solids together to form a merged shape or deduct one solid from another subtracting it from the shape. In the first script the solids which was a Sphere and a Box were inputted on grasshopper and the radius and size was varied parametrically with a number slider.
When I wanted to input more solid that proved to be a problem, as i could not freely move that solid as I liked, therefore I attempted to connect Brep components that were set to existing Rhino geometry to the Solid Union and Solid Difference components and it worked! I was able to input as many solids as I liked creating extrusions and indents.
92
Afte gorit crea and
er creating some interesting box forms by using those components I found an althm on Youtube that morphs these boxes according to the shape of a surface to ate interesting forms. Therefore, I inputed the boxes that I made into the algorithm d played around with the parameters as well as the shape of the volume.
CRITICAL THINKING This is probably not a generative approach as when using the Solid Union and Solid Difference I found myself thinking very compositionally about how I wanted my box to look at the end. 93
PRACTICING ALGORITHM INTERSECTIONS DEFORMATION
This algorithm was also ex intersection but instead o and a curve. It began by split the surface into subse the Brep and Curve inters SMALLER component and size of the opening in the command was used to re tion.
USING THE GRAPH MAPPER: ALGORITHM
94
MS
xploring deformation of a shape through of between two solids it is between a surface y using Divide Domain squared and Isotrim to ets, the BREP was then deconstructed and section component was used. By using the d the NOT gate we are able to control the e cylinder at the intersection and the CULL emove those specific subsets at the intersec-
95
BIBLIOGRPAHY
BIBLIOGRAPHY
Langdon, David, "AD Classics: Montreal Biosphere / Buckminster Fuller", Archdaily, 2014 <http://www.archdaily.com/572135/ ad-classics-montreal-biosphere-buckminster-fuller> [accessed 15 September 2017] "Iwamotoscott Architecture | Voussoir Cloud", Iwamotoscott.Com, 2017 <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 15 September 2017] "Gallery Of Green Void / LAVA - 9", Archdaily <http://www.archdaily.com/10233/green-void-lava/283206743_081209-ch-section2-a3> [accessed 15 September 2017] "Biosphere (Biosphère, Musée De L'environnement) - Montreal Travel Guide", Montreal Travel Guide <http://montrealvisitorsguide.com/ biosphere-biosphere-musee-de-lenvironnement/> [accessed 15 September 2017] "Crash Stat Main Landing Page", Tableau Software, 2017 <https://public.tableau.com/views/CrashstatMainlandingpage/Mainpage?:embed=y&:display_count=yes&:showTabs=y&:showVizHome=no#1&%3Adisplay_count=yes&%3Atoolbar=no&%3Arender=false> [accessed 15 September 2017] "Voussoir Cloud", Architizer <https://architizer.com/projects/voussoir-cloud/> [accessed 15 September 2017] Davis, Daniel, "Voussoir Cloud – Daniel Davis", Danieldavis.Com, 2010 <https://www.danieldavis.com/voussoir_cloud/> [accessed 15 September 2017] Etherington, Rose, "Green Void By LAVA | Dezeen", Dezeen, 2008 <https://www.dezeen.com/2008/12/16/green-void-by-lava/> [accessed 15 September 2017] Pohl, Ethel, "Green Void / LAVA", Archdaily, 2008 <http://www.archdaily.com/10233/green-void-lava> [accessed 15 September 2017]
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List of Figures: Figure 1: "Iwamotoscott Architecture | Voussoir Cloud", Iwamotoscott.Com, 2017 <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 15 September 2017] Figure 2: Pohl, Ethel, "Green Void / LAVA", Archdaily, 2008 <http:// www.archdaily.com/10233/green-void-lava> [accessed 15 September 2017] Figure 3: "Voussoir Cloud", Architizer <https://architizer.com/projects/voussoir-cloud/> [accessed 15 September 2017]Figure 4: Figure 5: Image from Rhino model Figure 6: Image from Rhino model Figure 7: "Gallery Of Green Void / LAVA - 9", Archdaily<http://www. archdaily.com/10233/green-void-lava/283206743_081209-ch-section2-a3> [accessed 15 September 2017] Figure 8: Image from Rhino model Figure 9: Image from Rhino model Figure 10: "Biosphere (Biosphère, Musée De L'environnement) - Montreal Travel Guide", Montreal Travel Guide <http://montrealvisitorsguide.com/biosphere-biosphere-musee-de-lenvironnement/> [accessed 15 September 2017] Figure 11: "Montreal Biosphere", Retro-Futurism.Livejournal.Com, 2017 <http://retro-futurism.livejournal.com/783149.html> [accessed 15 September 2017]
PART C: DETAILED DESIGN 97
INTRODUCTION HEALING THE FEAR In Part C, I developed design proposals that will help me heal my fear of death and dying. By further reflecting on what I find the most scary about death and coming up solutions for it, I had aimed to create architecture that will provide users with an experience that embodies the feeling of life and death transitions and give them a space to contemplate their fears and anxieties. In Part C, I optimized my designs and algorithmic script in order to produce an outcome that I can connect with emotionally and I feel will provide a positive experience for the users on the site.
98
Proposal 1: Small Installation
Proposal 2: Large Installation
C.1.0 DEVELOPMENT FEEDBACK
In order to further develop my Design Proposalâ&#x20AC;&#x2122;s for Part C, I referred to the feedback provided during my interim presentation. The proposals had strayed too far away from the main brief of the Digital Alchemy studio which was about addressing and healing oneâ&#x20AC;&#x2122;s fear. By focusing too much on the mechanical and technical processes which I had developed (Driving a Car and Collision) the proposals I came up with lacked the emotional connection to myself. As well as that, it was hard to define a specific use or experience for these proposals. They were just a pavilion and a park bench which would not provide anything new or interesting to the site.
99
C.1.1 DESIGN CONCEPT HEALING
FEAR OF DEATH WAYS TO HEAL FEAR
CONFRONTATION
Creating a space where fear is: CONFRONTED CONTEMPLATED ACCEPTED
EXPERIENCE Creating an experience for people to understand that fear is not the end but a beginning. A space that embodies the transition between life and death.
100
PROPOSAL 1 PARTIALLY SUBMERGED PAVILION
ENTRANCE
YARRA RIVER SITE CONTOURS A partially submerged pavilion located on the banks of the Yarra river, the spherical structure is the entrance while the rectangular component is partially submerged
PROPOSAL 2 BRIDGE FORM WALKWAY
YARRA RIVER
RIVER BANK
LIFE
DEATH
AFTER LIFE
Proposal 2â&#x20AC;&#x2122;s structure shows life and afterlife colliding at a point, which is death. It is a bridge with varying sizes of perforations that allow different amounts of light in as you pass through it.
101
C.1.2 SITE ANALYSIS
SITE PLAN AND PICTURES
SITE PLAN SCALE 1:50
ANALYSIS: The Summer sun path rises higher in the sky and sets towards the South West while the winter sun rises lower in the sky and sets more towards the North West. Warm winds blow from the North and Cool winds from the South West. Image from Nearmaps
102
PROPOSAL 2
N
Image from Google Maps
PROPOSAL 1
PROPOSAL 1
The site is located along the Merri Creek trail in Abbotsford and is on the banks of the Yarra River. For Proposal 1, the chosen location for the partially submerged pavilion is on this inclined slope surrounded by vegetation, people often walk past this area on their way to visit Dightâ&#x20AC;&#x2122;s Falls and is not too secluded so many people will pass through this area.
PROPOSAL 2
For Proposal 2, I decided the replace the existing bridge that stretches across the Yarra River with my design. The location is quite densely populated especially on weekends as it is near an open field with a barbecue area.
103
C.1.3 FORM FINDING
PROPOSAL 1 ALGORITHMIC SCRIPT
BREP
MESH
Rectangular Brep component
Brep is turned into a Mesh with custom mesh settings to control number of edges
BREP
MESH
Spherical Brep component
Brep is turned into a Mesh with custom mesh settings to control number of edges
M
Mesh is m Vector c the X, Y
Mesh is m vector c the X, Y
The Collision technique from Part B is used in this script, by moving the breps until they collide or intersect together and applying the Weaverbird mesh components to the joined meshes. 104
M
PICTURE FRAME
Frames are constructed from the mesh
MOVE
moved along a component in Y and Z axis
MOVE
JOIN MESHES
Rectangular and spherical meshes are joined together when they intersect
THICKEN FRAME
Frames of the mesh are thickened to a specified width
moved along a component in Y and Z axis
SUBDIVIDE
The frame is subdivided parametrically using the Catmullclark component
105
C.1.4 FORM FINDING
PROPOSAL 1 ITERATIONS
DESIGN CRITERIA SPATIALITY SHAPE OF FORM FORM THICKNESS
CHOSEN FOR FURTHER DEVELOPMENT
DESIGN CRITERIA OPENINGS SIZES THICKNESS OF FORM SPATIALITY
DESIGN CRITERIA NO. OF MESH EDGES OPENINGS SIZE THICKNESS OF FORM SPATIALITY
106
CHOSEN FOR FURTHER DEVELOPMENT
FINAL CHOSEN DESIGN
107
C.1.5 FORM FINDING
PROPOSAL 1 FINAL DESIGN
DESIGN CRITERIA NO. OF MESH EDGES: 26 (SPHERE), 6 (RECTANGLE) OPENINGS SIZE: LARGE OPENINGS IN RECTANGLE THICKNESS OF FORM: MODERATE SPATIALITY: OPTIMUM SPATIALITY
Based on my design criteriaâ&#x20AC;&#x2122;s this iteration was chosen as the final form as it had the best spatial effect internally and externally among them all. As well as that the openings on the spherical section do not look too clustered, allowing the right amount of sunlight into the entrance area. The openings in the rectangular form which will be the glass windows from which the users will be able to view the underwater scene are large enough to give a strong effect. The thickness of the form is moderate so that it is structurally sound but not too thick that it looks too chunky. FRONT VIEW
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PERSPECTIVE VIEW
RIGHT VIEW
TOP VIEW
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C.1.6 FORM FINDING
PROPOSAL 2 ALGORITHMIC SCRIPT
LOFT
Three curves are lofted together to create the initial form
THICKEN
Frames are thickened to varying widths across the Y and X axis
REMAP
CREATE DIAGRID
Diagrid lins produced on the surface
New domain created
BOUNDS
Boundary created from points across X
CREATE DIAGRID
Diagrid lines produced on the surface
DECONSTRUCT
Points deconstructed into itâ&#x20AC;&#x2122;s X, Y and Z coordinates
and Y axis
DOMAIN
Input the width at one end of Y-axis and other end
Procedure to create a varied perforation thickness from one end of the form to the other across theX and Y axis 110
c
Procedure to create a varied perforation size from one end of the form to the other across the Y-Axis DECONSTRUCT
LINES TO MESH Diagrid structure
converted into a mesh
EVALUATE
Points deconstructed into it’s X, Y and Z coordinates
FRAME
Frame produced from the mesh
REMAP
New domain created
BOUNDS
Boundary created from points across Y axis
DOMAIN
Input the width at one end of Y-axis and other end
DECOMPOSE
Decompose mesh into it’s component parts
The script was repeated for all three components of the design with varying degrees of perforation and variation and the three mesh structures were then joined together. 111
C.1.7 FORM FINDING
PROPOSAL 2 ITERATIONS
DESIGN SIZE OF PE VAR THIC OVERA
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FINAL CHOSEN DESIGN
N CRITERIA ERFORATIONS RIATION CKNESS ALL FORM
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C.1.8 FORM FINDING
PROPOSAL 1 FINAL DESIGN
DESIGN CRITERIA
SIZE OF PERFORATIONS: MODERATE VARIATION: LARGE VARIATION IN SIZES OF PERFORATION THICKNESS: MODERATE THICKNESS OVERALL FORM: OPTIMUM LOFTED FORM
For Proposal 2, I found this form to be optimum as it shows visible change and transition from one part of the structure to another as you move along. The variation in perforation size from large and open to small and enclosed before opening up to an even larger size at the other end is ideal for user experience. The thicknes of the structure is also moderate so that the bridge looks light and spacious. I also feel the light and shadows produced from sunlight entering the structure would create a beautiful spatial effect.
FRONT VIEW
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PERSPECTIVE VIEW
RIGHT VIEW
TOP VIEW
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Figure 1
C.2.0 CONSTRUCTION 3-D PRINTING To create the models for my designs I used the Makerbot Replicator +. The file had to be set up using the Makerbot software and various adjustments to the Rhino models had to be undertaken to ensure the models will print without an issue and at an appropriate cost. The material the models were printed in was PLA plastic in the color white. From learning how to 3-D print for Studio Air, I realize how beneficial this technique will be when implemented at a large scale. There have been 3-D printing projects on a large scale before but it is still not a very common technique. The benefits of 3-D printing are that it does not have many restrictions in terms of form, curvilinear and organic shapes can be printed quite easily. Using 3-D printing on a large scale can change architecture as a practice.
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C.2.1
3-D PRINT STEPS PROPOSAL 1
JOIN MESHES
Seperate meshes are joined together by using the Boolean command to create one closed mesh.
THICKNESS
Ensure mesh thickness is not too small as spindly and thin parts will not print properly
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O
Orient the of suppor
ORIENT MODEL
e model to minimize the amount rt material required and reduce cost.
MESH REPAIR
Mesh Repair command was used to check the mesh for naked and non-manifold edges that will cause problems during 3-D printing
OPENINGS
A hole is booleaned into the mesh for the easy removal of support material
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C.2.2
3-D PRINT STEPS PROPOSAL 2
JOIN MESHE
THICKNESS
Ensure mesh thickness is not too small as spindly and thin parts will not print properly
Optimizing the model for 3-D printing was relatively easy for this design as the structures all created a good mesh with no naked or non-manifold edges and was a cohesive, closed object. Therefore it did not require many cleaning up procedures, ensuring that the model thickness was appropriate was the most important step. 120
ES
JOIN MESHES
The three seperate strutures are joined together using the Boolean command
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PROPOSAL 2: MODEL PHOTOS
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PROPOSAL 1: MODEL PHOTOS
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C.3.0 FINAL PROPOSALS INTRODUCTION After conceptualizing, form finding and ensuring the design is suitable for 3-D printing, I finally optimized the design in terms of size, usage and materiality. The first proposal is the partially submerged pavilion within the maximum size of 6x6x6m and the second proposal is a pedestrian footbridge for the public at the park built within the maximum size of 18x20x16m.
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C.3.1
PROPOSAL 1
PLAN AND SECTION
PLAN DRAWING S
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SCALE: 1:50
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C.3.1
PROPOSAL 1
PLAN AND SECTION
The entrance to the pavilion is located level with the site at the spherical part of the structure, stairs then lead down to the rectangular structure that is partially submerged into the Yarra River with huge hexagonal windows to give the users the full experience of being underwater. The material used for the structure is white composite stone to make the structure seem more organic. The murkiness of the water makes the space quite dark and no added lighting is installed so the light quality of the space will change with the time of day and the weather. Proposal 1 is a contemplative space for people to confront, contemplate and accept their individual fears .
SECTION DRAWING SCALE 1:50 128
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C.3.1
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PROPOSAL 1 ELEVATIONS
FRONT ELEVATIO
ON SCALE 1:50
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C.3.1
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PROPOSAL 1
AMBIENT PERSPECTIVE RENDERS
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C.3.1
PROPOSAL 1
AMBIENT PERSPECTIVE RENDERS
As only part of structure can be seen, the entrance incites curiosi out what is in the partially submerged space. This makes them co es and the steps in order to gain a deeper understanding. 134
ity in the users and encourage them to go down the stairs to find onfront their fears and uncertainty by inviting them to be courag135
C.3.1
136
PROPOSAL 1
AMBIENT PERSPECTIVE RENDERS
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C.3.1
PROPOSAL 1
INTERNAL RENDERS
The entrance area is bright during the day time with perforations sunlight to stream into the space. 138
in the structure providing framed views of the river and allowing
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C.3.1
PROPOSAL 1
INTERNAL RENDERS
Down the stairs, at the partially submerged area of the structure i seats so that those that visit can contemplate or relax for as long up to the surface. The spatial quality in this space will be subdued 140
it gets darker as it is surrounded by murky water. Here there are as they would like before coming to their solutions and returning d and even a bit surreal but also peaceful and calming. 141
C.3.1
PROPOSAL 1
EMOTIONAL RENDER
This emotional render is based on my fear of death and the conce represents fear of death and dying. This is because we know our d and so we are consistently surrounded and reminded by it. This sp death and itâ&#x20AC;&#x2122;s meaning and eventually accept that it is part of na
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ept of this design. The water outside surrounding the space death is for certain and we have to face that every single day pace is for us to confront that fear of death, contemplate about ature and life.
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C.3.2
PROPOSAL 2
PLAN AND SECTION
PLAN DRAW
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WING SCALE 1:100
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C.3.2
PROPOSAL 2 ELEVATIONS
Proposal 2 is a bridge design that has perforations throughout the structure. At the beginning the perforations are quite large but as you walk further into the bridge the perforations reduce in size until it reaches a point at the middle of the structure in which there are no openings at all and it is the darkest point. However from the darkest point you can see the opening on the other side and as you walk towards the other side of the bridge the perforation size increases again and more light streams in. The middle point of the bridge is meant to symbolize death and how it is not the end but a transition between life and the afterlife. This design allows the user to experience this transition by use of light and shadows to help them understand that death is not the end but is actually a New Beginning.
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FRONT ELEVATIO
ON SCALE 1:50
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C.3.1
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PROPOSAL 2
AMBIENT PERSPECTIVE RENDERS
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C.3.1
150
PROPOSAL 2
AMBIENT PERSPECTIVE RENDERS
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C.3.1
PROPOSAL 2
INTERIOR RENDERS
Upon entering the bridge, the large perforations allow plenty of su spacious. The large perforations also provide framed views of the 152
unlight in making the stainless steel structure feel light and e river and the river bank on the opposite side. 153
C.3.1
PROPOSAL 2
INTERIOR RENDERS
As the users walk further through the bridge the perforation size g
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gets smaller and the structure gets darker and more closed in.
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C.3.1
PROPOSAL 2
INTERIOR RENDERS
At the darkest point of the structure another opening can be seen ahve not reached the end and that there is more exciting things w 156
n with light streaming in from the other side, thsi shows that you waiting on the other side. 157
C.3.1
PROPOSAL 2
EMOTIONAL RENDER
This render shows how it feels to reach the other side of the bridg signifies arrival at the afterlife whether that is rebirth or arriving a 158
e as it opens up again to allow light to stream through. It at a better place it is a new beginning. 159
C.3.3 LEARNING OUTCOMES REFLECTION
Digital Alchemy was the best studio that I have taken so far in my architecture studies. I have only done two studios before this but they were so vastly different in terms of design style. Designing in a process based way allowed me to think critically about my designs. This is because previously when I had to design compositionally I spent so much time thinking of the best possible design it was hard for me to re-evaluate and make changes to it once it was done. However, by basing an algorithmic script on a process and producing iterations created by a series of relationships between elements of the design I was able to think critically and choose the best one that would fit my design criteria. When designing parametrically I never had artist’s block or struggled with producing a form as the process and script helped generate forms relevant to my process. As well as that, this was the first time that I could fully design based on my personal experiences and ideas. Often times, design studios are more about suiting your design to your tutor’s tastes and preferences and ticking off boxes set in your brief. This was also the first designs I have produced that I feel has a coherent concept behind it as well as use and user experience. Although my previous designs were still considered ‘architecture’ it has no deep meaning behind it as I just designed what I thought looked good and what my previous tutors had liked. In this studio it was a very collaborative experience with all my classmates and my tutor where we discussed how we could help each other improve our work and optimize our designs as well as addressing our personal fears and problems. Overall, I am truly grateful for being able to experience Studio Air as well as my tutor and classmates in the Digital Alchemy studio.
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LIST OF FIGURES Figure 11: “3-D PRINTING”, Melbourne School of Design < https://msd.unimelb. edu.au/3d-printing > [accessed 25 October 2017]
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