Weerasinha isurie 761387 Final journal by Isurie Weerasinha

STUDIO AIR 2017, SEMESTER 1 FINNIAN WARNOCK ISURIE WEERASINHA 761387

STUDIO AIR

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ITERATIONS: SPANISH PAVILION

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ITERATIONS: MATSYS GRID-SHELL

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ITERATIONS: voltdom

B3 CASE STUDY 2.0

CONTENTS

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CASE STUDY - ICD/ITKE RESEARCH PAVILION 2011

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REVERSE ENGINEERING

A1 DESIGNING FUTURING

B4 TECHNIQUE DEVELOPMENT MATRIX

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A1.1 CASE STUDY - ALGAE CANOPY

B5 TECHNIQUE: PRECEDENT

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A1.2 CASE STUDY - HARBIN OPERA HOUSE

B5 TECHNIQUE: PROTOT YPES

A2 DESIGN COMPUTATION

B6 TECHNIQUE : PROPOSAL

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A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE

B7 LEARNING OBJECTIVES & OUTCOMES

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A2.2 CASE STUDY- ICD/ITKE RESEARCH PAVILION 2015-16

B8 APPENDIX- ALGORITHMIC SKETCHES

BIBLIOGRAPHY

PART C

INTRODUCTION

PART A: CONCEPTUALISATION

A3 COMPOSITION/ GENERATION •

A3.1 CASE STUDY -SHENZHEN BAO’AN INTERNATIONAL AIRPORT

C1 DETAILED DESIGN

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A3.2 CASE STUDY - INFINITY TOWER DUBAI

C1.1 INTERIM PRESENTATION FEEDBACK

A4 CONCLUSION

C1.2 PRECEDENTS USED

A5 LEARNING OUTCOMES

C1.3 FINALISED CONCEPT

A6 APPENDIX - ALGORITHMIC SKETCHES

C1.4 DIGITAL DESIGN EXPL AINED

BIBLIOGRAPHY

C1.5 PHYSICAL STRUCTURE & PRODUCTION

IMAGE REFERENCES

C2 TECHTONIC ELEMENTS & PROTOT YPING

PART B: CRITERIA DESIGN

C2.1 MODULE EXPLORATION

C2.2 OVERALL FORM EXPLORATION

B1 MAPLE LEAF SQUARE CANOPY CASE STUDY

C2.3 PROTOT YPES

C2.4 CHOSEN MODULE

C2.5 MATERIAL & COLOUR ADJUSTMENT

RESEARCH FIELD

CASE STUDY 1.0

C3 FINAL DETAIL MODEL

C3.1 FINAL MODULE

C3.2 FINAL FORM

C3.3 MODEL CONSTRUCTION

C3.4 FINAL MODEL

C3.5 SECTION

C3.6 PL AN & RENDER

C4 OBJECTIVES AND OUTCOMES

INTRODUCTION

Hi there, my name is Isurie Weerasinha. I am currently in my third year of study in the Bachelor of Environments, majoring in architecture and property. After commencing my degree in 2015, I decided that both property and architecture complimented each other well and enhanced my knowledge of the industry. Although the workload is often immense, it is enjoyable. Currently while studying I am working as a retail assistant for typo. This role has taught me time management and the importance visual design in appealing to an audience. I have completed studio earth but due to my study timetable I was unable to complete studio water or ddf which impacted on my level of knowledge of rhino. But for the past weeks I have been attempting to learn the program. I do however have experience in adobe illustrator, Photoshop, sketch up and auto cad. I am quite enthusiastic about going into this year, learning new software and knowledge which will assist me in my career.

EARTH CONCEPT

CONCEPTU

UALISATION

A1 : DESIGNING FUTURES

"IT IS NOW EASIER FOR US TO

IMAGINE THE END OF THE WORLD THAN AN ALTERNATIVE TO CAPITALISM. YET ALTERNATIVES ARE EXACTLY WHAT WE NEED. WE NEED NEW DREAMS FOR THE TWENTY-FIRST CENTURY AS THOSE OF THE TWENTIETH CENTURY RAPIDLY FADE."1 -FEDRICK JAMESON

1 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING (MIT PRESS) , P4

A1 .1 CASE STUDY- ALGAE CANOPY A London based ecological studio, Claudia Pasquero and Marco Pletto proposed a new version of future bio-digital architecture for expo Milano 2015.

This is a perfect example of the alternative twenty-first century dreams that architects and designers should be striving towards to protect the planet we live in.

"OUR TIME ON EARTH IS DETERMINED BY OUR ABILITY TO UNDERSTAND THE PRESENT AND ACT ACCORDINGLY TO REACH A DESIRED FUTURE."1 The project integrates technological advances of the 21st century with the natural environment of the modern time. As humans we are part of this natural environment, hence this project works toward the way in which humans can assist the slow rehabilitation of nature. This canopy, is a transparent bio-digital structure filled with micro Algae organisms to provide shade for visitors below while at the same time producing large amounts of oxygen. The algae is a fluid that responds accordingly to the presence of visitors. As humans walk through the area of the canopy, electro valves are triggered altering the speed at which the Algae flows through the Canopy. 2

FIG. 1: GROUND SURFACE ON CANOPY

The canopy also responds to the weather. For example, when the sun is shining intensely, the algae would photosynthesise and grow. In turn reducing the transparency of the canopy and providing much needed shade. Projects such as this inspires designers to search beyond the present forms of architecture. Whilst this project has not been built it is positive step towards integrating technology with nature as it is in the 21st century. The completed canopy will ‘produce the oxygen equivalent of 4 hectares of woodland and up to 150kg of biomass per day, 60% of which are natural vegetal proteins’.

FIG. 2: GROUND SURFACE AND FRAMING CANOPY

It is nearly impossible achieve the level of benefits through traditional means, yet again highlighting the importance of using technology as a means to better our current standards. 1 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 2 BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urbanalgae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG. 3: ADDITION OF SUPPORTING SURFACE OF CANOPY

FIG. 4: COMPUTER GENERATED 3D MODEL OF CANOPY

FIG. 5: INTERIOR OF CANOPY AND MOOD CAPTURING

A1 .2 CASE STUDY- HARBIN OPERA HOUSE The Harbin opera house designed by Mad architects, was completed in October 2015. Situated in the wetlands of the northern regions of china, the construction at its peak stands at 56 meters. Harbin opera house was designed in response to the climate in the region. It’s curvaceous exterior, topography and luxurious interior are used as a means to blend into and feel closer to nature. Smooth white aluminium panels were used for the exterior of this building helping the structure to camouflage during the snowy winter months. The glass roof represents the ice of the frigid climate while the white surface represents the soft snow.

As designers we should be striving to combine the ideas of both the opera house and the algae canopy. Environmentally friendly design is not necessarily a piece of cake. Architects must also account for human wants and needs, such as comfort. Designing sustainably should not deduct human needs and wants rather enhance it.

This particular project serves the purpose of being a cultural centre which integrates humans, art and city identity. The construction is very much the icon of the city attracting visitors far more than prior to its existence. The structure is impressive in its use of technology and materials. Technology has been used to design each element of this building to suite the natural climate of the region as well as materials. Each material serves a purpose. The bent planks of Manchurian wood has good acoustic qualities whilst marble floors of the building are equipped with heating for cold winter months.

FIG. 6: CURVILINEAR FACADE CONTAINING ALUMINIUM PANELS AND GLASS

Unlike the algae canopy this particular structure does not use architecture as a means assist the rehabilitation of nature, rather attempts to blend a large architectural construction with nature. It is the juxtapositioning of the built environment and the natural environment. Although the project focuses on providing a comfortable environment to users and a means for humans to feel closer to nature in a safe environment. It is should not be seen as the alternative design techniques that we are searching for. 1

FIG. 7: TIMBER FINISH INTERIOR OF THEATRE

1 KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/ blog/mad-harbin-opera-house/> [ 7TH MARCH 2017]

FIG. 8: VIEW OF OPERA HOUSE FROM THE TOP

FIG. 9: SIDE VIEW OF OPERA HOUSE SHOWING CURVACEOUS FEATURES AND JAGGED GLASS

FIG. 10: SMOOTH MARBLE INTERIOR, SHOWING HOW LIGHT IS REFLECTED IN THE SPACE

A2: DESIGN COMPUTATION

"FORMATION PRECEDES FORM, AND DESIGN BECOMES THE THINKING OF ARCHITECTURAL GENERATION THROUGH THE LOGIC OF THE ALGORITHM"

A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE Zaha hadid’s Guangzhou opera house is a design evolved from concepts of the natural landscape . Especially influenced by the principles of geology, erosion and topography. While previously such fluidity and exploration was limited , parametric design and computation has allowed architects to push boundaries through algorithms. The opera house has taken the principle of erosion and adapted it through computation. The facade design uses folding triangular lines to allow light into the building & visualisation of river valleys eroding assisted in the parametric design. The amount of light allowed into the building can now be altered through the technological software, allowing efficiency in the development process.1 Geology has furthermore helped shape the structural forms within the building. Dissimilar objects are altered leading to the distortion of form. In order to do this, experiments would have to be carried out and effectively the results of these, will be used to create an algorithm that dictates the built form. “the integration of digital materiality and performative analysis now theoretically enables such a potential for a contemporary tectonic expression to be derived from the technologies of material design and fabrication”2

FIG. 11: EXTERIOR OF OPERA HOUSE DURING THE NIGHT

FIG. 12: INTERIOR PARAMETRIC DESIGN

Formation precedes form as parametric design is dependent on relationships between objects, changing one particular element or changing the values of its parameters will therefore change the entire building. This freedom allows for buildings to have fluidity and opens the doors for innovative design.

1 PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot.com.au/2014/06/ week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017]

2 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014)

FIG. 13: INTERIOR OPERA HOUSE

FIG. 14: INTERIOR FINISHES AND LIGHTING

A2.2 CASE STUDY-ICD/ITKE Research Pavilion 2015/2016

“ Material experimentation and innovation such differentiated fields includes the ability to modulate conditions of the porosity of materials surfaces, and potential control of light penetration and so on.” 1The research pavilion 2015-2016 uses research on sea urchins to inspire the construction method of timber plate shells. The exploration of timber is conducted through a series of experiments which is then transferred into software to produce a full scale model as can be seen in fig. 16 and 17. Computation design facilitates natural design though allowing to learn from it ,rather than just imitating its design. The pavilion uses thin pieces of wood strips. These strips are custom laminated so that the grain direction and thickness relates to different stiffness required for parts with varying radii. Programs such as grasshopper can be used during the computation process to integrate different numbers into a complete structure. This case study emphasizes how formation precedes form, with the exploration of materialism through digital architecture. Computation is a new logic of architectural design through the use of algorithms.2

FIG. 15 : SHELL STRUCTURE INVESTIGATION

FIG. 16: MATERIAL AND JOINT INFORMATION THROUGH COMPUTATION

1 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) FIG. 17: STRUCTURAL ANALYSIS

2 ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www. achimmenges.net/?p=5822> [ 12TH MARCH 2017]

FIG. 18: FINISHED PROJECT

A3: COMPOSITION/GENERATION

" THE DESIGN ENVIRONMENT OF WHICH THE ARCHITECT IS PART AUTHOR, MUST BE FLEXIBLE AND HAVE THE ABILITY TO ACCOMMODATE CHANGE"

A3.1 CASE STUDY- SHENZHEN BAO'AN INTERNATIONAL AIRPORT

The development in digital technologies has been embraced by architects as it allows a faster and efficient ways to design. Architects continue to use programs such as CAD and other 3D modelling software as a way to translate known objects into buildings. This process is known as computerisation. Computerisation in a sense does not use the full capabilities of the technological advances as it is just being used a means to ‘display’ architecture. 1 To utilise computer software and advancement in technology to its full extent, architects must learn the language of computers. Essentially have the ability ‘to sketch by algorithms,an algorithm is a particular set of instructions’2 This is called computation. Architects must have the ability to adapt to the technology available to create a structure that are at par with the level of sophistication achieved by software. Shenzhen Bao’an International airport is an example of computation design where architects have sketched through algorithms. This particular structure used parametric modelling to control the size and slope of openings, which were adapted to meet daylight requirements, solar gain and viewing angles. The building also consists of 60,000 different facade elements and 400,000 individual steel members.3 This is a great example of what can be achieved through computation.4

FIG. 19 : THE HONEYCOMB SKIN CREATES A DYNAMIC PATTERS OF LIGHT ON THE INTERIOR OF THE TERMINAL

FIG. 20: THE DOUBLE-SKIN THAT ENVELOPES TERMINAL IS COMPOSED OF METAL AND GLASS PANEL WHICH CAN BE PARTIALLY OPENED

1 Peters, B & Peters, T,’ Inside smart Geometry, Expanding the architectural possibilities computation design’, (Chinchester; John Wiley & sons inc.2013) 2 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.10 3 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 4 Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoaninternational-airport-11-22-2013/> [acess date 16th march 2017]

FIG. 21 : INTERIOR OF AIRPORT

FIG. 22: EXTERIOR OF AIRPORT FIG. 18: FINISHED PROJECT

FIG. 23 : INTERIOR ROOF CLADDING OF AIRPORT

A3.2 CASE STUDY- INFINITY TOWER

Whilst the changed technology means that architects have to change and adapt to fit in with current technological advances, It does not mean all architecture must turn to the computation. In fact ‘not all functions are computable so not all functions are algorithmically describable’.1 There are limitations within the process of creating algorithms, the traditional means of architecture will exist in the future even if it is not as prominent to make up for these particular limitations. The infinity tower in Dubai is a great example of a project using computation as means for design, The stepping of the perimeter columns in this particular building became its architectural expression. As the tower has a twisted facade there was an importance in the architecture and structural engineer working closely together. ‘ Algorithms was critical to the success of this structure. It provided analysis and visualisation of structural forces2

1 2

Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences ( London: MIT press), pp 11,12 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 FIG. 24 : VIEW OF THE INFINITY TOWER FIG. 21 : INTERIOR ROOF CLADDING OF AIRPORT

FIG. 25 : CLOSER VIEW OF THE INFINITY TOWERS TWISTED DESIGN

A4 -CONCLUSION

Part A explores architectural development through technological improvements available in the 21st. Rather the traditional use of computers as a tool to display a finished product, it can now be used to sketch through algorithms . The founding of algorithmic and computational processes in architecture has completely transformed the way in which architecture is viewed today. Hence the possibilities of what can be achieved through architecture has broadened. Not only can you produce aesthetic designs, you can also produce designs which are environmentally friendly, cost efficient and structurally sound. I intend to design by gaining inspiration from the natural environment. By using software programs, we can produce not only environmentally friendly but also structures which may act to assist nature in its rehabilitation.

FIG 26 : PARAMETRIC MODELLING- DANIEL GILLEN

A5- LEARNING OUTCOMES

At the beginning of the semester I had very limited prior knowledge of Rhino and grasshopper. As the semester continued I have become more confident in these two programs. I have learnt various functions and ways in which to create different designs. This process of designing through computation has opened my mind to new design possibilities that could not be sketched using traditional methods. You have the ability to create complex structures with simple elements, whilst still maintaining an aesthetic intent. I have learnt that nature can be integrated into parametric design, which is a key aspect of todaysâ&#x20AC;&#x2122; architecture. I particularly enjoyed the â&#x20AC;&#x2DC;speculative everythingâ&#x20AC;&#x2122; reading by Dunne and Raby. I believed many of the things said in that reading is very relevant to the world we live in now, discussing how the world is having trouble adapting to combat the dangers we face today. Whilst computation architecture is still limited in what it can do , it is a great tool that can be used for sustainable and efficient design for the years to come.

A6- ALGORITHMIC SKETCHES

These sketches have been included in my journal because I believed they represented the best, what I have learnt in the past three weeks. Both these sketches are one single elements which has been manipulated to make a complex form. Although it is possible for methods such computerisation and hand drawing to achieve these complex forms, it would take hours and perhaps days. Through computation these sketches were developed in a matter of minutes. Emphasizing the efficiency of this technology and what can be achieved through them.

BIBLIOGRAPHY ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www.achimmenges.net/?p=5822> [ 12TH MARCH 2017] ARCH DAILY, ‘ HARBIN OPERA HOUSE/ MAD ARCHITECTS’ ARCH DAILY (16TH DECEMBER 2015) <http://www. archdaily.com/778933/harbin-opera-house-mad-architects> [ 7TH MARCH 2017] BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] DAVIS, DANIEL, ‘ THE NEXT GENERATION OF COMPUTATIONAL DESIGN’ ARCHITECT ( 31ST JULY 2015) <http://www. architectmagazine.com/technology/the-next-generation-of-computational-design_o> [12TH MARCH 2017] Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom.com/architecture/studio-fuksasexpands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences’ ( London: MIT press), pp 11,12 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 ECOLOGICAL STUDIOS, ‘ALGAE CANOPY’ ECOLOGICSTUDIO ( 1ST OCTOBER 2014) <http://www.ecologicstudio. com/v2/project.php?idcat=3&idsubcat=59&idproj=137> [ 6 MARCH 2017] KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘HARBIN OPERA HOUSE’, ARCHELLO ( 2ND APRIL 2014) <http://www.archello.com/en/project/harbin-opera-house> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘ HARBIN OPERA HOUSE’ MAD <http://www.i-mad.com/work/harbin-cultural-center/?cid=55> [7TH MARCH 2017] oxman,r, oxman, r, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot. com.au/2014/06/week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017] Peters, Brady, 2013, ‘Computation works: the building of Algorithmic Thought’ Architectural Design, 83,2, pp.15 SENO, ALEXANDRA, ‘HARBIN OPERA HOUSE’ ARCHITECTURAL RECORD (1 DECEMBER 2016) <http://www. architecturalrecord.com/articles/11368-harbin-opera-house> [ 7TH MARCH 2017] ZAHA HADID ARCHITECTS ‘GUANGZHOU OPERA HOUSE’ <HTTP://WWW.ZAHA-HADID.COM/WP-CONTENT/FILES_MF/GUANGZHOUOPERAHOUSE.PDF> [12 TH MARCH 2017]

IMAGE REFERENCES FIG 1- 5 : BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG: 6-10: KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] FIG 15-18: ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <HTTP://WWW.ACHIMMENGES.NET/?P=5822> [ 12TH MARCH 2017] FIG 19-23 : Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] FIG 24-25: SOM ‘ IN PROGRESS INFINITY TOWER’ ( FEBRUARY 2013) <http://www.archdaily.com/331128/ in-progress-infinity-tower-som> [ ACCESS DATE 16TH MARCH 2017] FIG 26: DANIEL GILLIEN ‘ PARAMETRIC DESIGN’ < http://www.archdaily.com/618422/are-computers-bad-for-architecture> [ ACCESS DATE 16TH MARCH 2017]

B CRITERIA DESIGN

B.1: RESEARCH FIELDS

BIOMIMICRY: Biomimicry is a design technique which uses digital software to mimic biological processes, and transfer this into the built environment. The complex interweaving of living and non living systems allow there to be a more intimate, responsive and mutually-beneficial relationship between nature and humans.

B1 : MAPLE LEAF SQUARE CANOPY UNITED VISUAL ARTISTS

Maple Leaf Canopy in Torrento uses the principles of Biomimicry in its design, such that the natural environment is integrated with the built environment using technological advances. The project was inspired by the experience of walking through the natural forest. The canopy uses 8000 identical polygonal modules that form a 90 meter structure. During the day, natural light reflects and refracts through the modules to the pavement below. At night the canopy uses artificial lighting, that move around the canopy systematically reflecting people moving through the side walks, vehicles in traffic and changing lights.1

FIG. 1 : CLOSE UP OF IDENTICAL POLYGON MODULES FORMING TOGETHER PERFECTLY .

As mentioned in part A ,I believe that we should be finding an alternative to design techniques through the advancement of technology. While biomimcry is imitates biological processes in the built environment, we should be finding a means to use this imitation in a manner similar to the Algae Canopy discussed in Part one. We should be searching for means of creating sustainable design through the natural environment. FIG. 2: NIGHT VIEW OF CANOPY

. 1 http://www.archdaily.com/81576/mapleleaf-square-canopy-united-visual-artists

FIG. 3: CONNECTION BETWEEN SUSPENDED CANOPY TO THE ADJOINING STRUCTURE

FIG. 18: FINISHED PROJECT

FIG 4: DAYTIME VIEW OF NATURAL LIGHTING COMING THROUGH CANOPY

FIG. 5 : ARTIFICIAL LIGHTING IN THE NIGHT TIME 37

B2: CASE STUDY 1.0 Original piece 1

Aranda lasch the morning line

Species 1

Change in number of segments, lead to change in number of faces or sides. Changing the number slider to 4 leads to a square pyramid.

Change in number of segments, lead to change in number of faces or sides. Changing the number slider to 5 leads to a pentagonal pyramid.

Cube variables x & y rather than square Change in number slider value effects clusters. From 0.3 to 0.16.

Change in number slider value effects clusters. From 0.3 to 0.5.

Change in number slider value effects clusters. From 0.5 to 0.7

Deletion of pattern on faces

Mirror last element in algorithm

Change in cluster number to 0.4 Changing pattern on faces by changing jitter number slider to 0.7

Original piece 2

Spanish pavilion

Species 2

Horizontal number slider changed from 5 to 10, results in a longer horizontal design.

Change expression formula from n(1.5*s) to N(2*s) Change offset slider from 0.3 to 0.94

Change expression formula n(2* sqrt(s^2- (s/2)Â˛)) to n(3* sqrt(s^2(s/2)Â˛))

Change of image sampler

Original piece 3

matsys grid-shell

Species 3

The slider on the divide element is lowered to 14 from 30.

move the shift slider from 5 to 10. Extend base plane on slider to 10

move second shift slider from -5 to -2

Replace loft element with triangular grid

CONCEPTUALISATION

Original piece 4

voltdom

Species 4

Change in number of point on populate 2d from 10 to 14

Change random seed intersections from 3 to 5 Change lower bounds and upper bound of domain. Lower bound 0.2-0.4 Upper bound 0.8-1

Change radius height of cone from 0.82 to 1.30

Hide preview of first section of definition to reveal underneath of existing cones

B3 : Case study 2.0- icd/itke research pavilion at the university of stuttgart

2011

Keeping with a similar theme to Part A2.2 research pavilion in 2015-2015, this particular pavilion in 2011, was also produced through the use of biological structures into architecture, a design also inspired by sea urchins, whom provided the basic principles for this project. The design focuses on computational design process of the project with three basic principles of heterogeneity referring to the inconsistency of the cell size, but adapting to local curvature.1 Anisotropy relating to its mechanical stress and hierarchy relating to the pavilions two level hierarchical structure, which includes the first level of plywood glues sheets to form a cell and the second level which is the space used as a place of assembly.

FIG. 1 : CLOSE UP OF IDENTICAL POLYGON MODULES FORMING TOGETHER PERFECTLY .

Whilst there is a strong representation of computational design and biomimicry, the pavilion seems to be a unfinished prototype of that which was constructed in 2015/16. Its level of finish seems to be lacking and was improved in its 2015/16 version. Although an impressive space, I also feel as this space did not utilise natural light to its full capacity. Whilst there is a single opening in the roof of the structure, the structure is not well lit throughout with natural lighting. In the years which have passed since its construction computational design has only improved, hence the reason why the pavilion fails to address these issues.

1 https://www.dezeen.com/2011/10/31/icditkeresearch-pavilion-at-the-university-of-stuttgart/

FIG. 2: NIGHT VIEW OF CANOPY

FIG. 3: CONNECTION BETWEEN SUSPENDED CANOPY TO THE ADJOINING STRUCTURE

FIG. 18: FINISHED PROJECT

FIG 4: DAYTIME VIEW OF NATURAL LIGHTING COMING THROUGH CANOPY

B3 : Reverse engineering

During the reverse engineering of ICD/

ITKE research pavilion I has difficulty with the grasshopper definitions at first but was able to eventually recreate the pavilion in a simplistic form. At first I tried to recreate the pavilion by using the veroni component but was unable to do so on my lofted surface. In its place I used the facetted dome component after populating the lofted surface. My next challenge was then to create a 3D version of this, but with its extruded surfaces being smaller. At first I tried simple commands like extrude and weaverbird plug-in â&#x20AC;&#x2DC;stellateâ&#x20AC;&#x2122;, none of which worked out but created interesting forms. Finally I was able to use scale to make the individual surfaces of the facetted surface smaller and then offset these new surfaces created by the scaling component. I tried various ways of combining the top skin and bottom skin together, including using lines and lofting surfaces. I was able to reach the desired outcome by using list item and lofting each surface separately. Ideally I would have liked there to be an easier and quicker method of reaching the end result however I am satisfied with the outcome I have reached.

B4: Technique : development

B5: TECHNIQUE: CONCEPT & PRECEDENTS BIOMIMICRY THROUGH RECURSIVE AGGREGATION

Our focus in this project is the use of Biomimicry through Recursive Aggregation. Biomimicry is a fairly contemporary approach to design, where the objective is to emulate naturally-occurring patterns into abstracted forms. Recursive Aggregation is the repetition of a module to create a form and illustrate the growing element of nature. We used four main precedents for our project. The Elkhorn coral shown in Figure 1 is representing element which we are trying to emulate in out project. The natural growth and organic shapes is what we will be trying display in the installation. Figure 2 displays the 'The Bloom game' which is an interactive architectural project from 2014. This was perhaps the first project that we looked at in relation to recursive aggregation. The structure uses one repeated base shape with the ability to connect to others and create an overall form. The structure is designed to be altered by the user of the space, in order to create forms that are able to stand. We were able to take inspiration from this project, from it base shape and its ability to create a beautiful overall form. However it could be seen as the reverse of our project as it is a mechanical looking structure in nature, but we are trying to emulate nature in an enclosed space. Furthermore the function also differs in that this is an interactive ground installation rather than a roof installation.

FIGURE 3: HYG

FIGURE 1: ELKHORN CORAL - ACROPORA PALMATA

The 'Hygroscope' at the centre Pompidou shows how our chosen material of plywood can be used in an installation and how to possibly incorporate lighting. It also illustrates how a combination of materials can be used together to create different effects. Edging more towards sectioning as a field, but incorporated within biomimicry. In our installation we plan to use more than one material, in order to achieve biomimicry and emulate the natural environment. Perhaps reflective or semi transparent material, which will be explored further after we produce a more finalised design and base shape. Fabware Study. Recursive aggregation - using a repeating module and controlling the overall form through the connections. Represents the growing nature of Biomimicry. Thr project's base module is similar to what we want to produce, however in combination with another material and more complex modules. 48

FIGURE 2: 'BLOOM GAME' : LISA ANDRASEK & JOSE SANCHEZ: BARTLETT SCHOOL OF ARCHITECTURE

FIGURE 4: FAB DOSSIER, THI

GROSCOPE BY ACHIM MENGES AND STEFFEN REICHERT

BWARE STUDY BY TYSON HOSMER, MICHAEL IAGO MUNDIM AND RYAN SZANYI

B5: TECHNIQUE: PROTOTYPES

Base shapes used to be repeated

We used basic shapes modeled on Rhino as our base module and repeated them to achieve our prototypes. These prototypes were inspired by 'Fabware study' and 'The bloom game' in terms of their use of a base module. We are using theseto understand roughly our direction, and the exploration of friction hold joints. This is displayed in the exploded axometric below.

B6: TECHNIQUES: PROPOSAL DESIGN PROPOSAL

CONCEPT

1. Emulate Naturally Occurring Patters

We are exploring L-systems as way to respond to the existing space. The 2 sections of branching to allows the functioning of sliding door. Each are unique but similar and respond to each other.

2. Installation will contribute to the atmosphere of the room rather than being a point of interest. Contributing to the feel of the room. 3. Support the circulation within the room; respond to door, leading onto the main space and orienting towards the stage. 4. Create a feeling of nature, rather than something man made.

The system is used as a way to provide a sense of â&#x20AC;&#x153;beginningâ&#x20AC;? at the entrance (where the loop starts) and gesture towards main space with some suggestion of orientation to stage. We want to create a journey through the space from beginning to end. Currently we are also looking at combining different materials together.

B7: LEARNING OBJECTIVE & OUTCOMES OBJECTIVE 1 We were able to use our brief of a ballroom roof installation and explore some initial concepts relating to it. This gives us an initial idea of the concept which we will pursue in part C.

OBJECTIVE 2 Through one algorithm we are able to create many variations by using different sliders and replacing elements. I have improved my knowledge of grasshopper through Part B exercises.

OBJECTIVE 3 I learnt the most about 3D skills in Part B3 which was the reverse engineering task. During this task I was able to understand how to build 3D elements through grasshopper. Although it took me a long time to do so, I finally managed to produce it through elements of lofting, scaling and offset.

OBJECTIVE 4 We were able to create a several models through laser cutting to understand the feel of a materials and how it will stand and the joins between elements.

B8: APPENDIX - ALGORITHMIC SKETCHES

REFERENCES Aétrangère & ShiftBoston, 2012. “Treepod Initiative”, Arthitectural. Accessed 24/4/2017 <https://www.arthitectural.com/aetrangere-treepods/>.

Andrasek & Sanchez, 2014. “ Bloom “, Indiecade. Accessed 24/4/2017http:// www.indiecade.com/2014/e3_showcase/bloom-the-game

Hosmer, T., Dossier, M., Mundim, T., &Szanyi, R., 2008. “Fabware Study”, Biothing. Accessed 24/4/2017 <http://www.biothing.org/?p=243>.

Menges, A. & Reichert, S., 2012. “HygroScope - Centre Pompidou Paris”, Biometric Architecture. Accessed 24/4/17 <http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/

CONCEPTUALISATION 59

DETA

CONCEPTUALISATION

AILED DESIGN

C1 : DETAILED DESIGN

CONCEPTUALISATION

C1.1 : INTERIM PRESENTATION FEEDBACK

The Interim Presentation received both good and bad feedback which we attempted to improve for our final product. •

Identify a natural system that you want to use, rather than mimic other precedence. This would help to counteract any vagueness.

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Materials : the potential to use different materials when the L system moves.

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The use of circulation - growth from doors is a good point.

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Resolve the bases shapes, to create beauty.

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Designing the pieces which allows for alternation of scale/shape

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Moving away from basic laser cutpossibility to use Slump former.

CONCEPTUALISATION

Potential improvements for the project which we considered after interim presentation feedback included the creation of a better narrative as will be discussed further through the journal. The material used will be considered further however the chosen timber material gives a beautiful finish for the product. We will look further into creating a base shape which both has beauty and emulates nature. The possibility to scale the base shape is something we will consider however may be restricted due to programming on grasshopper.

C1.2 : PRECEDENTS USED To improve our design we took feedback from the interim presentation and went back to explore precedents to provide us with a stronger story for our ballroom. Firstly we returned to the 'Bloom Game' project to understand the qualities which contributed towards its success. The most significant of its features that made this project so successful ,is its base module. The base module is crafted with plastic and contain notches running in various directions. The joints determine forms which can be created with the base module. Furthermore as the module hold such an interesting shape, the designs which are created look refined. FIGURE 1: 'BLOOM GAME' : LISA ANDRASEK & JOSE SANCHEZ: BARTLETT SCHOOL OF ARCHITECTURE

We still wanted to proceed biomimicry. Hence we explored the idea of the flock of birds. Our initial exploration into L-systems led us to mimic not a specific object but rather an overall process or behaviour. Birds are individual modules however when formed together create an overall form as can be seen in figure 2. We are inspired by this idea and took inspiration from it ,for our final form. Figure 3 and Figure 4 symbolises a abstract precedent and a source of inspiration, portraying a sense of movement, in particular a circular motion. We began our project by looking at nature examples of wind and water however dresses provided a better connection to the ballroom. Hence the way that clothes may spin and float when people are dancing.

FIGURE 2: FLOCK OF BIRDS PRECEDENT

FIGURE 3: DANCING MOVEMENT PRECEDENT

FIGURE 4: DANCING MOVEMENT PRECEDENT 2

C1.3 : FINALISED CONCEPT The purpose of this page is to explain the concept of movement within the ballroom space.

The image to the right is a rough render of the ballroom in perspective.

Rather than focusing on doors in relation to the installation, we thought of a way in which this design can blend into the ballroom as well as subtly indicate a central area within the space.

The image is displaying the way in which the installation will extend down from the ceiling in a circular motion. From the perspective image you are able to see the entrance to the right. When entering the space the idea is for the viewer to only see the side perceptive hence entices them to walk further into the space.

The precedents which were explored, informed this idea. As a basic concept the plan below depicts the circular movement of a dress spinning. The final form of the aggregation will attempt to follow a similar order when completed.

CONCEPTUALISATION

Although the renders show tables and chairs, these are able to move hence the ability for the middle to be clear as a dancing floor. Therefore contributing to the circular motions of dancers.

C1.4 : DIGITAL DESIGN EXPLAINED

CONCEPTUALISATION

The design which we originally planned to create using the plug-in Anemone was changed after the release of the new plugin 'Fox'. Fox allows for the 3D modules to be recursively aggregated. Using Fox we created a base module which was eventually repeated to make a form. The structure we followed is displayed in the pseudo-code diagram below. The steps which were followed will be detailed below: Step 1: creation of a poly-line base shape in Rhino. Link this shape to a curve in grasshopper. Step 2: Locate points on base shape for the creation of notches. Link these points to the element point on grasshopper.

Step 3: specify the depth and width of notches using a number slider. Step 4: Connect these elements into a polyline tile. This component is found in the grasshopper plug-in fox. It is responsible for creating a base shape which has notches as joints. The curve is connected the PL connection (1st), the point to the P connection (2nd), the depth to the D connection (3rd) and widths W1 & W2 connection. Step 5: Draw a form which the recursive aggregation will be contained within through rhino, for our design we used a pipe form. Link this form to a Brep on grasshopper. Step 6: use the number slider to specify the number of repetitions of the base shape. Step 7: connect the Brep and number slider to the component 'Tile T vol' in the Fox plug-in. This creates repetitions of the base module in the rhino. By following this set of steps, you will be able to create a recursive aggregation. Although the overall process is quite simple, there is a significant importance placed on the base module. Every change in the poly-line base module changed the overall shape of the design. There is also importance drawn to notches and its depth, length and angle. Even a slight change leads to drastic difference in the form. This can be seen in our prototypes and digital designs.

C1.5 : PHYSICAL STRUCTURE & PRODUCTION

A Work flow diagram for this assignment is shown on this page. This workflow will be explained further in this section. Firstly following on from the digital design phase you have to bake the grasshopper definition onto rhino. As we could not create the entire definition, we attempted to make one piece of it. Hence we decided to use around 200 pieces to display the form which we needed. Following on from this we laid out the pieces on a rhino file ready to be sent to the laser cutter. The laser cutter took around 2 days to complete our work.

In a situation where we were to create a 1:1 version of our model we would be able to loop rope through the holes in our pieces and attach it to hooks placed on the ceiling, It would be and easy and convenient to do so after the whole piece is bonded together. However the difficulty would be to complete the form, as even one quarter of our design in 1:5 scale took almost two days to construct. Industrial strength glue will have to be used depending on the material in the one to one version.

After its completion, we separated out our pieces ready for spray painting, with around a day separated for the drying process. We returned back to our digital model to physically create our model. Marking out which pieces needed to go in which direction to create our design. After this we proceeded to glue the model into position. For our final design we decided to glue it onto the base board, to show the form and elements very clearly. This model is at 1:5 scale.

C2. TECTONIC ELEMENTS & PROTOTYPES

C2.1 MODULE EXPLORATION

During the module creation process we explored a few different base modules and tested how it will work within a sphere Brep. Allowing us to see which base shapes provided the desired affect we were after. Our base shapes ranged from very geometric shapes to organic ones. Evidently we decided to stick with organic shapes as it furthermore reinforced the biomimicry element in our designs. We not only tested different shapes but also tested what stretching shapes would do to a design in the brep. Stretching changed the way in which the element interacted with each other and appeared together in a overall form. We decided a smaller more compact shape allows for the best results.

In addition we explored ways in which the design would change when the angle and placing of notches changed. This really reinforced the need for prototypes to understand the full effects of these changes in an overall form. We decided the best module to prototype is highlighted below. This was the base shape we decided to prototype and move to our form-work stage.

C2.2 OVERALL FORM EXPLORATION

Form exploration was inspired from our precedents, being the flock of birds and the long flowing dress. We were recreating the circular motion of the twirling ballroom dress whilst co-currently emulating the flock of birds. When creating the forms we moved had to create a brep of a 3D space. The breps we created at first were spheres, cubes and cones. We eventually moved away from this as it restricted the movements of the form. We then moved to use the control point curve feature on rhino and converted these curves into pipes. This allowed us greater control of the overall form of our design. We were able to make the width of the pipe larger at some points while making it smaller at others, this created a flowing effect and a sense over form. As we continued with the project we decided the forms were far more interesting when more than one pipe was utilised. Two pipes allowed the design to be less dense but still interesting.

C2.3 PROTOTYPES

The prototypes which we created ( photographed on the right), were of two different base modules. The difference was very slight but can be seen in the overall form never the less. We did not create many pieces for these two prototypes as were unsure of its ability to function. Furthermore the pieces were very large, hence also contributed to preventing us from laser cutting many pieces. During the off peak period at the fablab this piece took around 1 and half days to be completed, preparing us for the time frame which we needed to submit our final design by. A few issues were raised after the prototyping process. The first of these was that some joints between base modules seem to fit together well whilst others were lose. Leading us to believe there were inconsistencies in the way in which the pieces were cut. To combat this we decided to not only rely on the frigid joint but also add glue to hold it in place permanently.

The second concern was that these pieces were too big to mass produce. If we were to create a piece with an overall form that meant the pieces had to be much smaller in size. Upon further consultation with our tutor, we decided to reduce the size of the pieces drastically for our final piece of work.

Summary of adjustments made after Laser cutting:

Thirdly we encountered another problem with the joints between our pieces in one prototype. We realised notches which are of a 90 degree angle did not create a finished and sleek look that we were going for hence we decided to stick to angles that follows the module shape. We also looked into materiality. Whilst plywood was a great material to use for the ballroom and created an interesting finish, we decided to no longer pursue this material. The reasons being painting ( if needed) of plywood would be more difficult with the grain. In addition this also meant it would be harder to cut smaller shapes into wood. The final option we chose was to use white perspex, so that the design would be east to spray paint and cut.

•

Use of glue for a more stable connection

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Scale down the pieces for mass production

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Avoid notches at 90 degree angle unless necessary.

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Change of material from plywood to plastic.

C2.4 CHOSEN MODULE

CONCEPTUALISATION

The chosen module was picked due to its ability to function in a Brep to a standard which were hoping for. Although we derived our base module we felt as though it was lacking the element which made it unique, interesting and most of all beautiful. In order to achieve this we decided to try carving our base shape. We tested various carving versions before arriving at the one which we felt was most appropriate.

The chosen design character and beauty.

displays

unique

The problem which we encountered with this carved base object was that we were unable to use it in our grasshopper file, due to there being too many curves . Therefore we decided to stick to the original uncarved version for our grasshopper file.

The new cut out design also contributed to the natural intent which we were after in our design. This was because they appear skeletal yet organic.

The cut outs did not only hold an aesthetic intent but also a structural one where the holes provided connection point which allows rope to be looped through and connected to the ceiling.

C2.5 MATERIAL & COLOR ADJUSTMENTS

Colour was considered according to the ballroom context. We went through a couple of options before reaching this decision. We set out to emphasize the epicentre of our design with the use of a colour gradient. Our initial idea was to use colours which represent biomimicry (autumn leaves and sunset). However we decided it would more appropriate to link the colour to the room itself. We though of perhaps using a theme based on connotation of colours, where purple would be fitting, as it represents royalty. In the end we chose gold, silver and white. These colours were very fitting for a room that seeks to create sophistication and elegance.

CONCEPTUALISATION

The material we chose to use is 2mm white perspex . Due the ability to create a sleek finish with this material. It was also the correct thickness that we needed for our design. The material is brittle and able to be broken easily if the pieces are large. However with the scale of the pieces being small, this problem will not be an issue. The perspex sheet comes in 600mm x 900mm sheets, allowing for a large number of modules to fit on one sheet. The sheet itself cost $10.50 and the expense for laser cutting is $1 a minute. Hence the total cost of cutting our design is going to be around $35-45.

We also chose spray paints we n according to what was safe to be within the MSD spray booth. We two Duluxe paints from Bunnings wi colours gold and silver. The cost of were $15 each.

We then chose the glues which w used to create strong bonds betwee base modules. We tested super-glue Weldbond but in the end chose t tarzan grip as it provided the stro bond between the pieces.

eeded e used chose ith the these

will be en the e, and to use ongest

C3 FINAL DETAIL MODEL

CONCEPTUALISATION

C3.1 FINAL MODULE

The chosen module was laser cut on 2mm white perspex sheets and was around 4mm in length. This allowed for ease of construction. We also chose to laser cute 1:1 versions of our module ( as can be seen on the right). These modules were originally meant to be cut on 8mm perspex sheets however due to restrictions of sourcing the material we ended up having to cut on 2mm perspex sheets and layer the pieces to gain the correct thickness. These pieces are also held together with tarzan grip but a stronger bond should be used for the actual construction process.

C3.2 FINAL FORM

The final form of this design attempts to highlight the centre point of the room, using the gold colour within the middle then spreading out towards silver and eventually moving to a white. The design was created using a few piping elements on rhino as a brep and controlling them to control the overall form. Each change in the pipe changed the orientation and location of base modules. In the end we decided on this form due to its fluidity and emphasis of the circular motion and representation of biomimicry.

On the right are two rendered rhino versions of our roof installation. One in side view and the other in plan. The side view emphasises the wavy growing element that can be seen when you first enter the ballroom through the doors. The plan view emphasises the epicentre of the design and the way in which each branch interacts with each other. For the end piece, we will be modelling 1/4 of this large model. We were restricted with the amount of pieces we can laser cut and construct in the time period that was allocated. However the model will greatly inform the overall roof installation design.

CONCEPTUALISATION

C3.3 MODEL CONSTRUCTION

Step 1: Take all pieces out of the laser cut perspex Step 3 : Spray paint each of the pieces in the MSD Step 5 : The beginning of sheet and remove protective backing. spray booth, using Dulxe spray paint. have to carefully follow th produce the overall desir Step 2: separate pieces which will be spray Step 4: Allow them to try before spray painting painted and count how many pieces need to be the other side. Each element took aroun gold and white. stay together, and neede This process took around 1 and half days in total. to create a strong bond.

f the glueing process. We Step 6 : The final form is coming together after a he online rhino render to day of glueing. But props and supports need to red form. be used until the model is strong enough to hold itself. nd 1 minute of holding to ed to be dried overnight

Step 7 : The final form is completely glued together and is now moved to our base board. This board is black perspex. The reason we chose this backing was that it provided a clean finish and also reflects the model above,creating the illusion of there being more pieces.

C3.4 FINAL MODEL

CONCEPTUALISATION

C3.5 SECTION

CONCEPTUALISATION

Section view of the overall design provides us with its overall scale and its side view. The ceiling installation is untouchable by users and rather something the contributes to the atmosphere , drawing attention to the middle of the room.

C3.6 PLAN & RENDER

CONCEPTUALISATION

In plan view the installation will appear like this. Clearly showcasing the central point of the design which is in gold. The rest of the pieces branch out from the centre. The lights on top of the installation will influence the shadows created on the floor. Whilst we discussed the pathway from the door in our part B presentation we decided it would be more appropriate to have a centralised installation instead.

C4 OBJECTIVE AND OUTCOMES Part C presentation went well for us and we were happy with the end results. There were a few concerns raised but also some positive feedback. One concern raised during the presentation was that the L system strains technique, furthermore it looks similar to other precedent. However it does fit the brief and creates an interesting outcome. The final model was praised during the presentation. We were also questioned about the practicality of our design in terms of how the design will move from a small scale to a large scale. The construction process would be very long, to connect that many individual pieces hence labour intensive. Continuing on from the 1:1 version we were also asked reconsider materiality of the design. We were told that mass producing plastic modules would be very expensive. For the future we will consider cheaper materials, and perhaps reconsider timber as an option.

Objective 1: I was given the brief of a ballroom roof installation. We decided to pursue biomimicry in our design and create this roof installation. I was able to follow the brief effectively throughout the semester as can be seen in my journal.

Objective 7: I was able to form an understanding of computation through this subject. And using it as a means to create architecture. Although it was difficult in the beginning, it became a little easier after a few weeks of trial and error.

Objective 2:I was able to generate a variety of designs within the rhino plugin grasshopper, and explore different functions of elements in the program. This can be seen through my Part B progress.

Objective 8: Begin to develop a repertoire of computational design techniques through exploration. During this subject my knowledge of computational design has substantially increased. As I had no prior knowledge of it, I believe I am now able to create designs through computational programs sufficiently.

Objective 3:I successfully was able to form a understanding of computational design through the grasshopper program. With no prior experience of the program it was a difficult task. Objective 4: I was able to successfully gain an understanding of how model interacted in an open space and the ways in which this could be done. The physical modelling of the project assisted greatly with this aspect.

As a way to improve our design in the future, we will look into creating a 3D base shape using slump former. This will give a further 3D element to the modules themselves.

Objective 5: I was able to create a narrative and fit to the context any proposals which I was putting forward. These proposals were always improved later on after feedback, hence I was able to gain a lot from this subject.

Furthermore we will look to improve the overall form of the installation by perhaps exploring with the Fox element 'isosurface; to create a shape and allow the design to move up the columns and spread within the ceiling.

Objective 6:By the end of this subject I was able to understand how precedents were formed and the ways in which it responds to the environment surrounding. Analysis of such precedents allowed me to better create designs of my own.

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CONCEPTUALISATION

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CONCEPTUALISATION

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