Studio Air Journal Part B by Jade Layton

STUDIO AIR JOURNAL PART B

Jade Layton 2018 Tutor #14: David

CONCEPTUALISATION 1

TABLE OF CONTENTs PAGE PART B: CONSEPTUALISATION B0. Self Reflection

4 - 7

B1. Model for Variation

8 - 23

B2. Case Study 1.0

24 - 29

B3. Case Study 2.0

30 - 37

B4. Expanding the Algorithm

38 - 51

B5. Prototype 52 - 57 B6. Proposal 58 - 67 B7. Learning Objectives & Outcomes

68 - 69

B8. Appendix - Algorithmic Sketches

70 - 71

BIBLIOGRAPHY 72 - 73

CONCEPTUALISATION

CONCEPTUALISATION 3

B.0. SELF REFLECTION - HEART CHAKRA ABOUT THE HEART CHAKRA The heart chakra, also known as Anahata, is associated with compassion, beauty and love. It is located at the centre of the chest and when open, you will feel a sense of connection and appreciation to the energy around you.When our heart chakra is blocked we might find it challenging relating to others around us. It can also effect our ability to love, appreciate beauty and form deep connections, causing us to feel closed, sad, withdrawn, or jealous. Restoring this blockage is important as it will allow us take back control of our wellbeing. In order to overcome this blockage we must practice self love / self acceptance, forgiveness (to heal wounds) and express gratitude so we can allow ourselves to be grateful for the things that make our life more positive.

WHY I CHOSE THIS CHAKRA I was originally drawn to this chakra because of colour. Ever since I was young I have always felt a strong connection to the colour green. I am not sure if it was because of my love for nature or because I wanted to be different to all of my classmates who liked pink and blue, but once my mum told me why she named me Jade and that it is a green gemstone, I grew an even stronger attachment. I find it very interesting that one of the heart chakra healing stones is a Jade. For the rest of the semester I am going to wear the Jade necklace that my mum gave to me and see how it makes me feel.

MY PERSONAL BLOCKAGE A personal challenge of mine is my dependence on family. As much as I love living at home while studying, I feel as though I need to go out and experience the world on my own. I do not like doing things or going anywhere by myself and I feel as though it is restricting my ability to grow. To overcome this problem, I think that I need to try and be more independent by moving out of home (flying away from the nest) or doing some travelling on my own. I find that when I am feeling down or experiencing conflict with someone, I tend to shut down and put up a walls. Living on the beach I always turn to nature and the ocean to help me relax and open up. Although I like being surrounded by people and enjoy the energy a crowd brings, I would like my work this semester to be focused around overcoming my blockages and targeting independence.

MY PERSONAL STRENGTH I feel as though I have a strong connection to my surroundings, especially when it comes to nature. When I am out playing golf, I feel more relaxed and at piece than I do anywhere else in the world. Immersing myself amongst so much greenery, I am able to really appreciate the worlds beauty/energy and focus on non-materialistic things. This activity is the one time a week I am able to disconnect, clear my head, rid my mind of any stress or negativity and allows me to feel grounded.

CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

CONCEPTUALISATION 7

B.1. MODEL FOR VARIATION ABOUT SEA CORAL Coral reefs are formed when free pieces of coral larvae attach themselves to a hard surface like rocks. The “corals then secrete skeletons from the underside of their skin” in which are made from calcium carbonate1. The algae that live inside the corals’ tissue provides the necessary nutience and energy to grow. Each species of coral grows at its own rate (on average 5 - 30mm per year) and also depends on the surrounding conditions. Rate of growth can be effected by the water temperatre, turbulence, salinity (need salt water to survive) and how much food is readily available1. Coaral reefs thrive in warm, shallow waters as they are exposed to large amounts of sunlight. However they are also able to grow at depths of up to 91 meters. Although only covering 1% of the ocean floor, they have the “highest diversity of any ecosystem on the planet, being home to more than 25% of marine life1.”

HARD & SOFT CORALS “Hard corals grow in colonies and are the architects of coral reefs1.” They consist of species such as maze/brain coral, elkhorn coral, etc. and come in a range of different shapes. Depending on the location, some form pointed shapes while others form round, flowing shapes. In wavy and rough watered areas, the corals form a flatter shape, whereas in sheltered areas where the water is calm, the same species will grow “more intricate shaped with delicate branching patterns1”. Soft corals, for example sea fingers, sea whips and anemone are usually bendy, soft and do not have a rigid skeleton. These types of coral have swaying bodies that move with the flow of surrounding waters and provide habbitat for fish, snails, etc. Due to soft corals always being in dager to being eaten, they have evolved to produce a toxic chemical that makes them poisonous to those who eat them.

DIFFERENT SPECIES STAGHORN CORAL (yellow/brown) - Have antler-like branches that grow in a dense and tangled formation2. ELKHORN CORAL (yellow/brown) - Branches are flat and broad resembling the antlers of a moose. The surface is covered with tiny round cups2. LETTUCE CORAL (yellow/gray/purple) - Hemispherical with thick, flat leavelike plates which have many ridges. They also have cups on the upper and underside of each ‘leaf’2. GROOVE BRAIN/MAZE CORAL (yellow/brown/gray) - Consists of walls and valleys in which form round bolders with deep, interconnected channels2. COMMON BRAIN/MAZE CORAL (green/yellow/blue) - Have long valleys with ridges that have no top groove. Resembles a worm2. STARLET CORAL (golden brown) - Forms rounded boulders in which are covered in round, pitted holes2. There are hundreds of coral species out in the ocean, these are only a small number of the most common species. 8

CONCEPTUALISATION

FIG. 1

HEALTHY

STRESSED

Photosynthetic algae (dark green dots) live inside the coral and make the nutrients that coral eat.

Algae give corals their vibrant colour. When under stress, corals reject aglae and start to fade white.

BLEACHED If conditions do not improve enough for algae to return, the coral starves and becomes completely white.

CONCEPTUALISATION 9

B.1. ANALYSIS DIAGRAM - CORAL GROWTH

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONCEPTUALISATION

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CONNECTION BETWEEN CORAL GROWTH AND OUR DESIGN We hope to experiment with coral growth in a number ways, the first looking into how the coral forms and grows, the second being different patterns and types and the third being the connection between the coral and its host (rock). We are using our knowledge of the process and stages of coral growth to drive parts of our script. In short, we hope to start with a form or mesh, add a pattern depending on surrounding conditions, and play with colour in relation to what stage of the coral life cycle our piece is at.

GROW RANDOMLY & FORMS PATTERN

Knowing that the pattern is derived from a number of surrounding environmental factors such as amount of sunlight, turbulence (wind), temperature, etc, we will assess the site to know what type of coral would grow. This will help to create an cohesive design that is unique to the exact location on site. The connection between the coral and its rock is extremely important because without the host, the larvae would have nothing to attach to and grow. The most successful growth always stems from a solid stable host. In saying so, we will be looking at a site in terms of where will be most habitable for our structure.

CLOSE UP GROWTH

CONCEPTUALISATION 11

B.1. TRANSLATE CREATE CURVES

ROTATE CURVES

RELATING TO FORM

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

CREATE MINIMAL SURFACE

(CORAL GROWTH)

Sodium

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

GROW RANDOMLY & FORMS PATTERN

SMOOTH & SURFACE 11

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

CLOSE UP GROWTH

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

LARVAE ATTACH TO FORM

BETWEEN CURVES Sodium

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROW RANDOMLY & FORMS PATTERN

THICKEN SURFACE

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

ATTACH RANDOMLY

(CORAL DECAY) ATTACH RANDOMLY

ATTACH RANDOMLY

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

CREATE PATTERN GROW RANDOMLY & FORMS PATTERN

(WEAVERBIRD)

GROW RANDOMLY & FORMS PATTERN

Sodium

GROW RANDOMLY & FORMS PATTERN

Sodium

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

CLOSE UP GROWTH

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

Sodium

RAL BECOMES DAMAGED DETERIORATES SO ALGAE AVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

SMOOTH (MORE

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

GROW RANDOMLY & FOR

CORAL DECAY)

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONCEPTUALISATION

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

CONCEPTUALISATION 13

B.1. BUILD

CURVE

MINIMAL SURFACE

WEAVERBIRD

MESH (BASE OF FOUR

THICKEN

BOUNDARY CURVES) CURVE

CURVE

CONCEPTUALISATION

U COUNT

V COUNT

ITTERATION

DISTANCE

MESH SMOOTH

STRENGTH

ITTERATION

LIMIT

WEAVERBIRD

CARPET

CATMULL

LEVEL

CONCEPTUALISATION 15

B.1. EXPERIMENT STRAIGHT CURVES

ROUND CURVES

CURVES CHANGED

CONCEPTUALISATION

THICKNESS

300

100

SMOOTH LIMIT (CORAL SIZE)

REDUCE MESH (CORAL SIZE)

900

700

CONCEPTUALISATION 17

B.1. EXPERIMENT WEAVERBIRD (CORAL PATTERN)

no Wb

WbCc

WbCarpet

WbThicken

WbCc

WB HOLE SIZE (CORAL PATTERN)

CLOSE UP 18

CONCEPTUALISATION

EYE LEVEL

WB AMOUNT

U COUNT

V COUNT

CONCEPTUALISATION 19

B.1. ANALYSIS STRAIGHT CURVES

This structure functions as an interactive art installation whereby people passing by can view or sit. The different levels made by the lofted straight curves creates a number of ledges, so people can sit. With our restriction being a lack of independence, this iteration is not the best because there are no independent spaces for people to reflect. It is more of a social space.

CONCEPTUALISATION

ROUND CURVES

This structure has a stronger connection to our restriction as it is divided into three separate spaces. One facing the river, one facing a hill face and one being nearly completely enclosed. Each space allows people to sit either independently or with others. The enclosed area intends to draw people in.

CONCEPTUALISATION 21

B.1. ANALYSIS SMALLER WB HOLE SIZE

This iteration allows people to walk through the structure, bridging over those under it. The holes throughout highlight light and transparency, while creating hand and foot holes so that it is able to be climbed on. From the top, there is a beautiful view towards the waterfall, where people will be encouraged to sit in silence and appreciate the landscape and energy around them.

CONCEPTUALISATION

LARGER WB HOLE SIZE & SCALE

Out of the four chosen iterations, this one fulfils our blockage the best. By increasing the size of the holes as well as the size of the structure, the holes are able to function as individual seating pods. Although this may be the case, a stronger connection to the land (like coral has with its host rock) is needed strengthen this design. Making the structure connect into the water or appear as though it is emerging from the ground might help to strengthen the relationship.

CONCEPTUALISATION 23

B.2. CASE STUDY 1.0 COUNT

0.33

0.47

0.60

0.90

1.44

FACTOR

0.15

COUNT + LOW FACTOR

CONCEPTUALISATION

SEED

WbCc

WEAVERBIRD

no Wb

WbCc

WbCarpet

WbThicken

WEAVERBIRD

CONCEPTUALISATION 25

B.2. FOUR FAVOURITE ITERATIONS COUNT + LOW FACTOR

Something that caught our attention about this iteration is its simplicity. It will allow for an easy build, with minimal costs. All six tubes allow for multiple people to use the space at once, however they are forced to be on their own which is important when it comes to overcoming the blockage of dependency.

CONCEPTUALISATION

WEAVERBIRD

Patterning is used to assist the large structure to be climbed on, making it more of an interactive space. It is eye catching due to its height and positioning on the bank of Merri Creek. Not only does the structure act as a resting place, it also acts as an art installation that further strengthens the ascetic of the parkland area, drawing people in.

CONCEPTUALISATION 27

B.2. FOUR FAVOURITE ITERATIONS WEAVERBIRD

Similar to the first iteration in the way in which the form creates a number of pods whereby people can experience a sense of independence, the added patterning allows the structure to be climbed. These patterned forms do not act as a climbing frame, the frame simply aids movement from the lower to higher areas. A negative aspect of the patterns is that they create visual gaps, thus eliminating the sense of isolation.

CONCEPTUALISATION

SEED

This iteration is the least successful design out of the four, due to the fact that it does not push independence. However, we still managed to learn a lot from it, in the way that playing with the variable â&#x20AC;&#x2DC;seed,â&#x20AC;&#x2122; a more complex structure can be created. Something that this design does manage to do well, is the replication of coral formation. It is a successfully designed smooth, minimal surface (representing coral decay). Although the other iterations share a similar aesthetic to coral, this one actually replicates the system.

CONCEPTUALISATION 29

B.3. CASE STUDY 2.0 - GREEN VOID GREEN VOID // LAVA ARCHITECTS // 2008 Green Void by LAVA Architects is a lightweight sculpture designed specifically for the Customs House central atrium, spanning through five levels. The design intent was to create an intense visual contrast to sit in the newly restored building interior3. “The concept was achieved with a design that follows the forces of gravity, similar to a spider web or a sea coral4.” The architects of the project focused on creating “more with less” and achieved this by using minimal surfaces to stretch between the walls, ceiling and floor of a building’s atrium space. With the design and process of fabrication utilising three dimensional computer modelling, as well as CNC cutting, the final outcome displays efficient use of materials, light weight construction, quick installation time while also “achieving maximum visual impact in the large atrium space5.” The materials used are a double stretch woven fabric in which are attached to aluminium track profiles suspended from stainless steel cabling above. With the structure comprising of 3000 cubic meters enclosed with a minimal surface area of 300 square meters, it is quite amazing that it only uses 40kg of material5.

HOW WE WILL INCORPORATE IT INTO OUR DESIGN We hope to experiment using minimal surfaces due to the fact that it simulates the growth of coral in a simplistic yet interesting way. Initially we were thinking about designing a structure that branched from one side of the river to the other, creating a journey for one person at a time. Although the Green Void form allowed us to achieve our design intention, we found that no matter how much we changed the script and the base curves, we could not stray far from the original form. In saying so, we still did manage to learn a lot about grasshopper and kangaroo from reverse engineering this case study.

CONCEPTUALISATION

FIG. 2 CONCEPTUALISATION 31

B.3. REVERSE ENGINEERING REMOVE FACES CREATE SKELETON /

LOFT ADJACENT

REFERENCE CURVES

CURVES

THAT INTERSECT WITH BRANCHES

CONVERT TO MESH

CREATE BRANCHES /

EXPLODE INTO

REFERENCE CURVES

Separate SURFACES

CONCEPTUALISATION

ADD ELASTICITY (HOW RELAXED THE MESH IS)

WELD / CHECK MESH (FIXES IMPERFECTIONS)

KANGAROO ENGINE

FINAL MESH

FIND NAKED POINTS (TO USE AS ANCHOR)

CONCEPTUALISATION 33

B.3. EXPERIMENT CHANGING THE BASE CURVES

CHANGING THE BASE CURVES

THICKNESS

CONCEPTUALISATION

SMOOTH LIMIT

PATTERNING #1

PATTERNING #2

CONCEPTUALISATION 35

B.3. SUCCESSFUL PATTERNS

CONCEPTUALISATION

Different patterns have the ability to create different visual effects. Depending on pattern type and scale, different levels of transparency are able to be created. In our design, after we come up with our base form, we will play around with ideas of transparency. Therefore, patterning will become extremely useful.

CONCEPTUALISATION 37

B.4. EXPANDING THE ALGORITHM - DIAGRAMS

WIND

DIAGRAM

SMOOTH TYPE OF CORAL THAT WOULD GROW

CONCEPTUALISATION

ROUGH

Sheltered by a cove in the

Exposed to the windy

cliff face, therefore a tame

of the flowing river so

form would grow.

jaggered form would

SUN PATH

low

high

SMOOTH

ROUGH

y path

Shaded from the sun at

Exosed to the sun for

o a wild,

certain points of the day so

nearly all hours of the day

would not grow as much.

so would grow wildly.

grow.

CONCEPTUALISATION 39

B.4. translate GROWTH CORAL FORM MOVE IN Z

CREATE A SPHERE MESH

DIRECTION

REMOVE BOTTOM

SCALE IN Y

SECTION

DIRECTION

BASE FORM

CONCEPTUALISATION

CREATE A

REMOVE BOTTOM

SPHERE MESH

SECTION

DECAY / DAMAGE MESH

SMOOTH

CORAL PATTERN

CORAL CONNECTION

CREATE A

JOIN MESHES

PATTERN

TOGETHER

CONCEPTUALISATION 41

B.4. build MESH SPHERE

MOVE Z

MESH

MCOMP

SCALE Y

DIFFERENCE

SIMPLEX MULTIPLY MOVE

MESH

MESH SPHERE MESH MCOMP SIMPLEX MULTIPLY MOVE MESH

CONCEPTUALISATION

DIFFERENCE

MSMOOTH

BWCARPET

WBCC

THICKEN

COMBINE MESHES

CONCEPTUALISATION 43

B.4. experiment

TIME

AMP / SMOOTHING

CONCEPTUALISATION

SCALE

0.05

0.08

0.12

0.17

0.24

PATTERNING #1

CONCEPTUALISATION 45

B.4. experiment

PATTERNING #2

PATTERNING #3

CONCEPTUALISATION

COMBINATION

CONCEPTUALISATION 47

B.4. analysis RIVER SHALLOWS

Through analysis of the site, we looked what type of coral would grow in this area. Due to it being in the windy path of the constantly flowing river while also having no tree cover (being exposed to the sun at nearly all times of day), quite a rough and jaggered form would grow. This location is in an open area that is easily visible to people visiting Dights Falls. While users are inside, although they will not be able to see the river, they will be able to hear it flowing around them, creating a calm and soothing effect. We like this position best due to the form that is produced and the connection to the riverâ&#x20AC;&#x2122;s energy.

CONCEPTUALISATION

CLIFF FACE

This structure is secluded and sheltered from wind and sun at certain times during the day. The type of coral that would most likely grow here would be a form that is tame and smoother in comparison to being situated in the river path. This location can only be accessed via the top of the cliff. Although many people will be able to view it from the creek, the positioning makes it hard for people to access. We like that it looks as though it is growing or protruding out of the cliff face, however it does not quite satisfy our strength of being connected to the ground and energy around us.

CONCEPTUALISATION 49

B.4. analysis HIGHT ANALYSIS

CONCEPTUALISATION

3000mm

2200mm

1700mm

In terms of scale, we want to ensure the space is used for only one person at a time. To make sure of this we compared the average height of a male (due to the fact they are generally taller) and the lowest point of the structureâ&#x20AC;&#x2122;s interior. We added a clearance of 400mm for safety and comfort, resulting in the interior height to total 2200mm. From the exterior, the structure will be 3000mm in height and 5500mm in width.

HEIGHT OF HIGHEST EXTERIOR POINT

HEIGHT OF LOWEST INTERIOR POINT

AVERAGE PERSON HEIGHT 5500mm

COLOUR COMBINATIONS

Choice of colours will have a huge impact on our overall design. We think it is important to use a combination of white and green as white represents the end of a life cycle and green represents new life. As well as green being the colour of the heart chakra, it is also associated with meanings of safety, renewal, nature, harmony and growth. These qualities reflect the feelings we hope to highlight for those using the structure. We like the use of the light green as it is washed out and subtle, going well with white. It is not necessary to go over the top with a bright colour, a subtle hint of green is just as effective. We want people to be drawn to the form, not simply to a bright colour.

CONCEPTUALISATION 51

B.5. prototype process PLASTIC PRINTER PROCESS 1. Construct for using a cad program

2. Make sure that form constructed in closed or joined

3. Hollow out form so cost is minimised

4. Ensure the form is scaled accordingly

5. Check for defects (thickness of form, size, connection etc.)

6. Save file as an Stl

7. Stl is then sliced by a slicing software

8. Then sent to printer

9. A Laser solidifies the material and begins to print layer by layer

10. Print job finished

CONCEPTUALISATION

POWDER PRINTER PROCESS 1. Repeat step one to six form the previous process

7. Powered is melted by laser one layer at a time

8. When layer is finished the bed moves down by 0.1mm and the next layer begins this is repeated until the object is finished

9. Print job is then un packed, the printed parts are separated from the powder ( the powder 4.can be re used)

10. Print job is then cleaned

CONCEPTUALISATION 53

B.5. prototype results FIRST ATTEMPT (FAILURE) The first prototype was unsuccessful due to the exterior â&#x20AC;&#x2DC;cageâ&#x20AC;&#x2122; created using the weaverbird plugin. It did not work because the diameter of the walls were too thin (less than 2mm) and the holes created within the pattern were to small, therefore the 3d printer was unable to print the object. If the object was to be printed in the powder printer it would simply crumble and if it were to be printed from the plastic printer, it would malfunction due to not be able to print the suspended layers in midair.

REBUILD (SUCCESS) To improve this error in order to successfully print, we thickened the exterior mesh to a minimum of 2mm. We then extended the holes to a minimum diameter of 1.5mm. The object was then sent to the regular, plastic 3D printed so that we could compare results and quality from both printers. Although we did not have time send our final design to the powder printer (like we did to the plastic printer), we found that it was able to print the exact distinct form we sent in. This was a much more successful print and we hope to experiment with it throughout the following weeks leading up to our final, so that we know what areas of the form to work on.

CONCEPTUALISATION

CONCEPTUALISATION 55

B.5. prototype

POWDER PRINT These two prints turned out better than expected. The form was accurately replicated and finished in a consistent and smooth texture. There were no visible defects in comparison to the maker bot printer and it was much more stable. This technique of powder printing will be explored in further depth for our final design.

CONCEPTUALISATION

PLASTIC PRINT This 3D printed prototype did not turn out as we had hoped. The base form is harsh with sharp edges and the cage is somewhat deformed/uneven. We are unsure whether this was the due to the altered file we submitted or if it was the printer. We are going to play around with the file and see if we can fix this issue. In saying so we still wish the use the powder printer for our final model as our desired texture is smooth.

CONCEPTUALISATION 57

B.6. PROPOSAL

CONCEPTUALISATION

Our concept is about overcoming an internal battle with onesself. The structure aims to reflect this by having two intersecting forms trying to break free from one another. The structure will be open to all pass-byers and located in the shallows of the Merri Creek. Removal of all electronic devices will be required before entering the internal space, in order to experience a true, distraction free connection with oneâ&#x20AC;&#x2122;s thoughts. Users will be able to gain access one at a time and will enter through a void in the top of the structure in which will close, resulting in complete darkness. Research shows that when one sense is diminished, the others increase. The darkness aims to remove any visual distractions, resulting in a heightened state of thought. Usersâ&#x20AC;&#x2122; thoughts will become louder and they will be able to express them in a creative way.

CONCEPTUALISATION 59

B.6. PROPOSAL INTERIOR EXPERIENCE RENDER

CONCEPTUALISATION

A drawing utensil will be provided upon entry. Users will use this to express their personal blockage. This will be anonymous, however the works will end up being exhibited to the public each night. After each person exits, their art work will not be wiped. Everyone will be adding to the piece and at the end of each day, the work will be projected onto the cliff face, thus visually displaying the connection between the artist and the landscape. The following day the interior will be a blank canvas and the process will repeat itself. This render depicts what the interior space will look like before the void closes up into darkness.

CONCEPTUALISATION 61

B.6. PROPOSAL EXTERIOR RENDER

CONCEPTUALISATION

Part of the structure will have a white exterior, representing the end of a lifecycle before new life is formed and the other part will be a subtle shade of green, representing new life. The inner form is representative of a personâ&#x20AC;&#x2122;s soul and the cage is their blockage. It is always a battle to overcome negativity within, however upon exiting the structure users should feel a release, much like a weight has been lifted. The time spent alone in the structure will help to increase levels of independence.

CONCEPTUALISATION 63

B.6. PROPOSAL CLOSE UP EXTERIOR RENDER

CONCEPTUALISATION

CONCEPTUALISATION 65

B.6. PROPOSAL SECTION A-A

SCALE 1:50

CONCEPTUALISATION

PLAN

N SCALE 1:100

CONCEPTUALISATION 67

B.7. LEARNING OBJECTIVES & OUTCOMES Through completion of Studio Air Part B, I have acquired many skills that broadened my knowledge surrounding not only algorithmic design, but the design process. By looking closely and analysing the brief, we were able to come up with a design that specifically met the requirements. In past studios, I have had the tendency to become so caught up in my designs that I have strayed away from the brief, in which in a real project is one of the most important things. With the introduction into parametric modelling using algorithmic tools, I was able to experiment and generate a number of varying design possibilities in a short amount of time. This allowed me to alter certain parts of the design without having to remodel the whole form. Never before have I been able to explore such a high volume of differing designs for a given situation. Although my skills using these parametric modelling tools are only basic, the online tutorials have helped me to grasp the basic knowledge to experiment within the program. Something else that also helped me to gain a deeper understanding into what we have been using (minimal surfaces) is reverse engineering the Green Void case study. Through doing this I was able to learn about and understand every stage of the script. I learnt how the plug-in Kangaroo works and found the real time simulations very interesting. I have found that in order to develop my skills, I have had to be playing around in the program, testing out what works and what does not. Digital modelling has also opened up many new doors for me, as before Studio Air, 3D printing was a completely new concept. Since completing a 3D print for the interim submission, I have learnt a lot about the process and requirements for a successful print. I have taken this new knowledge and 3D printed parts of my model for another subject. Although we did spend a lot of time working on the proposal, I believe it still needs work. There are areas that need improvement, like what happens on the inside, how the door will work, how to ensure only one person enters at a time, if having it completely dark is the best idea, etc. Asking myself and my partner these difficult questions and thinking in a critical manner will help us to form a solid proposal for the final. I would like to create a persuasive argument, ensuring there are no holes in the proposal. Throughout the semester, I believe I have developed a personalised repertoire of computational techniques that my partner and I use in all of our designs. We know through testing the advantages and disadvantages of different variables, what works well for our designs.

CONCEPTUALISATION

CONCEPTUALISATION 69

B.8. Appendix - Algorithmic Sketches

Through learning in gra surfaces, weaverbird, kang broadened my knowledg design. Although all of my here, use differing scripts common. Over the past fe a strong interest in patte transparency and light that it down in an even manner. trial and error was used, p variables in order to ach Sometimes I find it difficu and ideas into digital form a lack of grasshopper kno this was a positive thing, a unpredicted and wonderful found that in order to come I need a balance of skill an

CONCEPTUALISATION

asshopper about minimal garoo, etc, I have extensively ge surrounding algorithmic y favourite designs depicted s, they all have one thing in ew weeks, I have developed erning. I enjoy the sense of it brings to a design, breaking In all of these designs, much playing around with different hieve the desired outcome. ult, transferring my thoughts ms using algorithms due to owledge. However, at times as through experimentation, forms were produced. I have e up with a successful design, nd random experimentation.

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part B BIBLIOGRAPHY Coral Reef Alliance, ‘Coral Reefs 101’ (revised August 2017) <https://coral.org/coral-reefs-101/> [12 March 2018]

Florida Museum, ‘Coral Species Profile’ (revised June 2013) <https://www.floridamuseum.ufl.edu/southflorida/habitats/corals/species-profiles/> [12 March 2018]

Dezeen, ‘Green Void by LAVA’ (revised 16 December 2008) <https://www.dezeen.com/2008/12/16/green-void-by-lava> [30 March 2018]

InDesignLiving, ‘Into the Green Void’ (revised 15 December 2008) <https://www.indesignlive.com/projects/into-the-green-void> [30 March 2018]

Arch Daily, ‘Green Void / LAVA’ (revised 16 December 2008) <https://www.archdaily.com/10233/green-void-lava> [30 March 2018]

Figure 1 - Science New for Students, ‘Help Coral Reefs Recover’ (8 November 2016) <https://www.sciencenewsforstudents.org/article/creative-ways-help-coral-reefs-recover> [12 March 2018] Figure 2 - Arch Daily, ‘Green Void / LAVA’ (revised 16 December 2008) <https://www.archdaily.com/10233/green-void-lava> [30 March 2018]

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