Final Journal by jcolgan

STUDIO AIR 2016, SEMESTER 2, MANUEL JAMES COLGAN

Table of Contents 6 [Introduction] 8 A.1 - DESIGN FUTURING 13 A.2 - DESIGN COMPUTATION 14 A.3 COMPOSITION AND GENERATION 17 A.4 CONCLUSION 19 A.5 LEARNING OUTCOMES 20 A.6 ALGORITHMIC SKETCHES 24 [References PART A]: 28 B.1 - RESEARCH FIELD 30 B.2 - CASE STUDY 1.0 34 B.3 - CASE STUDY 2.0 38 B.4 - TECHNIQUE DEVELOPMENT 44 B.5 - PROTOTYPING 48 B.6 - DESIGN PROPOSAL 55 B.7: LEARNING OBJECTIVES AND OUTCOMES 56 B.8: ALGORITHMIC SKETCHES 59 [References PART B]: 62 C.1: Design Concept 68 C.2: Tectonic Elements and Prototypes 72 C.3: Final Detail Model 81 C.4: Learning Objectives & Outcomes 83 [References Part C]

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PART A

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[Introduction] My name is James Colgan and I am currently in my second year of the Bachelor of Environments, majority in both Architecture and Urban Design and Planning (interested more in Architecture). I was born and have always lived in Camberwell, an Eastern Suburb here in Melbourne. For as long as I can remember, I have had an interest in Architectural design. My experience and experimentation using digital media to convey and produce designs stems back into High School. As early as year 9 (2011) I was introduced to both Adobe Photoshop and Illustrator and have continually found myself using each of these programs since. A year later, I completed work experience at Grimshaw Architects for a week, where I was then introduced to Microstation and with that proving quite difficult without any prior knowledge of CAD software, I was then introduced to the more intuitive Google SketchUp. SketchUp has also proved to be a program I utilise regularly as I enjoy the speed in which I can explore and convey my architectural ideas in a clear threedimensional manner - although even it has its limitations. Thinking about Studio Air this semester, I look forward to broadening my knowledge and experience further with new digital methods and programming such as Rhinoceros 3D and Grasshopper. I believe that I can expand my potential as a future architect significantly, particularly in a world becoming dominated by technology in every way, including design. Additionally, I look forward to understanding and being introduced to more digital architecture and the architects behind them particularly with some of the potential I have seen from those such as Zaha Hadid (see opposite page).

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FIG.1: HEYDAR ALIYEV CENTER - EXAMPLE OF DIGITAL ARCHITECTURE DESIGNED BY ZAHA HADID .

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A.1 - DESIGN FUTURING

‘Container Skyscraper’: Winner of an International Design Competition searching for temporary skyscrapers to house those in Mumbai’s Dharavi slum, the GA proposal implements modular housing and keeps in line with the practices of recycling and compact living typically found in slums1. While not built, the principles and influence of the design remain and can still be observed which is arguably the purpose of a design competition - to expose ideas to the world2. The design effectively demonstrates that by acknowledging and understanding the already known properties of shipping containers and their native ability to be ‘stacked’ this can be taken advantage of and implemented into liveable forms on the larger scale. Although, we still have a design which has managed to form character and a degree of originality to it rather than assuming all the properties given to it by the forms of the shipping containers. Digital architectural techniques have been embraced and are perhaps what allows collaboration between the unique design arrangement of the containers and the terracotta block walls (see FIG 4) with the maintained structural integrity of the building. Such methods have allowed these more sustainable materials and construction to come to life in interesting forms. Despite its label of a ‘radical’ design proposal, the design looks more to initiating an urgent change to the living standards of these over-populated slums and as such this revolutionary and innovative thinking has been 1 Karissa Rosenfield. “GA Designs Radical Shipping Container Skyscraper for Mumbai Slum” 24 Aug 2015. ArchDaily. Accessed 1 Aug 2016. <http://www.archdaily.com/772414/ga-designsradical-shipping-container-skyscraper-for-mumbai-slum/> 2 K Rosenfield, “Radical shipping container”, Accessed 1 Aug 2016.

FIG.2: SECTION

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required3. However while the aim is obviously for the original slum housing to be removed, the strong community nature of these areas will likely remain and as such the design deserves its praise. As a design which shows it is making an attempt toward tackling unsustainable practices in our world, GA is following a trend of Architectural thinking. There are attempts to combat ‘defuturing’4 living standards while encouraging and nurturing those which place the world on a better path to a sustainable future. As such, the recycling of the shipping containers and terracotta walls as two main aspects of this design, utilises some of the methods in which we will find architects will increasingly use in coming years to produce a more sustainable world.

3 K Rosenfield, “Radical shipping container”, Accessed 1 Aug 2016. 4 Tony Fry, Design Futuring: Sustainability, ethics and new practice, (Oxford, New York: Berg, 2009), p.1.

FIG.4: VISUALISATION - INTERIOR FIG.3: VISUALISATION - EXTERIOR

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FIG 5: INTERIOR OF THE MUSEUM

Mercedes-Benz Museum A building with ‘virtually no right angles’ such as this Mercedes-Benz Museum in Stuttgart, Germany, is bound to challenge pre-conceived perceptions of what architecture is capable of1. The design concepts and construction methods encapsulated in the building alone challenge the norms and create new paths towards future design thinking. By ‘thinking about alternatives’ 2the design has successfully achieved aspects of architecture and engineering for which it is doubtful humans alone could achieve. As a result, most if not all the design has impressively been completed utilising 3D digital technology3, a sign perhaps of the future ahead of us in this digital age, now making its way into architecture.

FIG 6: SECTION VISUALISATION OF THE MUSEUM

Within its unconventional architecture and precision placement within the city of Stuttgart, right by notable roads such as the B14 National Highway4, the museum has been able to impose emotions on its visitors that would be unexpected for its scale and materiality. For instance, by removing any right angles in the building and in many cases softening its appearance with its lengthy curved surfaces, the building has surprisingly posed as light and floating. With utilisation of 3D design this could point to the increased ability to experiment with the experiences created within a piece of architecture in future. Another success in the thinking of this design however is that the architectural boundaries were continually pushed, with formalised expectations ignored such as distinct floor levels and 33-metre continuous span ceilings5. Aside from such a design being deemed possible to construct, the shear fact it has come to exist and not only that but be enjoyed by many, should be seen as an achievement and deserving to be considered a piece of architecture.

1 Werner Sobek, ‘The New Structrualism: Radical Sources of Design Engineering’, John Wiley & Sons, 80(4) (2010), 24-33 (pp-32-33). 2 Dunne, Anthony & Raby, Fiona ‘Speculative Everything: Design Fiction, and Social Dreaming,’ MIT Press, (2013), pp. 1-9, 33-45 (P.9) 3 Werner Sobek, ‘The New Structrualism’, (2010), (pp-32-33). 4 Mercedes-Benz, ‘The Architecture of the Mercedes-Benz Museum in Mercedes-Benz.com < https://www.mercedes-benz.com/en/mercedes-benz/classic/museum/architecture/> [accessed August 8 2016]. 5 Mercedes-Benz, ‘The Architecture of the Mercedes-Benz Museum in Mercedes-Benz.com [accessed August 8 2016].

FIG 7: EXTERIOR OF THE MUSEUM

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A.2 - DESIGN COMPUTATION RESPONSIVE SURFACE Germany, 2007.4 It would be hard to argue that computers have not changed our society and how our world works. After all, computers are designed to have a higher capacity to complete tasks than humans and they are meant to be faster. When you combine even just these two principles for why computers have become so vital, it renders the possibilities of computers completing tasks which humans may have only imagined ever doing - this stretches to design. In terms of architecture, and when we engage in the design process for a new design, immediately we find ourselves faced with a whole variety of problems in which we need to find solutions to. Without such, our design will fail to become possible. If we begin to approach these problems through computation processes we again can find ourselves face-to-face with the benefits of computer technologies. Our overall capacities and ability to complete these thought processes improve, such as calculating how to structurally achieve a given geometry, and thus becomes extraordinarily simpler. By creating simplicity of design thinking and development, the potential for what designs can be achieved becomes almost infinite through computer technologies and perhaps drives more creativity.

STRUCTURE

Steffen

Reichert,

The second design also demonstrates an organic design informed by computational methods. While the principles remain quite simple, the design admittedly would become quite complex in its arrangement and visualisation if done manually. Design computation has the ability to make these simple arrangement algorithms a reality. By allowing the computation to complete the thinking processes and calculations it reduces the workload of the designer and architects who can instead place more thought into the modification of the forms generated. 4 Achim Menges, ‘Material Computation: Higher Integration in Morphogenetic Design’, Architecture Design, 2, 82 (2012), 17.

SMITHSONIAN INSTITUTION, Foster + Partners, Washington DC, 2007.1 This first design to consider has made use of a ‘single computer program’2 and code to formulate this quite elegant roof design. Most noteworthy however is how this use of computation technology was utilised ‘throughout the design process’3 and later on in the actual fabrication of the final construction. Such examples demonstrate how organically flowing designs can be realised and even constructed through simple use of computer programming, while the modification of code occurs similarly to re-sketching ones design to reflect the desires of the architect. 1 Brady Peters ‘Computation Works: The Building of Algorithmic Thought’, Architecture Design, 2, 83 (2013), 12-13. 2 Brady Peters, (2013) Architecture Design, 12-13. 3 Brady Peters, (2013) Architecture Design, 12-13.

FIG.9: RESPONSIVE STRUCTURE I

While methods of design may come less from the architect themselves, for the requirement of hands-on approaches are in less demand, ultimately the final decision making and modification still lies with the architect themselves. If we consider Kalay’s description of Architecture being more of a ‘profession, rather than a craft’ it therefore exposes itself to the opportunity for its technical aspects being improved and made more efficient. As a result, in modern times our worlds efficiency is being derived from technology and hence architecture is exposed to the same treatment, the growth of computational design is simply an ‘evolution’ of Architectural Design.

FIG.8: SMITHSONIAN INSTITUTION (LEFT)

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A.3 COMPOSITION AND GENERATION

With the uprising of architecture as a profession it has been exposed to an array of movements, theories and practices to produce good design. While for some time architecture has been guided by the rules and styles to produce acceptable built forms and compositions1, with the coming of the digital age we are now faced with the prospects of dealing with computational methods parametrically, algorithmically and script based design to generate complex architectural forms. Generative design through computational methods is making a fast and large impression on the world of architecture. Perhaps the ability to experiment greatly with built forms through creating and manipulating parametric design through simple to complex algorithms has sent a clear message of the endless potential for design with these methods. Also emphasising the rapidly growing motion are the arrival of ‘scripters’ among others in the industry, their roles often relating to developing the code and software itself in order for the designs to come to life2. As mentioned earlier in this journal, one of the most prominent 1 Yehuda Kalay, Architectures New Media: Principle’s, Theories and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press), pp.5-25. 2 Brady Peters ‘Computation Works: The Building of Algorithmic Thought’, Architecture Design, 2, 83 (2013), 10-15.

FIG.10: ZAHA HADID DESIGNED TOWER FOR MELBOURNE.

architects to be following the growing world of computational and generative design has been Zaha Hadid. Clearly in attempts to push architecture and create unique and unseen geometries in design, Hadid’s designs have always remained out of the ordinary. Despite what some may deem as unconventional design and in many ways computer based, Hadid’s design’s have received for some time, enormous praise. If we look to her most recent (and said to be her last design before her untimely passing) skyscraper form, approved for construction here in Melbourne, it can be argued the architectural world is embracing of generative design3. With Melbourne’s strict tower construction guidelines including strict enforcement of plot ratios, Hadid’s design managed to pass through these barriers despite exceeding them for as it was deemed, the tower would add to the area and perhaps draw tourism4. Examples such as Hadid’s demonstrates how with the right application and with experimentation, truly admirable and original design can be generated while stemming away from compositional principles. 3 Linda Cheng, ‘Zaha Hadid’s First Melbourne Tower Approved’ < http://architectureau.com/articles/zaha-hadids-first-melbourne-tower-approved/#img=2> [accessed 12/8/1016] 4 Linda Cheng, ‘Zaha Hadid’s’ [accessed 12/8/2016] 14

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Meanwhile, what cannot be ignored is the influence to architectural design over centuries that compositional methods have had - from town planning to construction to architectural movements. Likely interpreted differently by many, compositional architecture can be viewed as the rules or perhaps guidelines for how architecture is composed into a building5. Today compositional design in architecture can still be observed and practiced on a large scale, arguably a tradition admired by many designers. With a larger spanning history compared to its generative design counterpart, influential figures in compositional architecture spread to most influential architectural figures in general. Looking toward Marcus Vitruvius and his famous Ten Books on Architecture 6, we have seen for some time the effect on design that rules for how to compose a piece of architecture can form an internationally recognised language of architecture. Vitruviusâ&#x20AC;&#x2122; theories combined with further compositional techniques have seen some of the most beautiful and timeless pieces of architecture in history, from enormous cathedrals to smaller classical architecture. We continue to see compositional techniques of architecture and they continue to be praised and highly regarded, one such example being the Holocaust Memorial in Berlin. Particularly experimenting with a gridded arrangement of lines and varying proportions of three dimensional forms, the memorial has utilised many traditional forms of composition but applied to become one of the most unique examples of architecture today. Hence, it can be argued that in some cases compositional design can be pushed beyond its on boundaries, in the same way generative design creates the opportunity to push architecture in general. 5 6

Yehuda Kalay, Architectures New Media, pp.5-25. Yehuda Kalay, Architectures New Media, pp.5-25.

FIG.11: HOLOCAUST MEMORIAL, BERLIN.

By moving away from formalised rules of architecture - design as a composition, we as designers open ourselves up to endless possibilities. With algorithmic tools at our disposal and more readily available through computational methods there is the motivation and potential to push architectural boundaries and to be innovative - perhaps inventive of new forms of architecture. While compositional forms and rules of architecture will always have purposes and prove important to design such as leading lines, symmetry and uniformity, architecture should also be seen as something to explore to try and attempt the impossible. While possible using compositional methods, generative design is becoming embraced in architecture perhaps as its ability to experiment is deemed greater.

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A.4 CONCLUSION Part A got us to delve into the current state of design and where design will take us in future or what changes design is required to make in our society for the future to be sustainable (A.1). Design computation is a growing trend in architecture and offers infinite possibilities for what can be done with architecture through algorithmic and parametric designing assisted with script and coding practices (A.2). While computation in design is certainly a new trend with rapidly improving computer technology it therefore needs to be considered in the broader context of architecture, particularly compositional architecture. Compositional and generative (computation)architecture differ greatly from each other in many ways and as a result the architectural outcomes they can help us produce can affect our degree of exploration with design (A.3). With these concepts engaged with, it serves highly relevant to the next direction in Design Studio AIR and thus poses as an effective platform for which our own design thinking can stem from also. The most fascinating part to me in algorithmic and parametric designing is how complex architecture can generate from rather simple algorithmic equations which offers the temptation of wanting to continue exploration and experimentation. I would like to attempt to emphasise this in some way with my final design, to somehow emphasise how simple can quickly translate into complexity.

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A.5 LEARNING OUTCOMES

With no background in Rhinoceros and certainly not Grasshopper 3D either, this experience so far has certainly had to pose itself as a major learning curve. I have been required to understand new interfaces, encouraged to experiment, exposed to algorithmic thinking and encouraged how different components interact and alter an algorithm. While this is only early in my introduction to each of these programs, I expect my knowledge and experience to only continue to dramatically develop. Already with the programs however, I am discovering new ways of thinking which I had not even considered when developing previous designs and as such I imagine the benefit this could have posed to previous work would have been substantial.

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A.6 ALGORITHMIC SKETCHES

FIG.12 WEEK 1 EXERCISE.

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FIG.13: WEEK 2 EXERCISE - LOFT BETWEEN CURVES

FIG.14 DUAL HELIX CURVE - LOFTED TOGETHER.

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FIG.15 ONE OF MY EXPERIMENTATIONS WITH A GRIDSHELL

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FIG.16 SHADED GRIDSHELL

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[References PART A]:

FIG 1: Iwan Baan, ‘Heydar Aliyev Center’, November 14 2013, < http://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects>, [accessed 31/7/16]. FIG 2,3 AND 4: Karissa Rosenfield. “GA Designs Radical Shipping Container Skyscraper for Mumbai Slum” 24 Aug 2015. ArchDaily. Accessed 1 Aug 2016. <http:// www.archdaily.com/772414/ga-designs-radicalshipping-container-skyscraper-for-mumbai-slum/> FIG 5: Werner Sobek, ‘The New Structrualism: Radical Sources of Design Engineering’, John Wiley & Sons, 80(4) (2010), 24-33 (pp-32-33). FIG 6: Mercedes-Benz, ‘The Mercedes-Benz Museum in Mercedes-Benz.com [accessed August 8 2016]. FIG 7: Mercedes-Benz, ‘The Mercedes-Benz Museum in Mercedes-Benz.com [accessed August 8 2016]. FIG 8: Brady Peters ‘Computation Works: The Building of Algorithmic Thought’, Architecture Design, 2, 83 (2013), 12-13. FIG 9: Achim Menges, ‘Material Computation: Higher Integration in Morphogenetic Design’, Architecture Design, 2, 82 (2012), 17. FIG 10: Karissa Rosenfield, ‘Zaha Hadid’s First Tower in Melbourne Described as a Series of “Stacked Vases”’ < http://www.archdaily.com/779335/ zaha-hadids-first-tower-in-melbourne-takes-theform-of-stacked-vases> [accessed 12/8/1016] FIG 11: Lonely Planet, ‘Holocaust Memorial’ < http://www.lonelyplanet.com/germany/berlin/ sights/cemeteries-memorials-tombs/holocaustmemorial> [accessed 12/8/2016].

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CRITERIA DESIGN

PART B

CRITERIA DESIGN

B.1 - RESEARCH FIELD

I have elected to follow the research field of ‘structures’. From my understanding with this field, both from what it initially appears is possible with the Lunchbox plug-in for Grasshopper 3D and from the array of precedent projects, structures combines the construction ‘structural’ forms with the architecture. Whether this is a truss system, a grid frame or a repeated arch, the structural system becomes part of the design and is celebrated as an art-form rather than something which simply holds a building together. Effective demonstrations of the ‘structures’ field are the Kings Cross station concourse1, which grows and fans out like a tree canopy - emphasised by the crisp white lines of its structure. Similarly, in the South Pond pavilion 2the vaulted form becomes more prominent and more experienced by the user through the use of the mirrored curve structural formation. With each of these designs, by exposing the structure and making it the feature of the architecture it has allowed the design to convey its form more distinctly, in a similar manner as contouring a landscape to emphasise elevation. While I believe form can be more expressed through experimenting with the structure research field, my lack of experience in digital fabrication of such designs constructed in Rhino will pose as a significant challenge. Therefore, I may need to find a balance between expressing a complex form with an achievable fabrication method without limiting my creativity.

John McAslan + Partners, ‘King’s Cross Station’ < http://www.mcaslan.co.uk/projects/king-s-cross-station> [accessed 29/8/2016]

Brad Turner, ‘Movie by Spirit of Space: South Pond by Studio Gang’ < http://www.dezeen.com/2010/08/22/movie-by-spirit-of-space-south-pond-by-studio-gang/ > [accessed 29/8/2016]

FIG.16 KING’S CROSS STATION CONCOURSE BY JOHN MCASLAN + PARTNERS

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FIG.17 : NIGHT VIEW, SOUTH POND PAVILION IN CHICAGO BY STUDIO GANG

FIG.18 : IN USE, SOUTH POND PAVILION IN CHICAGO BY STUDIO GANG

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B.2 - CASE STUDY 1.0 With a particular focus around the Lunchbox plug-in for grasshopper, I have sought out to experiment with how the use of different components can add to a design - in this instance, differing input geometry species.

CRITERIA DESIGN

Original geometry inputs, this is the main differentiation between each species.

Quad panels component from Lunchbox is applied to create a simple initial frame structure to the input geometry.

Random quad panels component replaces quad panels component. This is combined with random split and offset to form a split layered geometry. This combination creates a similar appearance to a form with a clad applied.

Geometry is now connected to a diagrid component, the shape of this structure tends to mould onto the geometries more effectively, therefore leaving the forms simplified and triangulated efficiently.

In an attempt to replicate perhaps a fabricated structure, the diagrid nodes are connected to a sphere component which act as representing a connection between the members of the structure.

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Selection Criteria Developing a selection criteria for additional designs in Part B and Part C is crucial as it will guide my work and experimentation. Additionally, combining elements of the design brief in this criteria will assist in eventually addressing the brief for the final design proposal and therefore will be beneficial. Criteria:

> Potential to question technical, cultural and natural systems.

> Able to be used or interacted with.

> Experience a feeling of vastness.

> Potential to be integrated into site.

> Aspect of beauty in its 3D form.

> Permits further critical thinking or research.

Species A.5

Species B.4

As one of the more organic species forms this example needed to demonstrate it has potential to be implemented into a piece of architecture, The spheres which represent connections between members seems to create a believable situation showing how the geometry may come to exist as a built form. This example could be implemented as perhaps a roof structure, which could create a heightened feeling of a vast space when standing beneath. Similarly if placed closer to ground level, more challenging objectives could be placed toward its use, perhaps as an artificial landscape.

Although a much simpler geometry species the sphere offers the potential for quick manipulation with further grasshopper components which can alter its form quite significantly. The structure applied in this iteration quickly manages to represent the whole form of the sphere. The simplicity of this structural form applied in this case creates as lightweight geometry in appearance, and should the user be able to make themselves into the form it undoubtedly creates a vast open space. As is, the spherical structure could be significantly interacted with, perhaps being able to be rolled around?

CRITERIA DESIGN

Species E.3 Of the species that the offset random quad panels were applied to, this ‘S’ shape curve seemed to execute it the most effectively. The horizontally flowing form flows best with the quad panels and does not have the same degree of ‘clunkiness’ which the other geometries display. The design also presents a significant degree of potential where materiality could significantly alter the appeal of the form and with the form being quite gently flowing it could be integrated and co-exist with aspects of the site and its landscape.

Species B.5

Species F.4

As an interesting contrast, while there are less members in this species iteration than B.4, the spherical connection nodes add a degree of ‘heaviness’ to the overall structure, which poses as an area which could be explored further. There is a great potential with this object for beauty to be explored further, especially with the spheres, which could be experimented with materiality or swapped for another connection. However, with the spheres as the connection currently, if they have quite a high strength the members across the sphere could be experimented with, perhaps made flexible or elastic, which would make for a quite an interesting final form.

The spiral is certainly the smoothest out of the input geometries. Although the beauty of the spiral can easily be detracted from if it is overcomplicated especially with these structure components. The diagrid iteration kept the spiral quite simple and added a convincing structural element to its geometric form. This spiral could quite attractively be integrated within the Merri Creek area as it appears both like a tree canopy but also a steep landscape. The surface of the structure could be experimented with through pushing the possibilities of the structure or challenging the local context.

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B.3 - CASE STUDY 2.0

Canton Tower1 Completed in 2010, the Canton Tower in the city of Guangdong, China, challenges the typical cubic forms of many high rise towers, and creates a ‘twisted’ form. Standing at 600metres, the lattice-structured tower certainly dominates the landscape. The architects, Information Based architecture (IBA)2, wanted to design a tower which had more feminine features rather than typical towers which were “introvert, strong, straight, rectangular and based on repetition” - a more masculine design3. Changing this common typology is important, for we will begin to see more diverse geometry’s in our cities, rather than this repeating pattern of block work. Additionally, diverting more towards these more feminine forms of architecture is important for the industry where there is already the reputation it is a male-dominated industry, and many are trying to change this. The result, in the words of IBA director Mark Hemel, was “a tower, very slender and tall, that bears similarities with the figure of a female, the very reason that earned the nickname: ‘super-model’.’ The resulting tower does certainly convey this with is substantial height and delicate twists to produce its curvaceous form. 1 2 3

‘Canton Tower/Information Based Architecture’ (Published 19/11/2010) <http://www.archdaily.com/89849/canton-tower-information-based-architecture> [accessed 2/9/2016] ‘Canton Tower’ <http://www.archdaily.com/89849/canton-tower-information-based-architecture> [accessed 2/9/2016] ‘Canton Tower’ <http://www.archdaily.com/89849/canton-tower-information-based-architecture> [accessed 2/9/2016]

FIG.19 CANTON TOWER

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FIG.20 : CANTON TOWER FACADE/STRUCTURE

FIG.21 : INTERIOR

Reverse Engineering Process: One of the grasshopper tools prescribed when exploring the structures research field is the Lunchbox plug-in and when reverse engineering the project this tool became very useful and accurate.

Overall Process:

MOVEMENT OF CURVES IN Z DIRECTION TO CREATE HEIGHT OF STRUCTURE LOFTING OF CURVES

STAGE 1: Ellipse drawn in Rhino, first main ellipse moved in Grasshopper STAGE 2: Second (smaller) Ellipses drawn in Rhino, each ellipse is rotated relative to one another, ellipses moved in Grasshopper STAGE 3: Loft between the ellipses (curves)

LOFTED SURFACE CONNECTED TO BRACED GRID STRUCTURE FROM LUNCHBOX, PIPING IS APPLIED AND ALL DIMENSIONS ARE CONTROLLED WITH NUMBER SLIDERS TO ENSURE SIMILARITY WITH ORIGINAL PROJECT

STAGE 4: Braced 1-D structure applied to create structural form STAGE 5: Piping applied to the output lines to add more dimensionality

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FIG. 22: RENDER

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FIG. 24: PERSPECTIVE FIG. 23: TOP VIEW

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B.4 - TECHNIQUE DEVELOPMENT

BRACED 2D GRID

GRID STRUCTURE

HEXAGONAL STRUCTURE

SPACE TRUSS 1

QUADS STAGGERED

TRIANGLE PANELS B

TRIANGLE PANELS C

TRIANGLE PANELS A

QUAD PANELS + PANEL FRAME

EXTRUDE DIAGRID

SPHERE NODES, SMALL

IMAGE SAMPLER ON SURFACE 2 38

IMAGE SAMPLER ON SURFACE 3 CRITERIA DESIGN

DIVIDE CURVE, SHIFT LIST, EXTRUDE

SPACE TRUSS 2

DIAMOND PANELS

HEXAGON CELLS

FACET DOME

VORONOI SURFACE

SPHERE NODES, LARGE

EXTRUDE GRID FRAME ALONG Y AXIS

QUAD PANELS

DELUNAY EDGES

OFFSET RANDOM PANELS

RANDOM QUAD PANELS

SKEWED PANELS

RECIPROCAL MESH

IMAGE SAMPLER ON SURFACE 1

WEAVERBIRD PICTURE FRAME OUTLINE MESH CRITERIA DESIGN

WEAVERBIRD PICTURE FRAME 39

WEAVERBIRD STELLATE

WEAVERBIRD PICTURE FRAME OFFSET

HEXAGON FABRICATION DEFINITION

WITH FIXINGS

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WEAVERBIRD STELLATE THICKEN

WEAVERBIRD BEVEL VERTICES

GRID FABRICATION DEFINITION

GRID FABRICATION DEFINITION WITH FIXINGS

WEAVERBIRD BEVEL EDGES

GRID FABRICATION DEFINITION, CHANGE U AND V VALUES

WEAVERBIRD MESH EDGES

BOX MORPH

3D EVALUATE FIELD

EXOSKELETON

FABRICATION DEFINITION WITH PANELS

RETRACTOR POINT DEFINITION A

RETRACTOR POINT DEFINITION B

INTRALATTICE

EXOSKELETON ALTERNATE

INTRALATTICE GRADIENT

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Highlighted Iterations

Reciprocal Mesh This exploration of a reciprocal structure could be beneficial especially as it seems to satisfy my selection criteria quite well. The reciprocal structureâ&#x20AC;&#x2122;s appealing natural arrangement of elements provokes critical thought of structures and such a structure could present many opportunities for usage and exploration of vastness. Thinking further, such a structure may present challenges in fabrication as well as the risk of any weak elements which would directly affect the whole structure if they were to exist. However if chosen, the final result would likely be quite impressive.

Offset Random Panels Also satisfying many of the selection criteria I have developed, this technique could also provoke interesting design exploration. The most potential which could be explored would be the use of the offset panels themselves as they could certainly heighten the beauty of the form. How the offset panels are supported would also need to be investigated, although minimising these structural members should be as hidden as possible to maximise this quite interesting floating effect. As a result, this form could also pose fabrication challenges as ensuring this floating effect occurs may require trialling.

CRITERIA DESIGN

Exoskeleton The exoskeleton is an interesting structure form and its human inspired structure could perhaps be easily integrated into the natural environment as a result. As a result of this human body derived influence, the structure could draw discussion over the connection between structures of buildings and the human body. Noteworthy however is the heaviness in appearance of the structure due to the quite dense joints which tend to add a noticeable â&#x20AC;&#x2DC;weightâ&#x20AC;&#x2122; to the structure. Materiality exploration of this form particularly could be interesting, likely requiring a casting or similar method. Concept fabrication is designed to be completed using 3D printing and could also pose as a good learning experience.

Fabrication Definition With Panels As another quite dense structure, this imported definition from the grasshopper 3D forum exposes a range of exploration and alteration possibilities. The honeycomblike frame and voids adds a noticeable depth to the exterior allowing the structure to appear quite large and imposing which is an interesting effect and could work to the benefit of the selection criteria. If such a form is decided upon, it will simultaneously demonstrate its nature-inspired forms as well as be very imposing and attention grabbing, however will still need to harmoniously sit within the landscape. The definition could lead to some interesting fabrication exploration and as a result a high quality final product

CRITERIA DESIGN

B.5 - PROTOTYPING

FIG.24 : LINE DRAWINGS OF AREA TO DETAIL

CRITERIA DESIGN

Design Goals Considering the design brief is paramount, referencing my selection criteria developed in B.2 will be important in guiding my fabrication and exploration of my design technique. As the current exploration is an interim design proposal, I am not expecting all aspects of the criteria to be met to the best ability, however it is important for the design to at least demonstrate some potential which can be improved further. From the iterations explored with my Canton tower reverse engineer, there are some principles I have wanted to explore further such as the twisted form which can be explored easily with parametric tools. Structural treatments to the form I am exploring will be an important consideration and a reference to nature within this form would be desirable. Materiality and joinery may become an aspect which is continually experimented with between this current stage and the final design proposal, however at this stage the detailing is aiming at exploring fixed joinery and timber beam construction.

FIG.25 : LAID OUT MEMBERS FOR MODEL FABRICATION - SCALE 1:10

FIG. 26: LAID OUT CUT BOX BOARD FOR MODEL FABRICATION - SCALE 1:10

CRITERIA DESIGN

Considering the Brief

When I developed the fo was to address the key c have a direct impact on th this current detail for the pr

> Potential to question tech FIG.27 : PHYSICAL PROTOTYPE EARLY FABRICATION

The twisting form will q structural techniques, and reciprocal support manne systems. The experience form aims to address presen

> Able to be used or interac

The form of this scale is through and the hexagon sit on the beams.

> Experience a feeling of va

A twisted form will aim to small-to-open spaces as the

> Potential to be integrated

To be covered in B.6, the the site, forming a connec and the Merri Creek area.

> Aspect of beauty in its 3D

Hexagonal forms are architecture and they have with honeycombs as one current use of timber bea with the surrounding site an > Permits further critical th

Further experimentation current form, which can b experience and the constru

FIG.28: PHYSICAL PROTOTYPE ABOVE - SHADOWING, SELF WEIGHT 46

CRITERIA DESIGN

ollowing design criteria in B.2, my aim components of the brief which would he design. I will address how I believe roposal is addressing the brief.

hnical, cultural and natural systems.

question and challenge conventional d the structure operates in almost a er which adds to natural construction which will be encouraged within this nt day urban vs. nature cultures.

cted with.

s designed to be able to be walked nal structure allows users to perhaps

astness.

o change users perception going from e move through the architecture.

d into site.

form aims to be a key entry point to ction between the neighbouring areas

D form.

becoming increasingly popular in e greater potential to reference nature prominent example. Furthermore, the ams for the construction should tie in nd will age and weather gracefully. inking or research.

and opportunities arise from this be tweaked and altered to benefit user uction.

FIG.29 : PHYSICAL PROTOTYPE PERSPECTIVE - SHADOWING, BEND TO FORM

CRITERIA DESIGN

B.6 - DESIGN PROPOSAL

A Place of Exhibition In my design proposal I want to emphasise the connection or in some cases the disconnection between the urban and the natural worlds. This exhibition theme draws closely with the brief for it encourages critical thinking, reflection and questions natural, technical and cultural systems. Changing the experience of the user as they transcend in and out of the form will be vital in exhibiting this theme by using the form to change spatial perceptions with the intention this changes their overall outlook

CRITERIA DESIGN

Facilitating the Exhibition Playing on the idea of the Canton Tower’s twisting form I have reapplied this technique to form two entrance arches at 90 degree to one-another, with the form of the architecture moulded between these two arches. The intent of twisting the structure is to evoke exactly that from the user, to twist their perception and experience as they transition through the entry way from the urban to the natural side. The taller or the ‘portrait’ arch is placed on the ‘urban’ side, where the built environment can elicit a narrowing effect to human scale, not dissimilar to a corridor in a building the person feels small and cramped. Meanwhile the wider ‘landscape’ archway is hence placed on the ‘natural’ side, looking into the Merri Creek area, which should create a feeling of spaciousness and openness to the user, with the vastness of this natural environment available to them.

CRITERIA DESIGN

SITE St Georges Road Fitzroy North Between Merri Creek Reserve and Green Reserve

Merri Creek Area Merri Creek is full of a rich history and this is reflected in many of the cultural and physical aspects of the site today. This includes the Labyrinth, the CERES Community Environmental Education Park as well as high amounts of natural vegetation in the area. The vicinity surrounding the creek sports some quite diverse attractions and services including schools, sporting facilities, low and higher density housing and main arterial roads - the latter being the main contributor to the high noise levels in some areas along the creek. MAP SOURCE: Google Earth 2016.

CRITERIA DESIGN

Site Issues and Characteristics

>Close to main arterial roads and eastern freeway >Many areas of parkland scattered nearby >Flows into Yarra River >Merri Creek and its associated land area twists and deviates regularly, creating a quite complex trail >Merri Creek Trail a key route for bicycles and walking, both recreational and for transport >Limited night-life >Many very shaded areas, especially the creek itself >Many â&#x20AC;&#x2DC;hard-edgesâ&#x20AC;&#x2122; - park abruptly meets road/homes >High pollution levels - rubbish, storm water residue

CRITERIA DESIGN

Rendering

FIG.30 : VISUALISATION RENDER

FIG.31 : STRUCTURE ON SITE RENDER - SITE PLAN - NOT TO SCALE SOURCE: GOOGLE EARTH 2016 52

CRITERIA DESIGN

B 54

CRITERIA DESIGN

B.7: LEARNING OBJECTIVES AND OUTCOMES

Part B has certainly allowed me to develop my computation design skills at an exponential rate, especially since Part A. This phase of the subject as well has forced me to continually reference and keep the brief in mind, specifically through parametric design possibilities. Similarly, as the subject expects, I have found myself dividing time between both Grasshopper and Rhino usually performing quite different processes within each in order for me to satisfy my design requirements or in adding content to this journal. Not until late in this area of the course did I begin thinking and applying design proposals involving air and architecture for atmosphere. Particularly, I found myself considering the atmosphere around the site to be of significant importance for my design proposal. Argument formation is a key element of this subject and fortunately, when I engage in the design process, arguing for my design decisions is always something I consider from beginning to end which in turn has allowed me to progress through this aspect of the course quite fluently. My decision making and exploration in development of contemporary architectural techniques has been encouraged by this subject and within Part B more so, especially in my analysis of other architects designs. My knowledge of the potential in which computational design can extend the possibilities of architecture continues to grow also. Continuing on from Part A is my growing understanding and drive for exploration into computational tools and techniques and I believe there is still an ongoing possibility for this into Part C and beyond. During Part B I was also required to engage in some initial research into fabrication techniques from Rhino and Grasshopper. Fabrication became the main area of research throughout Part B and will likely remain so into Part C as I am particularly determined to not have my designs inhibited by my current and initial lack of experience with these fabrication methods. Overall I believe I have gained some insightful experience through more detailed experimentation with computational design, particularly with the Lunchbox and other structure related Grasshopper 3D plug-ins. I am also pleased that I have developed my skills to a level where there is the chance to develop, manipulate and create parametric architecture.

CRITERIA DESIGN

B.8: ALGORITHMIC SKETCHES

FIG.32: EVALUATING FIELDS

FIG.33 : GRAPHING SECTION PLANES 56

CRITERIA DESIGN

FIG.34 : FACADE GENERATION TASK, SPACE FRAMES

CRITERIA DESIGN

[References PART B]:

FIG 16: John McAslan + Partners, ‘King’s Cross Station’ < http://www.mcaslan.co.uk/projects/ king-s-cross-station> [accessed 29/8/1016] FIG 17, 18: Brad Turner, ‘Movie by Spirit of Space: South Pond by Studio Gang’ < http://www.dezeen. com/2010/08/22/movie-by-spirit-of-space-southpond-by-studio-gang/ > [accessed 29/8/1016] FIG 19, 20, 21: ‘Canton Tower/Information Based Architecture’ (Published 19/11/2010) <http://www.archdaily. com/89849/canton-tower-information-based-architecture> [accessed 2/9/2016] Google Earth, ‘Google Earth’ < https://www.google.com.au/ earth/> [accessed 12/9/2016].

CRITERIA DESIGN

PROJECT PROPOSAL

PART C PROJECT PROPOSAL

C.1: Design Concept Collaboration While in Part A and Part B we engaged in design work and exploration individually, Part C now finds us transitioning toward collaborating and developing a design in a group of two students. The exchange of ideas, architectural styles and experience leads me to be enthusiastic towards group work in Part C. I also expect that the skills and processes learnt will be greater than that of individual work as the personal goals set by myself and my partner will likely differ, thus exposing each other to different design thinking and processes.

FIG.36 : VISUALISATION SKETCHES OF FORM

Interim Feedback Interim feedback was indeed helpful and thought provoking which will assist development of a successful final design. The first element gained in the feedback was the suggestion to push the design further in terms of how it reacts to the environmental context. Some suggestions relating to noise and reactions to natural light were made. The response to each of these suggestions should be able to co-exist in the architecture of the final design. Lighting particularly offers the opportunity for interesting user experiences. Panelling is certainly one option which should certainly be explored.

FIG.35 : VISUALISATION SKETCHES OF FORM,

Final Concept

Reconsidering the user experience as they interact with the architecture was also an aspect which could be strengthened. The final design form will be where users will gain the most interaction with the architecture, and should be considered deeply as it is the mechanism for manipulating and determining user experience.

From Part B the concept behind the design has only been altered slightly, mainly to link more directly with the brief. The pavilion design proposal will intend to allow users to experience natural and built environments, reflect on them, and understand their relationships. These thought processes intended to be evoked by the parametric architecture are also supported by the sustainable materiality, interactions with weather and sunlight and the pavilion acting as a habitat for humans and other species. Another key focus of the design is for areas within the pavilion to act as â&#x20AC;&#x2DC;framingâ&#x20AC;&#x2122; devices for the landscape which surrounds it, whether it be the urbanised areas or the landscape of Merri Creek. 62

PROJECT PROPOSAL

FIG.37: VISUALISATION SKETCHES OF FORM

Design Precedents To help inform the design and the direction it takes, some initial research was undertaken while generating ideas for the design form. The two main precedents selected had an appeal and inspiration drawn from these can assist the design in satisfying our underlying concept.

A Decaying Log There are many aspects of such an element found in nature which we believed resonated with our design concept. The frayed ends of a fallen log and its hollowness encourages the user into it, wanting to climb inside and explore its interior. Similarly, the hollowness, assuming the log is hollow throughout, allows the log to act as a viewing portal, framing the view of what it is that lies at the other end of the log. The decaying nature of the log also poses a similar question in which our design may elicit: is this the result of human interference? FIG.38: DECAYING LOG

Using Light to Emphasise Form In response to the interim feedback and the overall concept of the final design, manipulating and utilising natural light can only be beneficial. Similar to this form, by using lighting, artificial or perhaps sunlight, the form becomes emphasised with the addition of lighting in key areas. Implementation of similar lighting would benefit the final design as by emphasising the forms, it has potential to change the user experience significantly.

FIG.39: : LIGHTING TO EXMPHASISE FORM

PROJECT PROPOSAL

Initial Design After initial sketches we began work on the final design outcome. The result is a form quite organic and unique. The design shares the similarity with my Part B proposal which was the ‘twisting’ form, and this current design I believe is better at executing the twisting shape. The twist has been further accentuated by the diamond panels which are to be bent down their centre to emphasise a heavy texture and three dimensional form across the structures surface. Fabrication may pose challenges and a joining system will have to be prototyped. The panels may be non-structural, with a separate structure inserted in a grid-shell like arrangement.

ROOF PLAN SCALE 1:100 @ A4

EAST ELEVATION

SCALE 1:200 @ A1

SOUTH ELEVATION SCALE 1:200 @ A1

PROJECT PROPOSAL

WEST ELEVATION SCALE 1:200 @ A1

NORTH ELEVATION SCALE 1:200 @ A1

SECTION AA SCALE 1:100 @ A1

Sunlight Radiation Analysis In response to some of the interim feedback, designing the pavilion to react more to the surrounding environment is certainly a focus. Shown in these sun radiation diagrams are the areas which absorb the most sunlight hence these should similarly be well-lit areas. Naturally lighting areas on the interior and exterior will provide a more welcoming pavilion and one which captures attention of Merri Creek users from a distance.

ROOF PLAN NOT TO SCALE

NORTH

NOT TO SCALE

SOUTH-EAST NOT TO SCALE

EAST NOT TO SCALE

PROJECT PROPOSAL

Technique Diagram

Circle Placement defined by Perp Frames, assists in illustrating the form.

Base Curve

Generated b curve and p

Perp Frames Interpolate

Equally spaced frames follow the path set by the base curve

Range defined mathematical graphing assists in defining the radius for the circles

Multiply

Set of 11 points distributed across the circle, assists in defining vertices for Mesh later.

Series Series of numbers generated to define the value the list is shifted

Construction Process Diagram

PROJECT PROPOSAL

Curve generated between points

Divide Curve

Graph Mapper

Loft

Shift List Points on the curve are shifted in numbering, this will assist in creating the impression of a twisting Mesh

between points.

Diamond Panels

Ruled Surface

Mesh UV

WB Join

Generated across the lofted surface to add the impression of structure and highlight the twisted form.

Forms a surface between the two Wire Frames

Constructs a mesh matching a surface.

Results in singular mesh.

inner faces

Brep Wire Frame

Explode

Isolating the wires generated from the diamond panels.

Generates and isolates vertices of the Wire Frame Mesh

Construct Mesh From the input vertices

Mesh Turn Rotates order of vertex for each face, produces mesh for remaining outer mesh faces.

outer faces

Triangulate Mesh Splits diamond panels into triangles.

Fab. only

Control Polygon Extracts the nurbs control polygon of a curve

PROJECT PROPOSAL

C.2: Tectonic Elements and Prototypes Core Construction Element - Panels While panels were not part of the Part B proposal, including them in the design for the final project offers some benefits such as those previously mentioned: added user experience, experimentation with natural lighting, acoustics and added sense of a third dimension to the form. As a crucial element to the design, fabricating prototypes of the panels and a potential jointing system will be vital in communicating how the design proposal may come to exist.

FIG.41: THE JOINING PINS CREATED QUITE A FIRM HOLD BETWEEN THE TABS OF THE PANELS

Prototype A - 1:10 This scale for the prototype certainly proved to be the most effective, with smaller scales tending to lose some of the detail in the design or even render some aspects of the design unable to realise. In future, a thinner board would likely be used. The current material choice tended to peel and wrinkle when bending at the etch marks which lost the impression that these had been completed with a laser cutter. Furthermore, the material of choice for the full scale design would likely not be equivalent to these in thickness, likely to be thinner and lightweight. The joining pins were quite successful and quite strong for a prototype of this size and represented a strength likely equivalent to bolting (or similar) in practice. The scale of this model also allowed for shading and shadows to be quite well represented and visible.

FIG.40: EXAMPLE PROTOTYPE SECTION OF THE DESIGN. MOST NOTABLE IN THIS IMAGE IS THE INTERESTING SHADOW EFFECTS TO EMPHASISE THE FORM OF THE PANELS. 68

PROJECT PROPOSAL

FIG.42: LASER CUTTING CERTAINLY GAVE A MORE PRECISE FORM AND PANEL SHAPE

FIG.43: PEELING OCCURRED TO SOME OF THE ETCHED AREAS WHICH WOULD BE AVOIDED WITH A THINNER SHEET

FIG.44: THE FOLDING OF THE PANELS IN HALVES TO CREATE A MUCH MORE TEXTURED FORM IS REPRESENTED SUCCESSFULLY WITH THIS PROTOTYPE

PROJECT PROPOSAL

Prototype B - 1:50 Unfortunately in the case of this prototype, the scale left us at a disadvantage when it came to our attempts to form the model. The model was successful at accurately representing the arrangement of the diamond panels as well as the etched edges for bending to add more of a third dimension and rigidity. However due to the small panel size and likely the material choice, the panels were unable to be folded throughout in the manner which was intended, which left the fabricated sheet much more flexible and unable to be formed into the final shape properly. If we are to produce a final model which constructs the whole form, both the scale and material choice will have to be reconsidered.

FIG.45: THIS CROSS SHAPE BETWEEN EACH OF THE PANELS WILL OFFER SOME INTERESTING SHADOWS AND RESPONSES TO NATURAL LIGHT, ADDING TO THE ATMOSPHERE WITHIN THE PAVILION.

FIG.46: THE UNROLLED LAYOUT OF THE PAVIL GIVES A CLEAR UNDERSTANDING OF WHERE MAJORITY OF THE PANELS ARE LOCATED ‘FANNING’ APPEARANCE OF THE PAVILION’S FOR STILL RECOGNISABLE IN THIS 2D REPRESENTAT

PROJECT PROPOSAL

FIG.47: THE ACCURACY OF THE LASER CUTTER IS CERTAINLY SHOWN IN THE FINAL PRODUCT,.

LION E THE AND RM IS TION.

FIG.48: NOTE THE FAINT SHADOWS WE CAN ALREADY SEE BEING PRODUCED BY THE PANELS EVEN AT 1:50 SCALE, THESE WILL LIKELY BE MORE PROMINENT AT LARGER SCALES.

FIG.49: WHILE THE MATERIAL MAY NOT HAVE BEEN DESIRABLE IN TERMS OF ATTEMPTING TO FOLD EACH OF THE PANELS, THE FLEXIBILITY OF IT ALLOWS FOR THE TWISTING OF THE STRUCTURE TO BE EXPERIMENTED WITH. PROJECT PROPOSAL

C.3: Final Detail Model Core Construction Element - Panels and Associated Structural Work After much consideration and feedback from tutors, what has The result of the final model was desirable, however the one been lacking from the design till this point is a representation issue encountered was the notches which unfortunately were too of structure. As a result, the final detail model is focusing on narrow. representing a structural frame in the form of beams which would in effect still create the designed form and also support the panels. The area of the design chosen demonstrates a medium-level twist and curve in the overall shape of the form, especially compared to the quite vigorously twisting section in the centre of the structure.

FIG.50: LAYOUT OF STRUCTURAL BEAMS (STRIPS) READY FOR FABRICATION

PROJECT PROPOSAL

FIG.51: SECTION OF THE DESIGN WHERE THE DESIGN DETAIL IS DRAWN FROM

FIG.52: DESIGN DETAIL IN RHINO PRIOR TO BEING PREPARED FOR FABRICATION

PROJECT PROPOSAL

Construction of Core Element:

FIG.53: BEGINNING OF CONSTRUCTION

PROJECT PROPOSAL

FIG.54: CONCLUSION OF CONSTRUCTION

Photography of Result:

PROJECT PROPOSAL

C 80

PROJECT PROPOSAL

C.4: Learning Objectives & Outcomes Feedback in the presentations was certainly very helpful in informing the final detail model and the designs we had produced, as well as feedback on our technique, focusing on twisting structures. While we brought both prototypes to the final presentation, it was difficult to consider either as a presentation quality model. As a result, the final detail model was particularly constructed after the final presentation. The detail model was much more successful at representing the structure, which the prototypes had failed to do so and this issue had also been raised in the final presentation. While we were able to address the issues of structure (or lack of) in the model, there still remains the issue of the design not achieving the purpose of â&#x20AC;&#x2DC;framing viewsâ&#x20AC;&#x2122; of the landscape, which was brought up by the crit. When considering Studio AIR holistically, I believe in engaging in this final design, we have achieved many of the objectives set by the subject. The final design has been made achievable through use of computational design - grasshopper 3D. Part C especially has improved my skills across Rhino, Grasshopper 3D and in digital fabrication, skills which at the beginning of the subject I had no knowledge or experience in. Despite my lack of knowledge and experience in these methods of design and fabrication, the impact has appeared to be minimal on achieving the end result of the design. The design which has been produced has also had the key aim of producing a pavilion with an atmosphere exploring human vs. nature, and I believe many aspects of the design have been

PROJECT PROPOSAL

[References Part C] FIG 38: Webnode, ‘Hollow Log Ideas’ < http://www.webnode. me/hollow-log-ideas.html> [Accessed 15/10/2016]. FIG 39: Flickr Hive, ‘dfab, grasshopper’ < http://flickrhivemind. net/Tags/dfab,grasshopper/Interesting> [Accessed 2/10/2016].

PROJECT PROPOSAL