STUDIO AIR Kubra Aktepe
2016, SEMESTER 1, Canhui Chen Kubra Kevser Aktepe 699148
CONCEPTUALISATION 3
Table of Contents 5窶オntroduction 7窶イonceptualisation 9
A.1 Design Futuring
10
Homeostatic Facade System
12
EcoARK Pavilion
15
A.2 Design Computation
16
Barclays Center
18
Voussoir Cloud
21
A.3 Composition / Generation
22
Sixth Order
24
My Thread Pavilion
26窶コeferences 28
B. Criteria Design
31
B.1 Research Field
34
B.2 Case Study 1.0
48
B.3 Case Study 2.0
54
B.4 Technique Development
68
B.5 Technique: Prototypes
76
B.6 Technique: Proposal
82
B.7 Learning Objectives and Outcomes
84
C. Detailed Design
86
C.1 Design Concept
114
C.2 Tectonic Elements & Prototypes
128
C.3 Final Detail Model
152窶コeferences
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Introduction
Age 20, I am eager to find new methods of design processes and innovations to broaden my knowledge on what an architect can be capable of designing. Coming from an eager childhood of love toward the arts, I would have never imagined that through simple steps of algorithmic scripts a whole building can be designed with no complex mathematical problems, neither any aesthetic setbacks. Technology and its advancements have come so far into the architectural world that one would not think twice about what the boundaries of design might be. You simply create as further as your imagination dwells. I am still at the beginning of my learning curve with my experience in using digital design tools, however am eager to find out how far my creativity can take me. Interested in design approach through the use of technology to create sustainable outcomes would probably have to be my driving factor towards how to create structures which not only serve a particular purpose but must also aesthetically look appealing. The dynamism of using computational methods now is that they have minimal limitations on what you can create, this is a great step towards design futuring. Our anthropocentric outlook on the world we live in has led to consequences of degradation, exploitation and even extinction. If our future is to continue to advance in technology and design, then we must take initiative to design on the basis that our structures have a positive impact towards our future, because it is not the generations before us who will live in it, it will be us, and for that purpose we should always consider how our buildings might function on a grand-scale scheme of things rather then a micro-outlook. It is vital that as growing designers of the current age, we understand the reality of our worlds situation. Engaging with other disciplines will light the way towards a worldshaping force, as every design choice has a direct impact on our future. We need to understand that nature alone cannot continue to withstand our demands, therefore we must design smarter to become independent inhabitants of the future. Thus, through existing computational programs, designers will be able to think the unthinkable and design audaciously, however we must always conceptualize our designs on the basis that it has a positive impact on our world.
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PART A / / C O N C E P T U A L I S A T I O N
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A.1 DESIGN FUTURING 8
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Homeostatic Facade System by Decker Yeadon, New York
The system functions with the presence of an actuator which transfers electric energy to the silver coated ribbons on the exterior of the building. The fabrication of these ribbons through the use of polymer materials which when polarized, ‘distributes an electrical charge, cause the material to deform’2 as a direct response to heat. This deformation enables the ribbons to increase in size,
A
n inspirational project based on the biological system of homoeostasis - the
principle of maintaining a stable condition1 ,
focuses on a facade system which regulates the internal environment through an automatic response to climatic conditions. Sunlight and temperature variations allow the self-regulating facade system comprised of a ribbon inside the cavity of a double skin glass facade to adjust automatically through the use of an engineered system.
which furthermore prevents thermal gain. Based on natural principles, this project is a glimpse into how a combination of expertise in the fields of science, engineering and architecture can produce an
eco-friendly
building
to
address
contemporary issues of the current age. One cannot define the parameters of what makes a sustainable building, however, progression towards efficient automated mechanical systems such as the Homoeostatic Facade System is a great step within the field of Design Futuring to better our Future.
1 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.96 2 http://materia.nl/article/homeostatic-facade-system/ [4.03.16]
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EcoARK Pavilion by MINIWIZ, Taipei
P
lastic
bottles;
one
of
most
Not only does it meet requirements of
hazards to
great innovation through recycling, but the
ecology is now on the forefront as a recycled
building uses a ventilation system which runs
element within the construction industry,
through the systematical process of collecting
breaking new ground and heightening the
rainstorm
importance of sustainable architecture.
furthermore creating a cooling effect.
The design of this pavilion is a world first
The building now functioning as an
as a fully functioning structure made
exhibition hall4, holding fashion shows,
using recycled PET bottles to form POLLI-
meetings and
Bricks3. This newly found innovation, built
addition to the architectural cityscape.
ecologically detrimental
the
water to bathe the structure,
expositions is a great
entirely from 1.5 million recycled plastic bottles is able to withstand earthquakes
The EcoARK pavilion has set a great example
through its structurally stable steel frame.
on how to recycle waste products and create an aesthetically pleasing show-piece.
3 http://www.miniwiz.com/miniwiz/en/projects/archi/ ecoark [04.03.16] 4 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.62
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Design Futuring through innovative ideas like this is “hailed as a new benchmark for the future of green buildings� [Figure 5] CONCEPTUALISATION 13
A.2 DESIGN COMPUTATION
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Barclays Center by SHoP Architects, Brooklyn
C
omputerization
the
The facade latticework encountered a
the
slight dilemma within the construction
growing age. Solutions are now being
phase, whereby all panels were individually
found easily through the use of software
designed through the use of advanced
and
design
parametric modelling tools. The process
issues which arise within construction
involved the “exporting of the panels
processes are no longer a hindering factor
into a program which then generated
towards design approach for architects.
a material-efficient layout�6 to allow for
architectural
digital
has
become
phenomenon
design.
Complex
of
the production of
the parts, optimizing
The Barclays Center is one of the many
the shape of the structure. Such complex
projects whereby the digital chain links to
design issues explore the digital chain
the design composition to the process of
between composition and computerization
construction a history of budget concerns,
within
the
architectural
domain.
the initial conceptual designs for the arena, led by Frank Gehry was scrapped, after which SHoP Architects unveiled the design idea for a structure banded by a glass curtain wall composed entirely of 12,000 uniquely engineered pre-weathered steel panels 5.
5 http://archpaper.com/news/articles.asp?id=6284 [10.03.16] 6 http://bimforum.org/san-antonio-bimforum-agenda/ barclays-center-facade-design-delivery/ [10.03.16] 16
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Voussoir Cloud
Through computational programs such as
by Iwamotoscott, Los Angeles, 2008
T
he Voussoir Cloud is an exploration of
parametric
compression the
Rhino they were able to script the “petal
through
computational
method
structural the
hanging
use
of
chains
inspired by Antonio Gaudi.
The refining of the profile lines and the form finding programs allow the artist to determine the compressive vaults
and
their strengths. The use of catenary curve simulation through computational methods determine the cell
density as smaller
sections are prevalent at the column bases and edges whereas
the shells of the
upper vaults loosen and gain porosity 7.
edge plan curvature as a function of tangent offset� the more they scripted the offset function the greater the curvature became 7. Each curvature is dependent on the voids adjacent, similar to the hanging chains method by use of anchor points, the
shape
Complex
is
architecture
derived. as
such
is
composed and generated through a set of fundamental rules and applications. Architectural processes in the to
generate
outcomes
which
are able would
otherwise take years to develop and build. 7 http://www.iwamotoscott.com/filter/FEATURED/VOUSSOIR-CLOUD [12.03.16]
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A.3 COMPOSITION/ GENERATION
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Sixth Order by Michael Hansmeyer,
Digital fabrication generate forms
is now able to
complex
through
and
algorithmic
abstracted operations.
Hansmeyer uses data for the different elements
of
the
column,
as
stated
“The input form contains data about the proportions of the column’s shaft,
C
olumns have always been a very beautifully decorated element within
architectural history through the use of ornamentation, one cannot imagine that a newly found computational algorithm so simply technological can remarkably create the most exquisite of all columns.
capital, and supplemental base” 8. Each individual
component
is
distinguished
from each other, whereby “processes of inherent formal characteristics are individually tagged and then assigned specific
behavioural
parameters”9.
Inherently, this process of computational
Hansmeyer explores the use of a simple
design enables the artist to generate the
computational method to create varyingly
design without any initial knowledge on
diverse experiments, such as the Sixth
what the outcome might will look like.
Order. Through a process of Subdivision he
Therefore, the driving force of the design is
is able to create a continuous folding motion
purely based on the algorithmic simulation
by the use of an algorithm, to eventually
rather then compositional form. The process
develop individually fascinating outcomes.
can varyingly be repeated within different parameters to produce
diverse outcomes.
8 http://www.michael-hansmeyer.com/projects/columns_ info.html?screenSize=1&color=0 [16.03.16] 9 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.200
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myThread Pavilion by Jenny Sabin Studio, Nike Stadium NYC
Once the biological data is collected the
R
ethinking art within the domain of architecture through dimensions of
materialistic approach towards what can and cant be used within the industry is a design challenge. Through challenges as such, Sabin explores the use of thread to create complex formfitting structure on a performance-enhancing shoe
10
.
In collaboration with a series of runners in an earlier Nike Flyknit workshop, Sabin “transformed the patterns of this biological data into the geometry and material
of
the
knitted
structure”10.
surface patterns are generated by use of dynamic body data through 3D modelling techniques
as a direct response to the
material construct, as “Aluminium rings stretch the fabric into spatial tubes that weave the pavilion into the surrounding space”
11
The material sensitivity to respond to sunlight and physical presence
invokes
great design issues such as sustainability. Generative architecture through methods of computation is stretching to a whole new
level.
Micro-biological
data
can
now be the source of inspiration to
10 http://jennysabin.com/?p=684 [16.03.16] 11 A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014), p.201 24
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REFERENCES: BOOKS: A. Simitch, V. Warke, The Language of Architecture: 28 Principles every architect should know (USA: Rockport, 2014) WEBSITES: http://materia.nl/article/homeostatic-facade-system/ [4.03.16] http://www.miniwiz.com/miniwiz/en/projects/archi/ecoark [04.03.16] http://archpaper.com/news/articles.asp?id=6284 [10.03.16] http://bimforum.org/san-antonio-bimforum-agenda/barclays-center-facadedesign-delivery/ [10.03.16] http://www.iwamotoscott.com/filter/FEATURED/VOUSSOIR-CLOUD [12.03.16] http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=0 [16.03.16] http://jennysabin.com/?p=684 [16.03.16]
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PART B / / CRITERIA DESIGN
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B.1 RESEARCH FIELD 30
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PROJECTS OF INTEREST Voussoir Cloud by Iwamotoscott, Los Angeles, 2008
Shell Star PAVILION by Matsys
my THREAD PAVILION by Jenny Sabin Studio, Nike Stadium NYC
Green Void by Lava,
BIOTHING ORGANIC HANGING CHAINS ELASTICITY
MEMBRANE KINETICS
Beginning this research project I had varying interests in a series of diverse design projects. These forms of generative designs intrigued me as they explore methods of catenary curved design schemes and the use of an organic truncated piping. My interest lay in how different design schemes can be incorporated to produce outcomes of varyingly diverse responses through algorithmic scripting.
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“Biothing is a form which takes shape through self-modifying patterns of vectors based on electromagnetic fields, through logics of attraction/repulsion trajectories...”
B.2 CASE STUDY 1.0
BIOTHING | REPOSITORY OF Computation Design Wednesday, March 24th, 2010
Biothing, Seroussi Pavilion, Paris 2007
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the original
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ARCHITECTURAL DESIGN OF THIS GENERATION IS EXPLORED THROUGH COMPUTATIONAL METHODS OF DIGITAL TECHNIQUES. THROUGH SIMPLE METHODS OF ALTERATIONS AND ALGORITHMIC SKETCHING A NEW WORLD OF PATTERNING AND MATERIAL PERFORMANCE CAN BE OBSERVED, HENCE, ARCHITECTURE HAS NEVER BEEN MORE ELABORATELY INTRIGUING THEN EVER BEFORE. MY OUTCOMES ARE BASED ON ORGANIC FORMS WHICH HAVE BEEN MODIFIED TO FURTHERMORE EXPLORE MOTIVES OF THE HANGING CHAINS METHOD, THEY GENERATE SCHEMATIC PROPOSALS TOWARDS MEMBRANE KINETICS
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B.3 CASE STUDY 2.0 48
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myThread Pavilion by Jenny Sabin Studio, Nike Stadium NYC
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THE TEXTURE OF THE OUTCOME FOR THE REVERSE ENGINEERING IS THE MOST ELABORATELY SHAPED FORMS WHICH I HAVE MANAGED TO CREATE. ITS DELICACY AS IN THE CONTEXT OF MATERIALITY IS COMPLEX AND POSSESSES ITS OWN CHARACTER. THROUGH MATERIAL PERFORMANCES AND THE USE OF ALGORITHMIC TECHNIQUES THROUGH GRASSHOPPER ONE IS ABLE TO CREATE SUCH INTRICATE OUTCOMES, THROUGH SCRIPTS DEVELOPED, MORE COMPLEXITIES CAN BE EXPLORE TO GENERATE OUTCOMES WHICH EXPLORE THIS ORGANIC FORM THROUGH LINE SIMULATIONS USING GRASSHOPPER TO THEN PLUGIN TO GEOM MAPPER/ISO SURFACE.
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B. 4 TECHNIQUE: DEVELOPMENT ORGANIC FORM COMPLEXITIES THROUGH SIMPLE ALGORITHMIC MANIPULATIONS...
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B. 5 TECHNIQUE: PROTOTYPES | METAL WIRE, INSECT SCREEN, PRESENTATION BOX... |
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MATERIALISATION THROUGH THE USE OF AN INSECT SCREEN AND METAL WIRES CAN CREATE SPONTANEOUS FORMS WHICH EXPLORE TEXTURES DIRECTLY RELATED TO MY FIELD OF INTEREST WITHIN THIS PROJECT. THE OUTCOME BEING OF THE UNKNOWN, I WORKED TO FIND A FORM WHICH SUITED MY DESIGN TECHNIQUE (ORGANIC - MESH) DEVELOPED ON GRASSHOPPER. DESIGN EXPLORATIONS OF BOTH ALGORITHMIC MODELLING USING COMPUTATIONAL METHODS IN PARALLEL TO THAT OF PROTOTYPING THROUGH PHYSICAL MODELLING RESULTS IN SEEMINGLY DIVERSE OUTCOMES OF EQUALLY INTRIGUING FORMS. THROUGH PROTOTYPING I HAVE TESTED HOW WIRES CAN BE USED TO CREATE A SKELETAL FORM WHICH IS THEN ENGULFED BY MESH. THE AFFECTS WHICH ARE CREATED BY THE MESH ARE VERY ORGANIC AND CAN FORM VARIOUS SHAPES WITH EASE OF FLEXIBILITY. THE MATERIALISATION OF THE MESH USED IS PERFECT TOWARDS IDEAS RELATED TO MERRI CREEK SPECIFICALLY IN REGARDS TO ITS CAPACITY TO DIFFUSE WATER THROUGH THE WEAVE YET CAPTURE SOLID OBJECTS.
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B.6 TECHNIQUE: PROPOSAL
WEBBED LIKE SURFACES, THROUGH MESH, CREATE OUTCOMES OF GREATER COMPLEXITY FROM THAT OF SCRIPTING USED WITHIN REVERSE ENGINEERING. THROUGH SIMPLE ALTERATIONS AND MANIPULATIONS TO THE SCRIPT, ONE IS ABLE TO CREATE OUTCOMES OF GREAT ATTRIBUTES TOWARDS MEMBRANE KINETICS. THESE FORMS REMIND ME OF SOME FORM OF WEBBED STRUCTURE, WHICH CAN BE USED ULTIMATELY DEPENDING ON ITS MEMBRANE COMPLEXITY TO CARRY ITEMS, AS CATCHMENTS, AS A PLAYFUL OBJECT WITHIN A SPACE OR BETTER YET FACILITATE TO RESOLVE AN ENVIRONMENTAL ISSUE. INITIATING FROM A WIDE ARRAY OF DESIGN GENERATIVE IDEAS TO FORM MORE INTRICATE ITERATIONS AS SUCH IS AN OUTCOME OF USING GRASSHOPPER. MANIPULATIONS AT THIS LEVEL OF COMPLEXITY IS ALMOST IMPOSSIBLE TO ACHIEVE THROUGH OTHER FORMS OF PROGRAMMING. HOW CAN AN OBJECT WITHIN A SPACE EXPLORE ISSUES DEEPER THEN WHAT WE CAN SEE?
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Merri Creek - Site Analysis
1
The Grove - Egan Reserve, Coburg, VIC
2
4
1
2
3 5 4
3
5
ONE OF THE MAIN CONCERNS WHICH I AM KEEN TO ADDRESS IS RUBBISH BUILD UP ON THE EDGE OF THE BANK OF THE CREEK. THIS ENVIRONMENTALLY DETRIMENTAL HAZARD CAUSES VISUAL DISCOMFORT AND IS AN ISSUE OF GREAT CONCERN WITH REGARDS TO MAINTAINING A HEALTHY ECOLOGY.
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Proposal - Litter Traps
A WEBBED LIKE STRUCTURE CREATED USING A COLOURED WEAVE MESH WOULD WORK SYSTEMATICALLY TO CREATE A BARRIER TOWARDS ENHANCING THE ECOLOGICAL STANDARDS OF THE CREEK. RUBBISH WHICH IS SWEPT AWAY EITHER BY WIND, WATER OR SIMPLY AN ACT OF LITTERING WILL BE TRAPPED USING THIS MECHANISM PROPOSED. SUBMERGED INTO THE CREEK ON ONE HALF AND THE OTHER HALF ATTACHED TO THE BANK OF THE CREEK, THE MESH WOULD PROLONG FLOW OF WATER IN THE CREEK HOWEVER STILL WORKING TO TRAP SOLID OBJECTS WHICH CANNOT PASS THROUGH ITS PHYSICAL PRESENCE. ONCE THE LITTER IS TRAPPED, ALLOCATED DAYS WILL BE SET TOWARDS THOSE APPOINTED TO PRESERVE THE CREEK TO COLLECT THE RUBBISH BUILD UP WITHIN THESE TRAPS. THIS PROPOSAL SERVES AS A POSITIVE TOWARDS SUSTAINABLE LIVING BY MAINTAINING HEALTHY ECOLOGICAL STANDARDS OF THE CREEK. IT IS VITAL TO DESIGN SMART AS DESIGNS OF THE FUTURE ARE DEVELOPING TO BECOME NOT SOLELY BASED ON THE AESTHETICS, BUT OF ITS CAPACITY TO MAKE A CHANGE TOWARDS THE BETTERING OF OUR ENVIRONMENT.
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WITHIN THIS STUDIO WE HAVE EXPLORED DIFFERENT DIMENSIONS OF ARCHITECTURE THROUGH COMPUTATIONAL METHODS. THE KNOWLEDGE GAINED WITHIN THIS AREA OF STUDY HAS BEEN EYE OPENING TO THE VARIETY OF RESEARCH FIELDS WHICH CAN BE EXPLORED EVEN FURTHER. DESIGNS OF THIS GENERATION ARE MOVING TOWARDS COMPUTATIONAL METHODS AS A
B. 7 LEARNING OBJECTIVES & OUTCOMES
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MEANS BY WHICH SOLUTIONS OF GREAT DESIGN COMPLEXITIES CAN BE SOLVED YET MORE IMPORTANTLY DESIGN GENERATION . ONE CAN NOW GENERATE MORE INTRICATELY FORMED GEOMETRIES, SHAPES, TEXTURES AND PATTERNS THROUGH THE USE OF COMPUTATIONAL ALGORITHMIC SCRIPTING TO THEN APPLY TO THE REAL WORLD.
I AM VERY INTERESTED IN HOW DESIGN CAN
BE OF THE UNKNOWN, YET BY SIMPLE CODING ONE CAN GENERATE FORMS THAT ARE RIDICULOUSLY INTRICATE AND INSPIRING, SIMILAR TO THE SIXTH ORDER BY MICHAEL HANSMEYER. AFTER CONSIDERATION INTO THIS FIELD, I HAVE BECOME FOND OF USING THIS TECHNIQUE TO DEVELOP MY OWN DESIGN IDEAS WHICH WOULD TAKE MORE TIME WITHOUT PROGRAMMING THROUGH OTHER FORMS OF PROGRAMMING. IT IS A VERY INNOVATIVE WAY TO DESIGN, AND I BELIEVE THE FUTURE OF DESIGN WILL PREDOMINANTLY BE LED BY COMPUTATIONAL ARCHITECTURAL METHODS. YET IT IS ALL THE MORE IMPORTANT TO CREATE DESIGNS WHICH SERVE TO CREATE A BETTERING OF OUR ENVIRONMENT, AS WE OF THIS GENERATION ARE THE ONES RESPONSIBLE IN DETERMINING HOW OUR FUTURE TAKES SHAPE.
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PART c / / DETAILED DESIGN
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C.1 DESIGN CONCEPT 86
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C.1
natural vs artificial
DESIGN PROPOSAL
CONCEPT
safety
D I G I TA L T R E E
enticer hyper reality
artificial reality
life form
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EL I Z A B E T H CONCEPTUALISATION
S E A H
|
M ONIQU E TRIU LC IO
|
KUBR A
AK TE P E
|
BUNNY
HAN
|
MI CHAE L
G R O P P O
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ARBOR 90
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M
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HOUSING
CREEK
A R B O R LO C AT I O N
01
R U S H A L L S TAT I O N M
MELBOURNE CBD
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ARBOR WAS CONCEPTUALIZED AND DEVELOPED AS A RESPONSE TO OUR UNDERSTANDING AND PERCEPTION OF DIGITAL DESIGN. FIRSTLY, WHAT RESOUNDED WITHIN US WAS NOTIONS OF THIS ARTIFICIAL REALITY, DIGITALIZED MEDIUM WHERE A HYPER REALITY CAN BE CONCEIVED. WE WERE IMMEDIATELY CHALLENGED BY THE IDEA OF NATURAL VS ARTIFICIAL, ARBOR IS NOT NATURAL, IT IS IN FACT ARTIFICIAL AND THE IDEAS OF ARTIFICIALITY WAS ECHOED THROUGH THE DESIGN PROCESS. WE LOOK TO NATURE, BOTH PAST AND PRESENT AS A SOURCE OF INSPIRATION, OF SOME TRANSCENDENTAL, ORGANIC, PURE EXPERIENCE, WE LOOK TO NATURE AS A SOURCE OF RECREATION. OUR SITE, ABUNDANT IN NATURE WAS IN FACT UNDERUTILIZED AND NEGLECTED. WE DO NOT QUESTION THE BEAUTY OF NATURE, WE RATHER FEEL THAT USING DIGITAL DESIGN AS A MEDIUM TO ENHANCE THE PERCEPTION OF THE NATURAL. IT IS AN IRONIC PHENOMENON, THAT BY CREATING AN ARTIFICIAL REALITY, WILL WE APPRECIATE NATURE. ARBOR, LATIN FOR TREE, IS AN INSTALLATION, DESIGNED TO PROVIDE A LIGHTING SOLUTION THAT WILL FACILITATE A SAFER ENVIRONMENT FOR COMMUTERS BY ENTICING A GREATER AMOUNT OF FOOT TRAFFIC MEANDERING THROUGH THE SITE AND SURROUNDS. THE FORM ITSELF IS INSPIRED BY A TREE, BUT UTILIZING PARAMETRIC DESIGN METHODS USED FOR THE FORM-FINDING PROCESS. THE SITE IS A REASONABLY OPEN AREA OF FLAT GRASSLAND, IN CLOSE PROXIMITY TO RUSHALL RAILWAY STATION AND VIEWABLE FROM THE SURROUNDING RESIDENCES, ROADS, AND TRAIN LINE. THE APPROACH OF THE TRAIN LINE INTO RUSHALL STATION IS OFFERS AN UNOBSTRUCTED VIEW ONTO THE SITE, WHICH WE UTILISED AS A MEANS OF SHOWCASING THE FORM.
THE FIRST IMPRESSION FROM OUR INITIAL SITE VISIT WAS THAT THE AREA WAS POORLY LIT AND POORLY TRAFFICKED, AND UPON
FURTHER RESEARCH, WE DISCOVERED THAT PUBLIC SAFETY IS IN FACT AN EXISTING ISSUE HERE. IN THE PAST FEW YEARS THERE HAVE BEEN SEVERAL MINOR CRIMES; MUGGINGS, ASSAULTS, AND SUCH THAT HAVE OCCURRED IN THIS SPECIFIC AREA NEAR RUSHALL STATION. 92
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PRECEDENCE LOOP PH
OUR FOREMOST PRECEDENT WHICH WE WERE EXTENSIVELY INSPIRED BY WAS LOOP PH, TAKING NOTE OF THEIR USE OF PATTERNING AND LIGHTS TO ACHIEVE A DYNAMIC VISUAL EFFECT AND EXPERIENCE. THE LIGHTING REPRESENTS MOVEMENT WITHIN THIS DIGITAL TREE, SIMILAR TO THE TRANSFER OF NUTRIENTS AND WATER THROUGH THE XYLEM AND PHLOEM OF AN ORGANIC TREE. NEON COLOURS WERE A DELIBERATE CHOICE TO STARKLY CONTRAST WITH THE ORGANIC FORM AND SURROUNDING NATURAL LANDSCAPE, HIGHLIGHTING THE ARTIFICIAL ORIGIN AND CONSTRUCTION OF THE INSTALLATION 94
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INITIAL ATTEMPTS AT FINDING A DESIGN SCHEME WHICH SUITED THE DESIGN AESTHETIC OF LOOPS WE BEGAN TO WORK ON A DIGITAL MODEL. THE LOOPS WERE PREDOMINANTLY THE DRIVING AESTHETIC FEATURE OF OUR FORM, THEY WOULD IN ITSELF WRAP AROUND AND JOIN WITH ONE ANOTHER TO CREATE THE ORGANIC SHAPE. WE BELIEVED THAT BY HAVING A HOLLOW STRUCTURAL FORM WE COULD INTERPRET THE LIGHTS AROUND AND WITHIN THE STRUCTURE. THE DIGITAL MODEL WAS A PIVOTAL POINT TOWARDS OUR REALIZATION OF HOW WE COULD POSSIBLY CONSTRUCT SUCH A COMPLEX FORM.
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C O N S T R U C TA B I L I T Y PROTOTYPING
0 1 . V I N Y L P I P E S A N D M E TA L C O N N E C T I O N
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02. EL WIRE AND CABLE TIES
03. ELECTRICAL PIPING AND CABLE TIES
0 4 . R AT TA N / C A N E R AW
05. FIBRE-GLASS RODS
THIS EXPLORATION WHICH WAS CARRIED OUT BY MICHAEL
THROUGH RESEARCH AND OUR DOMINATING APPEAL
THIS EXPLORATION WHICH WAS CARRIED OUT BY
THIS MATERIAL WAS ONE WHICH WE WERE VERY
OUR INTENT TO USE FIBREGLASS
GROPPE ONE OF MY TEAM MEMBERS WAS ONE OF THE
TOWARDS A STRUCTURE WHICH SOMEHOW INCORPORATED
MYSELF ONE AS A PROCESS TOWARDS FINDING A
UNLIKELY TO USE HOWEVER WE BELIEVED THAT FOR
RODS TO BEND AND CREATE THE
INITIAL PROTOTYPES WHICH WE WERE ABLE TO OBSERVE.
LIGHTING WE CAME ACROSS A VERY INTERESTING
MATERIAL WHICH WOULD STRUCTURALLY SUPPORT
A WIDE RANGE OF EXPLORATION MATERIALS AND
CIRCLES RELIED ON OUR ABILITY TO
THE MATERIALITY OF THE VINYL PIPES WERE APPLICABLE
MATERIAL, EL-WIRE. THIS MATERIAL REALLY SUITED OUR
OUR LOOP AND EL-WIRE DESIGN SCHEME. THE
ITS CONSTRUCTIBILITY SHOULD BE CONSIDERED.
FIND CONNECTORS WHICH WOULD
HOWEVER NOT TO OUR DESIGN AESTHETIC DUE TO ITS
DESIGN SCHEME AS OPPOSED TO THE LED LIGHTING,
MATERIALITY OF THIS ELECTRICAL PIPE WAS
AS A RAW MATERIAL, CANE ARE LONG STRANDS
INEVITABLY KEEP THE ROD AS A FULL
INABILITY TO FORM FULL CIRCLES. ITS THICKNESS COULD
WE WERE ALSO ABLE TO PURCHASE MANY AT A VERY
VERY SOUND AND QUITE RIGID, OVERALL ABLE TO
WHICH THEN HAVE TO BE FORMED INTO CIRCLES.
CIRCLE WITH NO KINKS OR UNUSUAL
HAVE BEEN A FACTOR FOR THIS INABILITY YET WE DID
REASONABLE PRICE. THIS EXPLORATION WHICH WAS
FUNCTION AS THE STRUCTURAL SUPPORT WHICH
THE MAIN PROCESS OF FORMING THIS CIRCLE
BENDS.
NOT FIND IT APPEALING TOWARDS OUR DESIGN THEME.
CARRIED OUT BY ELIZABETH SEAH WHEREBY WE WERE
WE NEEDED, HOWEVER, THE PIPE CONTAINED
WAS TO INTIALLY DAMPEN THE CANE, THEN USE
UNSUCCESSFUL
INITIALLY WE WERE INTERESTED IN USING LED LIGHT
ABLE TO UNDERSTAND THE STRENGTH AND RIGIDITY OF
PRODUCT INFORMATION ON ITS SURFACE AND WE
A JIG TO FORM THE CORRECT CIRCLE DIAMETERS,
RIGHT CONNECTORS FOR OUR METHOD
WHICH WE COULD THREAD THROUGH A MATERIAL AS
THE EL-WIRE. THIS PROTOTYPE ALLOWED US TO FORM
BELIEVED THAT IT ALSO DID NOT FULFIL OUR
THEN LET IT DRY OUT. THIS PROCESS AND ITS
OF CONSTRUCTIBILITY WE REALISED
SUCH HOWEVER THIS ALSO DID NOT SUIT OUR DESIGN
THE CONCLUSION THAT WITHOUT ANOTHER STRUCTURAL
DESIGN REQUIREMENTS.
DISCREPANCIES WERE TOO RISKY AND OVERALL
THE HIGH COST OF BUYING THESE
INTENT.
MATERIAL WHICH WOULD IN EFFECT BE A FORM OF
NOT SUITABLE TOWARDS OUR DESIGN SCHEME.
RODS WERE A FURTHER DOWNFALL.
CONCEPTUALISATION
EVEN THOUGH WE WERE AT
FINDING
THE
CONCEPTUALISATION 99
CONSTRUCTION & PROTOTYPING WE INITIALLY WORKED WITH A SIMILAR STRUCTURAL SYSTEM AS USED BY LOOP PH, A SERIES OF INTERLOCKING LOOPS MADE FROM A FLEXIBLE YET STRONG MATERIAL, CREATING A SELF-SUPPORTING PRIMARY STRUCTURE ON WHICH WE WOULD ATTACH OUR LIGHTING. THE ISSUES ENCOUNTERED WITH THIS SYSTEM WERE IN TERMS OF SOURCING A SUITABLE MATERIAL AT AN APPROPRIATE PRICE POINT. WE EXPERIMENTED WITH FIBREGLASS RODS AND ELECTRICAL WIRING/ CABLING BUT NEITHER WERE SUCCESSFULLY IN SATISFYING ALL THE CRITERIA. WE EVENTUALLY DEEMED THIS STRUCTURAL SYSTEM TOO EXPENSIVE AND TOO LABOUR INTENSIVE TO FABRICATE WITHIN OUR TIME CONSTRAINTS. AS SHOWN WITHIN THE IMAGE TO THE RIGHT OUR DIGITAL MODEL ALSO HAD DISCREPANCIES WHICH WOULD STRUGGLE TO OVERCOME DUE TO ITS IRREGULARITY. THE NUMBER OF CIRCLES WHICH WOULD NEED TO HAVE BEEN CONSTRUCTED RANGED AT 900, HENCE WHY WE CHANGED OUR DIRECTION FROM LOOPS TO PERSPEX SHEETS.
WE INSTEAD DECIDED ON A SYSTEM OF PERSPEX PLATES AND INTERSECTING METAL RODS, FIXED TOGETHER BY WASHERS AND BOLTS. THE BLACK PERSPEX WAS CHOSEN OVER TRANSPARENT OR WHITE PERSPEX FOR IT'S VISUAL CHARACTERISTICS. IT IS ALSO MORE SUBTLE ON-SITE THAN STARK WHITE DURING THE DAY, AND LESS REFLECTIVE AT NIGHT WITH THE LIGHTING TURNED ON THAN THE TRANSPARENT PERSPEX, CREATING A CLEANER AND LESS CHAOTIC VISUAL PATTERN. WE EXPLORED THE USE OF CABLE TIES TO CONNECT THE STRANDS OF EL WIRE AND CREATE PATTERNS (SEE PHOTOS). THE CABLE TIES WORKED WELL IN TERMS OF STRENGTH, COST, AND EASE OF CONSTRUCTION BUT ULTIMATELY WERE NOT SUITABLE FOR APPLICATION IN COMBINATION WITH OUR STRUCTURAL SYSTEM.
100
CONCEPTUALISATION
CONCEPTUALISATION 101
OUR AIM WITH THE PERSPEX SHEETS WERE MORE SUITABLE TOWARDS OUR DESIGN INTENT AND AESTHETIC SCHEME. THE DIGITAL DESIGN PROCESS TO REALIZE THE FORM DEPICTED WAS CARRIED OUT BY A PROCESS OF CONSTRUCTING THE MESH BASED ON CURVES DRAWN AS INITIAL PARAMETERS WHICH ARE THEN SET WITHIN A BOUNDARY BOX. FROM THIS INITIAL TECHNIQUE WE WERE ABLE TO EXTRACT ITERATIONS DEPENDING ON HOW THICK WE REQUIRED OUR FORM TO BE TO REACH A HIGH LEVEL OF AESTHETIC COMPLEXITY. THE FORM WAS THEN SLICED INTO BOUNDARY SURFACES TO PROVIDE THE MAIN SUPPORT STRUCTURE. THESE PLANAR SURFACES ARE THEN EXTRUDED TO BECOME SOLID AT A PARTICULAR WIDTH TO FORM PART OF THE PERSPEX SHEETS. FOR OUR PRESENTATION TO A PANEL OF CRITICS PRIOR TO FINAL SUBMISSION WE UNFORTUNATELY DID NOT REACH THE FINAL STAGE OF DIGITAL MODELLING TO INCORPORATE THE LIGHTS THROUGHOUT THE SURFACE OF THE STRUCTURE. AT THIS POINT OUR MODEL WAS TO BE OF A GREATER SCALE, ROUGHLY 3M METRES, THIS WAS ALSO AN INHIBITING ELEMENT TOWARDS OUR INCOMPLETION. WE THEREFORE RESORTED IN USING STEEL RODS WHICH WOULD PROTRUDE THROUGH THE LENGTH OF THE MODEL ASSISTING AS A SUPPORT MECHANISM YET ALSO ALLOWING US TO CONNECT THE PERSPEX SHEETS TOGETHER USING BOLTS AND WASHERS.
102
CONCEPTUALISATION
CONCEPTUALISATION 103
CONSTRUCTION & PROTOTYPING STEEL RODS & SHEETS
104
CONCEPTUALISATION
CONCEPTUALISATION 105
D I G I TA L D E S I G N P R O C E S S
01. CURVES
106
CONCEPTUALISATION
0.2 MESH
0.3 MESH CLOSEST POINT
0.4 CONTOUR & BOUNDARY
0.5 PIPE LINE
CONCEPTUALISATION 107
ARBOR
01. PERSPECTIVE 108
CONCEPTUALISATION
02. PERSPECTIVE CONCEPTUALISATION 109
AERIAL
110
CONCEPTUALISATION
CONCEPTUALISATION 111
ARBOR
BOT TOM 112
CONCEPTUALISATION
FRONT CONCEPTUALISATION 113
C O N S T R U C TA B I L I T Y PROTOTYPING
114
CONCEPTUALISATION
CONCEPTUALISATION 115
C O N S T R U C TA B I L I T Y PROTOTYPING
116
CONCEPTUALISATION
CONCEPTUALISATION 117
C O N S T R U C TA B I L I T Y PROTOTYPING
118
CONCEPTUALISATION
CONCEPTUALISATION 119
C O N S T R U C TA B I L I T Y PROTOTYPING
P E R S P E X , S T E E L R O D S , B O LT S A N D WA S H E R S 120
CONCEPTUALISATION
CONCEPTUALISATION 121
C O N S T R U C TA B I L I T Y PROTOTYPING
EL WIRE 122
CONCEPTUALISATION
CONCEPTUALISATION 123
124
CONCEPTUALISATION
CONCEPTUALISATION 125
P R E S E N TAT I O N FEEDBACK THE FEEDBACK FROM THE PANEL OF CRITICS WERE POSITIVE IN REGARDS TO OUR OVERALL THEME AND DESIGN APPROACH, AS OUR RENDERS PROVED EFFECTIVE, HOWEVER, OUR EXECUTION USING STEEL RODS BEING QUITE CHUNKY AND HEAVY LOOKING WEIGHED US DOWN. THEY BELIEVED THAT OUR FORM HAD LOST ITS ESSENCE OF BEING A VERY UNREAL AND ALMOST LIGHTWEIGHT STRUCTURE, THEY QUESTIONED OUR CONSTRUCTION MATERIALS YET ALSO WONDERED IF WE WERE TOO CAUGHT UP BY THE AESTHETIC AL BEAUTY OF THE EL-WIRE AND ITS GLAMOUR THAT WE DISREGARDED WHAT THE STRUCTURE MIGHT LOOK LIKE DURING THE DAY. OUR INABILITY TO EXECUTE THE LIGHTS AT A HIGH STANDARD IN A MORE CONTROLLED MANNER WAS THEREFORE NEEDED TO BE IMPROVED.
126
CONCEPTUALISATION
CONCEPTUALISATION 127
ARBOR 128
CONCEPTUALISATION
CONCEPTUALISATION 129
THE PROCESS OF DIGITALLY MODELLING THE LIGHTS EVOLVED FROM A METHOD OF EVALUATING THE POINTS ON THE NAKED EDGES AND THEN INTERPOLATING THE CURVES BETWEEN THEM TO A MORE REFINED PROCESS. DRAWING THE CURVES ALONG THE MESH FACE BOUNDARY TO ENSURE THAT ALL THE CURVES ARE CONTROLLED WITHIN THE MESH, THIS BECAME A MORE RELEVANT TECHNIQUE TOWARDS ACHIEVING OUR DESIGN OUTCOME. THE MOST SIGNIFICANT PROCESS IS THE CONJUGATING, CONSIDERING HOW THE CONNECTION BETWEEN THE MAIN STRUCTURE AND THE LIGHTS ARE DEVELOPED ACCORDINGLY SO THAT ALL THE HOLES MATCH UP. THUS, WE HAD TO ENSURE THAT THE LIGHTS ARE KEPT WITHIN THE PARAMETERS OF THE SURFACE OF THE FORM, SHOWCASING ITS DYNAMISM AND ALLURING CHARACTERISTICS OF THE ELWIRE. A GENERAL HOLE SIZE IS THEREBY SET WITHIN THE OUTER SURFACE OF THE STRUCTURE TO ALLOW FOR THE LIGHTS TO FEED THROUGH SMOOTHLY. FOR SOME OF THE UNIQUE ANGLES WITHIN THE FORM, WE MANUALLY ADJUST THE SIZE AND THEN IMPORT THE ADJUSTED VERSION OF CIRCLES BACK TO FORM NEW BOUNDARY SURFACES. THE ANGLES AND FLEXIBILITY OF THE LIGHTS ARE ALSO CONTROLLED BY THE FULL HOLE AND HALF HOLE EXTRACTED FROM THE FORM WHICH ARE SET AT THE EDGES TO FURTHERMORE PREVENT POTENTIAL RISKS WITHIN THE CONSTRUCTION PROCESS.
130
CONCEPTUALISATION
CONCEPTUALISATION 131
C O N S T R U C TA B I L I T Y THE CONSTRUCTION PROCESS WAS ALSO QUITE A STRENUOUS TASK, IT INVOLVED US STRIPPING THE TAPE LAYERS FROM THE PERSPEX SHEETS, THEN FORMULATING HOW EACH PIECE IS LAYERED ON TOP OF EACH OTHER ONE BY ONE. THIS PROCESS WAS EASED BY THE NUMBERING OF EACH PIECE AS A CONTROLLED ELEMENT, YET WAS STILL A LARGE TASK CONSIDERING THE AMOUNT OF PIECES - 204. AS EACH SHEET IS STACKED LIGHTS AT EACH ENDS WHICH WAS PUNCTURED ARE ALSO SIMULTANEOUSLY THREAD THROUGH, ONCE EACH SHEET WAS STACKED WE THEN HAD TO MAKE SURE THE ANGLES WERE CORRECT AS SOME SECTIONS WERE NOT MATCHING UP WITH THE TOP LAYERS OF OUR FORM. THE COMPLETION OF THIS LED TO US USING AN ADHESIVE TO CREATE THE ENTIRETY OF THE STRUCTURE AND GIVE IT SOME RIGIDITY. THE LIGHTS ARE THEN ATTACHED TO THE POWER SUPPLY (BATTERIES) TO THEN LIGHT UP THE STRUCTURE.
132
CONCEPTUALISATION
CONCEPTUALISATION 133
AERIAL 134
CONCEPTUALISATION
CONCEPTUALISATION 135
136
CONCEPTUALISATION
CONCEPTUALISATION 137
SITE: RUSHALL STATION, MERRI CREEK SCALE (1:1): 3000MM HEIGHT, 900MM WIDE OUR DESIGN CONCEPT IS BASED ON THE IDEA OF PROVIDING A LIGHTING INSTALLATION AS A SOLUTION TO THE LACKLUSTER, UNDER UTILIZED AREA SURROUNDING THE PROXIMITY OF RUSHALL STATION AND MERRI CREEK. THE DARKNESS AT NIGHT ACTS AS AN INSTIGATOR OF CRIME, DETERRING USERS. WE WERE INTRIGUED BY THE APPLICATION OF DIGITAL DESIGN AND ITS IMPLICATION WITHIN THE CONTEMPORARY ARCHITECTURE REALM. IT LENDS US TO THE IDEA OF THE CONTRAST BETWEEN NATURAL AND ARTIFICIAL, THE NOTION OF USING HIGHLY SKEWED, ARTIFICIAL LIGHTING WITHIN A NATURAL ENVIRONMENT. THE ABSTRACTED FORM ALSO SERVES AS A POINT OF JUXTAPOSITION BETWEEN THE ORGANIC VEGETATION AND THE FABRICATED PERSPEX FORM. THE FORM IS TO BE DOMINANT WITHIN THE LANDSCAPE AS A MEANS OF ELUCIDATING AND PORTRAYING AN ABSTRACTED, NEW DIRECTION HYPER REALITY - A DIGITAL REALITY. PERSPEX IS USED AS A REFLECTIVE TOOL TO PROVIDE AND CREATE THE PIXELATED, ARTIFICIAL CANVAS, WHICH IS ULTIMATELY AIMED AT ENTICING USERS TO THE AREA AS WELL AS SERVING AS A BEACON OF POWER AND PERSEVERANCE, NOW AND INTO THE FUTURE. 138
CONCEPTUALISATION
CONCEPTUALISATION 139
140
CONCEPTUALISATION
CONCEPTUALISATION 141
142
CONCEPTUALISATION
CONCEPTUALISATION 143
144
CONCEPTUALISATION
CONCEPTUALISATION 145
- DESIGN STUDIOS ARE CHALLENGING, THEY EXPLORE THE FLOW OF IDEAS FROM INITIATION TO END RESULT. IT IS NOT ALWAYS THE OUTCOME WHICH ONE YEARNS TO COMPLETE, YET THE PROCESS AND CREATIVE EXPLORATION OF IDEAS AND HOW THEY ARE INTERPRETED INTO BUILT ENVIRONMENTS. THE NARRATIVE AND THE PURPOSE INTERCONNECT WITH HOW THE IDEA MIGHT BE EXECUTED, WITH STUDIO AIR, GRASSHOPPER BRINGS A NEW DIMENSION TOWARDS HOW ONE CAN TAKE ON ARCHITECTURAL CREATIVITY AND INNOVATION. THE POWER OF DIGITAL TOOLS AND ALGORITHMIC CODING AS WAY OF VISUALIZING A FORM IS BROUGHT TO A DIMENSION NEVER REALIZED STATE, WHEREBY ONE IS ABLE TO ALTER, ADAPT, AND MANIPULATE DESIGN TO THEIR DESIRE. GRASSHOPPER AND ITS RAPID DESIGN OUTCOMES ENABLES ITERATION PROCESSES. A VERY SIMPLE COMMAND GIVES ONE THE POWER TO COMPLETELY CHANGE A DESIGN AESTHETIC. THIS REVOLUTIONARY PROGRAMMING METHOD FACILITATES SPONTANEOUS ARCHITECTURAL DESIGN -
146
CONCEPTUALISATION
CONCEPTUALISATION 147
THE ESSENCE OF DIGITAL DESIGN IS NOT CONFINED WITHIN PARAMETERS OF 3D PRINTING OR DIGITAL FABRICATION, ONE IS ABLE TO EXPLORE MATERIALITY AND ITS ENTIRETY AS A FORM TOWARDS PROJECT EXECUTION. PREFERABLE, HOWEVER THIS SUBJECT HAS ENABLED ME TO GROW A DEEP INTEREST IN HOW DIGITAL DESIGN CAN SWIFTLY BECOME AN EVERYDAY TOOL. ONE IS ABLE TO CREATE OBJECTS AND TOOLS WHICH CAN BE UTILIZED AND IN SOME CASES BECOME A MORE SUSTAINABLY EFFICIENT AND CHEAPER OPTION. THE POWER OF DIGITAL DESIGN IS DIRECTLY THROUGH ITS TRANSFORMABLE APPEAL, ITS ABILITY TO ADAPT AND CREATE TO SUIT PARTICULAR PURPOSES WITHOUT A LONG PROCEDURE OF ALTERATION. THIS STUDIO HAS CHANGED MY PERSPECTIVE ON PARAMETRIC TOOLING AS I NOW UNDERSTAND THAT IT IS NOT NECESSARILY A ZAHA HADID PROGRAMMING TECHNIQUE, AND CAN BE UTILIZED IN MANY WAYS. GRASSHOPPER ALLOWS THE DESIGNER FREEDOM OF DESIGN WITH PRECISE FLUID DATA.
148
CONCEPTUALISATION
CONCEPTUALISATION 149
150
CONCEPTUALISATION
CONCEPTUALISATION 151
REFERENCES: INTERNET: VOUSSOIR CLOUD https://www.bing.com/images/search?q=voussoir+cloud&view=detailv2&&id= 251557EDF0F65FC085C774D616B9A0BE714F0429&selectedIndex=124&ccid=P uhMPxTv&simid=608012175731658013&thid=OIP.M3ee84c3f14ef0d267dacfeaf2 3d10f92o0&ajaxhist=0 SHELL STAR PAVILION https://www.bing.com/images/search?q=shell+star+pavilion&view=detailv2& &id=39E246EAF299168333C091D2C0FFCBA34937D581&selectedIndex=15&cci d=oBR2vnRe&simid=608044078754038828&thid=OIP.Ma01476be745eaecf04f7 12b7b7ea8eaao0&ajaxhist=0 MY THREAD PAVILION IMAGE https://www.bing.com/images/search?q=%22my+thread%22+pavilion&view=d etailv2&&id=3D51222F4017FBD796C991E8D0DFC8C5BD30129F&selectedInde x=26&ccid=THwbuxRX&simid=607989631450091222&thid=OIP.M4c7c1bbb14577 b1f9005673650e83ee3o0 VERY MANY IMAGE https://www.bing.com/images/search?q=marc+fornes&view=detailv2&&id=8A 7B11B20C43A89FC94947B840DCBB2A6C6E9DDF&selectedIndex=27&ccid=wW Vv57Np&simid=608037223981123175&thid=OIP.Mc1656fe7b36983d46af85dac 5802b9bfo0&ajaxhist=0 LOOP PH IMAGE http://webdev.loop.ph/wp-content/uploads/sites/3/2014/01/IMG_1334.jpg http://webdev.loop.ph/wp-content/uploads/sites/3/2014/11/IMG_4171420x425.jpg http://loop.ph/wp-content/uploads/sites/3/2014/12/IMG_4807-1500x999.jpg
152
CONCEPTUALISATION
CONCEPTUALISATION 153