Aktepe kubra 699148 final journal

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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]

26

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PART B / / CRITERIA DESIGN

28

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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

50

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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

| 88

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

ER

RI

CR

SITE EE

K

SO

U

T

H

M

O

R

A

N

G

T

R

A

IN

L

IN

LEGEND STREET

E

PA R K ( V E G E TAT I O N )

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

ER

R

I

C

R

EE

K

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

98

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

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CONCEPTUALISATION 153


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