Finalpartb by Louis Saunders

STUDIO AIR P A R T

L O U I S

S A U N D E R S

8 3 8 0 1 7 TUTORIAL 14: DAVID WEGWAM

CONCEPTUALISATION 1

CONCEPTUALISATION

TABLE

CONTENTS

PART B: CONSEPTUALISATION B0. Self Reflection B1. Model for Variation B2. Case Study 1.0 B3. Case Study 2.0 B4. Expanding the Algorithm B5. Technique: Prototypes B6. Technique: Proposal B7. Learning Objectives and Outcomes B8. Appendix - Algorithmic Sketches BIBLIOGRAPHY

CONCEPTUALISATION 3

B.0. SELF REFLECTION HEART CHAKRA

ABOUT THE HEART CHAKRA The heart chakra represents love, warmth, compassion, and joy is located in the centre of the chest at the heart level. It is the centre of your deep bonds with other beings, your sense of caring and compassion, your feelings of self-love, altruism, generosity, kindness, and respect. When anahata is open and energy is flowing freely, you are not only loving to others, you are also loving to your self.

WHY I CHOSE THIS CHAKRA The reason I chose this chakra was that I was drawn to the colour, other than that it was purely random, just my intuition. But upon learn my about this chakra I relaise that is very relevant to my in considering my strengths and blockages.

MY PERSONAL BLOCKAGE A major challenge that face is my lack of independence which is a direct result to high anxiety. To unblock this problem, I must rid myself of my dependence on other people and independently take control of my own life and determine what I really want to do. At this point in time one of major restrictions which represents my lack of independence is the fact that Iâ&#x20AC;&#x2122;m still living at home, to grow stronger I must force myself into situations which will challenge me these include anything going to concerts on my own to living and working in a new country for an extended period of time. The work I will produce this semester should represent the overcoming of this blockage

CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

CONCEPTUALISATION 7

B .1. M O D E L

FOR VARIATION

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

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

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

CONCEPTUALISATION

CONCEPTUALISATION 9

B.1.

A N A LYS I S D I AG R A M -

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE 10 LEAVES CONCEPTUALISATION

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CORAL GROWTH

CONNECTION BETWEEN CORAL GROWTH AND OUR DESIGN

GROW RANDOMLY & FORMS PATTERN

Our aim for this semester is to experiment with the growth of coral in various ways though the use of grasshopper. We will observe of how the coral forms, grows and develops, its diverse and various patterns and forms (mostly minimal surface) and how it creates and the connection between the coral and its host (rock). This will drive parts our script to create our final form. We will create a form which most likely be some variation of a minimal surface form, add a pattern depending on surrounding conditions, and play with colour in relation to what stage of the coral life cycle our piece is at. Knowing that the pattern is a consequent from the number of surrounding environmental factors such as amount of sunlight, wind, temperature. we will assess the site to know what type of coral would grow. This will help to create a unified design that is unique to the exact location on site. The connection between the coral and its rock is vital because without the host, the coral larvae will have nothing to connect to and develop. The most effective growth always comes from a solid stable host. We will be looking at a site in terms of where will be most suitable for our structure.

CLOSE UP GROWTH CONCEPTUALISATION 11

B.1. T R A N S L A T E Coral growth diagram to grasshoper CREATE CURVES

ROTATE CURVES

RELATING TO FORM

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

CREATE MINIMAL SURFACE

(CORAL GROWTH)

Sodium

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

GROW RANDOMLY & FORMS PATTERN LARVAE ATTACH TO FORM

SMOOTH & SURFACE LARVAE ATTACH TO FORM 11

BETWEEN CURVES Sodium

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROW RANDOMLY & FORMS PATTERN

THICKEN SURFACE

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

ATTACH RANDOMLY

(CORAL DECAY)

ATTACH RANDOMLY

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

GROW RANDOMLY & FORMS PATTERN

Sodium

GROW RANDOMLY & FORMS PATTERN

CREATE PATTERN GROW RANDOMLY & FORMS PATTERN

(WEAVERBIRD) 11

Sodium

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

CLOSE UP GROWTH

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

SMOOTH (MORE

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

GROW RANDOML

CORAL DECAY)

Sodium

CONCEPTUALISATION

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP G

CONCEPTUALISATION 13

B.1. B U I L D

CURVE

MINIMAL SURFACE MESH (BASE OF FOUR BOUNDARY CURVES)

CURVE

CONCEPTUALISATION

ITTERATION

WEAVERBIRD THICKEN

DISTANCE

MESH SMOOTH

STRENGTH

ITTERATION

LIMIT

WEAVERBIRD

CARPET

CATMULL

LEVEL

CONCEPTUALISATION 15

B.1.

E X P E R I M E N T

STRAIGHT CURVES

ROUND CURVES

CURVES CHANGED

CONCEPTUALISATION

THICKNESS

100

SMOOT LIMIT (CORAL SIZE)

REDUCE MESH (CORAL SIZE)

900

700

300

CONCEPTUALISATION 17

B.1.

E X P E R I M E N T

WEAVERBIRD (CORAL PATTERN)

no Wb

WbCc

WbCarpet

WbThicken

WbCc

WB HOLE SIZE (CORAL PATTERN)

CLOSE UP 18

CONCEPTUALISATION

EYE LEVEL

WB AMOUNT

U COUNT

V COUNT

CONCEPTUALISATION 19

B .1. A N A LYS I S

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

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

CONCEPTUALISATION

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

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

CONCEPTUALISATION 21

B.2. C A S E

S T U D Y

1 . 0

COUNT

0.33

0.47

0.60

0.90

1.44

FACTOR

0.15

COUNT + LOW FACTOR

CONCEPTUALISATION

SEED

WbCc

WEAVERBIRD PROCESS

no Wb

WbCc

WbCarpet

WbThicken

WEAVERBIRD PATTERN ON DIFFERENT FORMS

CONCEPTUALISATION 23

B.2. FOUR FAVOURITE ITERA Whatâ&#x20AC;&#x2122;s stands out about this iteration is it simplicity when compared to the other iterations, it simplicity will allow for an easy build and a minimum cost. The six forms allow for multiple people to use the space and allows for extra people to climb and use the space in different ways. The form creates various pods which allows for people to experience a sense of independence.

This iteration uses a coral like pattern to create a large structure that can be climbed are rested on. Its height stands out on the bank of Merri Creek and catches the attention of the people that pass by. As well as acting as a resting place the structure also acts as an art installation that further strengthens the ascetic of the parkland area.

CONCEPTUALISATION

ATIONS This structure is similar to first iteration in that the form creates various pods which allows for people to experience a sense of independence, But by using the weaverbird pattern it allows for the structure to be climbed thus allowing access to the other pods. One downfall with the pattern is that is eliminates the isolation the is created form the first iteration.

This structure is the least successful out of the four iterations in that create a strong sense of independence. But what it does do well is replicate the natural process of coral formation in its smoothed minimal surface for which represents the decay coral, while the other iterations share similar aesthetics to coral, this iteration replicates the system.

CONCEPTUALISATION 25

B . 3 . C A S E S T U DY 2 . 0 G R E E N V O I D GREEN VOID // LAVA ARCHITECTS // 2008 This project LAVA Architects is a lightweight sculpture designed specifically for the central atrium of Customs House, covering through five levels of the building. The intent behind the design was to create a intense visual contrast to sit in the newly restored building interior1. “The concept was achieved with a design that follows the forces of gravity, similar to a spider web or a sea coral2.” The architects of the project focused on creating “more with less” and achieved this by using minimal surfaces and centenary curves to stretch between the void in the building’s atrium space. Utilising three dimensional computer modelling, as well as CNC cutting, the final outcome displays a effective use of materials, light weight construction, quick installation time while also “achieving maximum visual impact in the large atrium space3.” The materials that were used were double stretch woven fabric with aluminum track profiles suspended from stainless steel cabling above. With the structure comprising of 3000 cubic meters enclosed with a minimal surface area of 300 square meters, it only uses 40kg of material3.

HOW WE WILL INCORPORATE IT INTO OUR DESIGN We will incorporate this into our design via the inclusion and experimentation of minimal surfaces. Minimal surfaces will be explored because they give the best representation as to how coral grows in nature as such it will be used in our design. The form used in the Green Void is very similar to the forms we used in be one they may not look alike but they are both minimal surfaces and create from for the smallest possible distance. The green void form will also helps us create a form which greater represent our shared blockage of a lack of independence

CONCEPTUALISATION

FIG. 2 CONCEPTUALISATION 27

B.3. REVERSE ENGINEERING

REMOVE CREATE SKELETON /

LOFT

REFERENCE CURVES

ADJACENT

FACES THAT INTERSECT WITH BRANCHES

CONVERT TO

CREATE BRANCHES

EXPLODE INTO

/ REFERENCE

SEPARATE

CONCEPTUALISATION

THE GREEN VOID

ADD ELASTICITY (HOW

WELD / CHECK MESH

KANGAROO

FINAL

FIND NAKED POINTS

CONCEPTUALISATION 29

B.3. EXPERIMENT CHANGING THE BASE CURVES

CHANGING THE BASE CURVES

THICKNESS

CONCEPTUALISATION

SMOOTH LIMIT

PATTERNING #1

PATTERNING #2

CONCEPTUALISATION 31

B.3. SUCCESSFUL PATTERN

CONCEPTUALISATION

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

CONCEPTUALISATION 33

B.4. EXPANDING THE ALGO

WIND

WHAT TYPE OF CORAL

CONCEPTUALISATION

SMOOTH Sheltered by the cliff face

ROUGH

Exposed to the wind

path of the flowing ri

ORITHM - DIAGRAMS

SUN PATH

low

SMOOTH

iver

high

ROUGH

Shaded from the sun

Exosed to the sun for

at certain points of the

nearly all hours of the day

day so does not grow as

so can grow wildly.

much.

CONCEPTUALISATION 35

B.4. TRANSLATE

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

GROW RANDOMLY & FORMS PATTERN

GROWTH

CORAL FORM MOVE IN Z

CREATE A

SPHERE

Sodium

CORAL BECOMES DAMAGED Na & DETERIORATES SO ALGAE Sodium LEAVES CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS CLOSE UP GROWTH

REMOVE

DIRECTION

BOTTOM

SCALE IN Y CLOSE UP GROWTH

DIRECTION

LARVAE ATTACH TO FORM

ATTACH RANDOMLY

GROW RANDOMLY & FORMS PATTERN

BASE FORM REMOVE

CREATE A SPHERE

BOTTOM

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONCEPTUALISATION

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

LARVAE ATTACH TO FORM LARVAE ATTACH TO FORM

ATTACH RANDOMLY LARVAE ATTACH TO FORM

ATTACH RANDO

GROW RANDOMLY & FORMS PATTERN ATTACH RANDOMLY

GROW RANDOMLY & FORMS PATTERN

11 11

Sodium

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

DECAY / DAMAGE MESH

SMOOTH

Sodium 11

CORAL BECOMES DAMAGED & DETERIORATES SO ALGAE LEAVES

Sodium

CORAL PATTERN CLOSE UP GROWTH

GROWTH PATTERN DEPENDS ON ALL OF THE ABOVE CONDITIONS

CLOSE UP GROWTH

CONTINUES TO GROW FROM WATER, ALGAE & SUNLIGHT

CORAL CONNECTION

CREATE A

JOIN MESHES

PATTERN

TOGETHER

GROWTH PATTERN DEPEN ON ALL OF THE ABOVE CONDITIONS

CONCEPTUALISATION 37

B.4. BUILD

MESH SPHERE

MOVE Z

MESH

MCOMP

SCALE Y

DIFFERENCE

SIMPLEX MULTIPLY MOVE MESH

MESH SPHERE MCOMP SIMPLEX MULTIPLY MOVE MESH

CONCEPTUALISATION

MESH

MESH DIFFERENCE

MSMOOTH

WBCARPET

WBCC

THICKEN

COMBINE MESHES

CONCEPTUALISATION 39

B.4. EXPERIMENT

TIME

AMP / SMOOTHING

CONCEPTUALISATION

SCALE

0.05

0.08

0.12

0.17

0.24

PATTERNING #1

CONCEPTUALISATION 41

B.4. EXPERIMENT

PATTERNING #2

PATTERNING #3

CONCEPTUALISATION

COMBINATION

CONCEPTUALISATION 43

B . 4 . A N A LYS I S These renders represent the two optimal positions for our design of the site of Dwight falls at the Merri creek park. The locations chosen are based on access to sunlight and amount of wind, these features also relate back to the type of coral the will grow in these conditions as such our design will reflect this.

The first position is based on the shallow rocks just west of the water fall, which allows for is maximum sunlight on the object as such the form will represents the the way in which coral grows rapidly in many different forms when exposed to that amount of sunlight for extended period of time. Furthermore, the position is also in the main path of the wind which will also enforce the way the form will develop. As for the brief this position allows for contemplation due its proximity to the running water thus allowing for a relaxing and calming sound, its location on rocks is also quite isolated which allows for people who enter the pod to experience a sense of independence.

CONCEPTUALISATION

The second position is based on the top of the cliff face on the southern most island in the park. This location was chosen mainly due to itâ&#x20AC;&#x2122;s the fact that it draws similarities to the way in which coral forms of rock, the contemplation pod is growing out the cliff face the same way coral develops. This position also has minimum sunlight and maximum shade as such a different type of coral would grow in this position thus allowing for a different form to be produced within our design. A major problem with this site is that there is limited access to the other side of the river.

CONCEPTUALISATION 45

B . 4 . A N A LYS I S HIGHT ANALYSIS HEIGHT OF HIGHEST EXTERIOR POINT

HEIGHT OF LOWEST INTERIOR POINT

AVERAGE PERSON HEIGHT

CONCEPTUALISATION

3000mm

2000mm

1700mm

As according to our blockage to experience a sense of independence only one person will be allowed to enter the space at a time as such the scale should reflect this idea. To be certain of this we referenced the average height of a man and the lowest point of the structureâ&#x20AC;&#x2122;s interior. It is important also that the individual in the space will not fell confined as such we added a clearance of 400mm for safety and comfort, resulting in the interior height to total 2200mm and the exterior form of structure will be 3000mm in height and 5500mm in width. The scale of the form also can not be too small as it will not be able to catch the eye of those that pass by and want to experience it.

COLOUR COMBINATIONS

The colour scheme enforced will impact on our overall design. Because the combination of white and green represents the end of a life cycle (white) and represents new life (green). Add to this the fact that green is the colour of the heart chakra, as such it is also associated with meanings of safety, renewal, nature, harmony and growth. These qualities reflect the feelings we hope to highlight for those using the structure. The best combination is the use of the light green as it is washed out and subtle, works well with white. It is not necessary to go over the top with a bright colour, a subtle hint of green is just as effective. We want people to be drawn to the form, not simply to a bright colour.

CONCEPTUALISATION 47

B.5. PROTOTYPE PROCESS A 3D PRINT PROCESS 1.Construct for using a cad program 2.Make sure that form constructed in closed or joined 3.Hollow out form so cost is minimised 4.Make sure the form is scaled accordingly 5.Check for defects (thickness of form, size, connection etc.) 6.Save file as an Stl 7.Stl is then sliced by a slicing software 8.Then sent to printer 9.A Laser solidifies the material and begins to print layer by layer Print job finished

POWERED PRINTER PROCESS Repeat step one to six form the previous process 1.Powered is melted by laser one layer at a time 2.When layer is finished the bed moves down by 0.1mm and the next layer begins this is repeated until the object is finished 3.Print job is then un packed, the printed parts are separated from the powder ( the powder 4.can be re used) 5.Print job is then cleaned

CONCEPTUALISATION

AND RESULTS RESULTS FIRST ATTEMPT (FAILURE) The first prototype was unsuccessful because the exterior created via the weaverbird plugin was too thin (less than 2mm) and the holes created within the pattern were also far to small as such the 3d printer was unable to print the object. If the object was to be printed in the powder printer it would just crumble and if it were to be printed from the other, it would malfunction due to not be able to print a layer in mid air.

LESS THAN 2MMM

REBUILD To improve this error, the exterior mesh was thickening to at lest 2mm the holes were extended to a diameter of at least 1.5mm. The object was then sent to the regular 3d printed not the powder print to reduce cost.

To Test the powder printer, the base forms of the structure were sent of to print. This in import because the other printer was able to print the distinct form we wanted to print as such the powder printer was more successful printer the from and will what we be using for our final.

CONCEPTUALISATION 49

B.5. PROTOTYPE PLASTIC PRINT Unfortunately, the 3d printed prototype did not turn out as we expect, the base form came out sharp and harsh and the cage came out uneven and deformed. but as this is prototyping it is expected to fail in some cases. What this demonstrates is that regular 3d printer gives a rougher and uneven texture which while draws similarities to coral it is not the style for the final that we want to use, as such we will most likely us the powder printer

CONCEPTUALISATION

POWDER PRINT The powder printer printed the object turned out better than expected. The form was accurately replicated and finished in a smooth and constant texture. It had no defects compared to the maker bot printer and was much sturdier which may lead itself better to an exterior environment such as Merri Creek. This technique of powder printing will be explored further for our final model.

CONCEPTUALISATION 51

B.6. PROPOSAL Our concept is about overcoming an internal battle with oneself. The structure aims to reflect this by having two intersecting forms trying to break free from one another. The structure will be open to all who pass by and will be located in the shallows of the Merri Creek. Removal of all electronic devices will be required before entering the internal space, in order to experience a true, distraction free connection with one’s thoughts. Users will be able to gain access one at a time and will enter via a void in the top of the structure they then will drop down in to the space and it will close resulting in complete darkness. Research shows that when one sense is diminished, the others increase. The darkness aims to remove any visual distractions, resulting in a heightened state of thought. Users’ thoughts will become louder and they will be able to express them in a creative way. A drawing utensil will be provided upon entry. Users will use this to express their personal blockage. This will be anonymous; however, the works will end up being exhibited to the public each night. After each person exits, their art work will not be wiped. Everyone will unknowingly be adding to the piece. At the end of each day, the work will be projected onto the cliff face, thus visually displaying the connection between the artist and the landscape. The following day the interior will be a blank canvas and the process will repeat itself. Part of the structure will have a white exterior, representing the end of a lifecycle before new life is formed and the other part will be a subtle shade of green, representing new life. The form depicts two individual forms intersecting one another, fighting to break free. The inner form is representative of a person’s soul and the cage is their blockage. It is always a battle to overcome negativity within, however upon exiting the structure users should feel a release, much like a weight has been lifted. The time spent alone in the structure will help to increase levels of independence. Coming back into the real world will be a shock to your senses and hopefully allow the visitor to contemplate their reliance on independent and as such as a result of enter the space now feel like they can be free of this blockage 52

CONCEPTUALISATION

CONCEPTUALISATION 53

SECTION 1:50

CONCEPTUALISATION

PLAN 1:100

N CONCEPTUALISATION 55

CONCEPTUALISATION

EXPERIENCE RENDER CONCEPTUALISATION 57

CONCEPTUALISATION

EXPERIENCE RENDER AT THE MOMENT BEFORE CLOSURE CONCEPTUALISATION 59

B . 7. L E A R N I N G O B J E C T I V E S Upon review of the learning objectives of this subject we have come to the conclusion that:

We were able develop a diverse assortment of design possibilities by using the limitless capabilities produced from developing a parametric grasshopper script. By creating various iterations, it allowed to chose the best possible outcome for our design, this is evident in the multiple design matrixes produced though out part B, the scripts used through out shared many similarities relating to the growth of coral, but the resultant forms were completely different that being the B1 catenary curve forms, the experimentation of the green void from and the final forms used for the proposal.

The continuous learning experience of grasshopper has ultimately developed our skills in various aspects of three- dimensional media. This will allow for greater expression in future projects with these new found skills. Because a program like grasshopper is so expansive it allows for a personalised repertoire of computational techniques thus resulting in personalised design ideas, this is evident in the complete contrast of the output of the three scripts that being the three forms I mentioned before.

Furthermore, for the next proposal we must improve our ability to make a case for proposals and our ideas. The design at this stage is not as thorough as such we were able to develop some critical thinking and prepared for some criticism, but ultimately it was not enough and as a result I was refuting criticism on the stop thus creating various different responses to the same thing, this will defiantly be improved in the next stage of design when our design in thorough and in depth. In saying this though now we can take the criticism and improve our design.

Also in the experimentation of grasshopper I have come to the realisation that certain architectural projects are not as difficult and technical as they may seem and as such I have become critical of certain parametric designed projects. This was brought to my attention when I was told about the city of Melbourneâ&#x20AC;&#x2122;s dependence on facades and less dependence on other aspects of the design in that the buildings look great from the exterior but not so much inside. This is something that will drive our design in the next stage because it was one of the major criticisms of our proposal. We will strive to achieve to perfect combination between exterior aesthetic and well designed interiors. 60

CONCEPTUALISATION

CONCEPTUALISATION 61

B.8. APPENDIX - ALGORITHM These selected algorithmic sketches display my successes and failures throughout this semester using grasshopper these past seven weeks. The chosen sketches span from B1 to B6 and show my ability to utilize Grasshopper as a parametric modelling environment. Mostly the sketches either represent playing around with minimal surfaces between points and the limitless possibilities that the weaverbird plugin can create.

CONCEPTUALISATION

MIC SKETCHES

CONCEPTUALISATION 63

CONCEPTUALISATION

CONCEPTUALISATION 65

CONCEPTUALISATION

CONCEPTUALISATION 67

PART B BIBLIOGRAPHY Coral Reef Alliance, ‘Coral Reefs 101’ (revised August 2017) <https://coral.org/coral-reefs-101/> [12 March 2018] 1

Florida Museum, ‘Coral Species Profile’ (revised June 2013) <https://www.floridamuseum.ufl.edu/southflorida/habitats/corals/species-profiles/> [12 March 2018] 2

Figure 1 - https://www.sciencenewsforstudents.org/article/creative-ways-help-coral-reefs-recover Figure 2 - https://www.archdaily.com/10233/green-void-lava

CONCEPTUALISATION

CONCEPTUALISATION 69