AIR
Architecture Design Stduio
student: Yufei Du 387429 Tutor: Alison & Paul
CONTEXT Part 00 week one: Introduction introduction of writer and personal project
Part 01 week one: Architecture as the discourse brief history of digital architecture Orgoner Reef Waterfornt hotel
week two: In Achitectural computing Computing in architecture Geo-Matrix
week three: Parametric modelling Parametricism Airspace Tokyo
Part 02 week four: Cut project Learning experience Cut project 1.0 Group argument Research examples: MOCA@LBC CC Cloud Centro Box
week five: Cut project Cut project 2.0 Recreated step of BKK project
week six: Matrix
Matrix test with step recoding final outcome
Part 03 week seven: Model making
Model making process record response to problems
week eight: EOI EOI persentation
week night: Review Resonse to feedback Resonse to site Info
PART OO week one
introduction of writerr
Yufei Du
International student from China Bachelor in Environment, major in Architecture Never heard about digital architecture, never use computer to design and even hardly use computer software, but interested in digital architecture and happy to learn digital architecture technologies.
personal project This is my project for virtual communication in second year: a sculpture which inspired by clock, located in the park of CBD and served as a resting area. This different heights produced various shading when sun rise. Becuase this sculpture is located in the centre of park and there is almost no tall trees which could produde sun shading for visites. so i made a sculptrue which coudl provide shading for perople.At the same time, people could climb the sculpture and this made it playful.
PART 01 week one
architecture as discourse
“SHORT HISTORY OF DIGITAL ARCHITECTURE”
The “first wave” of digital architecture broke in the mid nineties. 90 percent of masters projects presented at Chris Bosse’s faculty were digital. At that time, most architects used computers only as drawing tools that had no impact on the form or the construction of their building. However, the postmodern theories of Robert Venturi initiated a ‘new wave’ of digital architecture and deconstructionism made architects explore digital technologies out of sheer practical necessary. Frank Gehry’s Fish sculpture for the Villa Olympic complex in Barcelona was a landmark in the history of digital construction technologies, and his work was achieved by CATIA, a software which used by the aeronautic industry.
ORGONE REEF
Author: Philip Beesley Location: University if Manitoba, Winnipeg, Manitoba, Canada, 2006 Orgone Reef’s reflection to landscape though environmental, structural and material performances is one important feature of discourse. More specifically, Orgone Reef is an artificial reef that could support a living skin. This project is a hybrid geotextile, a new class of materials used for reinforcing landscapes and buildings. The details of this structure are designed to catch and hold the thing they contact, accumulating a thick, porous mass. The project functions with aggression, clamping and cutting into neighbor, draining and digesting the things contacted and converting this material into fertile soil. This structure would help a scarified landscape heal and grow new layer. In my point of view, this design could make full use of the land which once could not be built by traditional technologies. Besides, according to AD magazine 2010 ‘s New structuralism issue, I assume that Orgone Reef is a good example of what is called new structuralism rather than modernism.
Waterfront hotel
Dubai Waterfront Hotel re-conceives the arrangement of high rising hotel and construction of a skyscraper through the understanding and reworking of structure and systems in nature. The forms of individual modules were derived from studies of insect exoskeleton and wing structure. The multifarious ranges of “alternative” spaces which satisfy various function of hotel are transformed smoothly from complex natural ecosystem. Digital design process of Waterfront hotel could be divided into two systems: “generative” in terms of bottom-up production of space and “operative” in terms of organizational effect.
JERRY TATE ARCHITECTS
For “generative” elements, what raise my interest is this proposal is constructed from three distinct modules each associated with different program activities. Generally, it is impossible to distinguish three module types within one proposal as there is a smooth transition. In order to make all transitional states between three modules remain tectonically navigable space, a series of exploratory diagrams and MEL-scripting were used. For the “operative” parts, they refer to those which are used to steer “generative” system. A three dimensional dynamic fluid-field was created and linked to transitional states of generated modules. Personally, this study shares little similarity with modern movement. Modernism suggests a free façade with no ornamentation like the horizontal glazing in Mie’s glasshouse. To be contrast, façade of Waterfront Hotel is structural and at same time providing ornamentation for building itself. At the same time, this practice of Jerry Tate architects indicates a level of dexterity and put Tate in a small group of international practitioners.
PART O1 week two
in architectural computing
Computing In Architecture computerization
VS
computational system
From my point of view, Kalay suggests that the designing process is sort of problem solving process. In “Architectures New Media”, it clearly describes the designing processes undertaken by Architects to solve problem. However, the outcome cannot be reliably predicted due to various constrains like site condition, cost, climate, internally drawn inspirations and so on. Therefore, computer had been introduced for communication reason. During problem analysis, computers are used as superb analytical engine. Basically, Computer could help represent solution graphically and numerically and communicate it to other partners or clients in the design process. In “Architecture New Media”, Kalay indicates there are two systems for computer. One is analytical systems with enough “understanding” o f the data to be able to provide rational appraisal o f human designers’ solutions. However, this system could only mathematical problems. Another one is knowledge-based, “intelligent” design systems that can actually propose design solutions for appraisal and further development by human designers. I understand those two systems as
computerization and For most of people, co in drafting and mode lines and other geome no meaning to the co computer as a tool for And this is called comp
Over past fifty years, provides more assist design process. Com computer as an actual both realization and cr Meanwhile, thousands could be found by usin approach. Along the w developed that offe storage and query ca that help human desig one another.
Besides, computers co construct the resultin even help us manage have been constructed the engine of a car
computational system. omputers’ role is limited eling systems: drawing etrical entities that have omputer. They just use organizing information. puterization.
in buildings. Kalay also demonstrates that computers could provide an alternative “space” for hum an inhabitation— the socalled cyberspace— which could offer a new stage for hum an activities, from education to commerce to entertainment.
, computational system tance to architects in mputational design use l design system to aid in reation of design ideals. s of potential solution ng computational design way, systems have been er design information apabilities and systems gners communicate with
ould help fabricate and ng buildings. They could the buildings once they d, much as they control r or monitor elevators http://www.tdmsoftware.com/CAD03.jpg
Geno-Matrix
The central feature of this project is the developments o deformable structure that exhibits characteristics o f a liv organism, with the potential for evolution in a manner sim to the larger cityscape.
Geno-Matrix is a genotype driven structure for skyscrap which according to the changing spatial requirements, c produce potentially infinite scenarios. It can deform its at the current inhabitation culture. Rather than using t conventional architectural design process to generate t form, Geno-Matrix comes from genotype, phenotype, m crossover, morph, mutation and selection process. In t design process, genetic computing and evolution techniqu have been applied with the emphasis on their potential creating forms that are useful in the production of architectu novelty and originality.
The inspiration of Geno-Matrix’s fabrication comes from L blocks. Within a modular building system, large quantity cubic units are fabricated and assembled into a lattice syste those units can be ‘pulled’, ‘pushed’ or ‘combined’ on the latt
of a ving milar
pers can self the the mate the ues l of ural
Leo y of em. tice
PART O1 week three
Parametric Modelling
Parametric Modelling
parametricism: the next architecture style or a momental phenonm In a recent piece for The Architects’ Journal, architect Patrick Schumacher clearly claimed that parametricism is a new style of architecture and ‘offers a credible, sustainable answer to the drawn-out crisis of modernism that resulted in 25 years of stylistic searching.’ However, Adam Nathaniel Mayer thought parametricism is just a process which based on computer modelling software. At the same time, Adam indicated that parametric technology only create new forms might seem revolutionary on the surface and parametricism is likely to quickly ‘fall out of fashion’ due to without broader social aims. In my point of view, their different understands of parametricism is based on different recognises of ‘style’. Patrick Schumacher proclaims style is ‘virtually the only category through which architecture is observed and recognized. But Adam argued that Patrick ignores the connection between how the public versus design professionals see and evaluate architecture. Therefore, I personally think Patrick Schumacher understands parametricism from a view of architect and Adam Nathaniel Mayer cares more about the connection between public and professional architects. In another word, standing at two different started points, parametric architecture could be understand in various
ways and various und both advantages an parametric architecture
The advantages of thi obvious. One of the key design is that it is a flexi parametric modeling is right solution under a Under this relationshi changed to become th deal with several issue so on. In my opinion, is the right architect modeling technique m process quicker and e using parametric mod design could easily cre like physical form of b mentioned in NZarchite form of building could using parametric mode to design buildings fast than ever before.
However, one of the bi parametric architecture social issues. First of al of constructing demons
g
menon?
derstandings indicates nd disadvantages of e.
is technique are quite y features of parametric ible technique. Because a way of searching the a certain relationship. ip, the form could be he perfect solution to es like sun shading and the best architecture ture. And parametric makes the searching easier. It is true that delling in architectural eate some crazy, blobbuildings. However, as ecture blog, the physical still be traditional and elling ensure architects ter and more efficiently
iggest shortcomings of e is how to dealing with all, the exponential cost strates that parametric
architecture is hard to become prolific within the built environment. Only the wealthy developers like government or international enterprises could afford the cost. And lots of parametric designs (with unconventional forms) are confined to the realm of ‘paper architecture’. Apart from this, parametric design is usually hard to be understood by public, especially for those without any architectural background. For example, lots of parametric buildings or sculptures are designed carefully by computing sunlight, wind speed and other factors. But for most of people, the reasons for resulting in those complex forms are usually simply understood as aesthetic needs.and form infinite typological feature.
h t t p://w w w. i d e a f i x a . c o m/w p - c o n t e n t/
AIRSPACE T This project creates an exterior building skin for a multi-family dwelling unit in Tokyo. This architectural system performs with similar attributes to the demolished green strip and creates a new atmospherics space of protection. Conceived as a thin interstitial environment, the articulated densities of the porous and open-celled meshwork are layered in response to the inner working of the building’s program.
The double layer screen is derived from a compressed combination of unique pattern generated with parametric software and is constructed using a composite metal panel material used for billboard backing and infrastructural protective covering. Indeed, parametric software carefully examined the sun shading, ventilation and other factors to make this unique pattern of screen. However, residents of this unit indicated that they missed the old residence which was wrapped with a layer of dense vegetation. Furthermore, the aim of this design is trying to replace the old vegetation layer with new technology (as artificial vegetation). From this point of view, this design is not successful, to some extents. Personally, this might be one of the disadvantages of parametric design. Even though it provides better functional performance, it could not suit everyone’s need http://www.core.form-ula.com/w and replace something like vegetations. jqaw8w.jpg
TOKYO
Architects: Thom Faulders + Hajime Masubuchi of Studio M
wp-content/uploads/2007/11/testuser5_oct2007_01_airspace_lzaalw_
PART O2 week four
Learning experience Group research and argument Cut project 1.0
So far throughout of all the lectures, tutorials and researches, I am pretty e During this process, my point of view about what is digital architecture and first beginning, I thought digital architecture is all about the fancy facade, I gradually learned more presents and read some articles about digital ar ‘problem-solving’ process or ‘discovering best relationships between objec
For example, the beautiful facade of Air shape in Tokyo seems meaningles similar attributes to the demolished green strip and actually creates a ne been carefully calculated: the shape and location of each hole were desig grasshopper provided me a strong sense that parametric design process could be certain, how to achieve the outcome or discovering the relationsh
Learning Experience of Digital/Parametric Theory
enjoying the process of learning digital architecture and parametric design. d how parametric software influences the design had changed. In the very , strange shape and poor organization of functional rooms. However, when rchitecture, my idea changed. Personally, parametric design is more like a cts’.
ss when I first looked the picture of it. However, this facade performs with ew atmospherics space of protection. This suggests that this pattern has gned according to the sun orientation. Furthermore, the exercises of using is a process of discovering relationships of objects. The input and output hip between input and output is exactly what we are looking for.
Cut Project 1.0
http://apartmentsaventura.com/wp-admin/iit-mccormick-tribune-campuscenter&page=5
McCormick Tribune Campus centre is a interesting building which contains various engagement with parametric patterning and ornmentation, each with different purposes and outcomes. Based on this project , i began to make something simple by using the grasshopper definition. First of all, i just change the images in grasshopper. After that, i tried to reduct this project. So i changed both of the image and the sliders. Then, i began to create something by using differnt inputs. Finally, i changed part of the definition.
McCormick Tribune Campus Centre
ATTRACTOR Pursuing direction: Our group Point. We decide points Experience ways: Movement, illusion will
is interested in Attractor to use multiple attractor the sculpture in different dynamic, opportunity for be taken into account.
Argument: ‘An attractor point informed approach allows for an interactive architecture which can engage the user from multiple viewpoints, presenting opportunities for distorting the user’s perception of space and/or time. This can transform the typically mundane task of driving into a rich and memorable visual experience which reflects ideas about the context.’
OR POINT Why for Wyndham city gateway project: First of all, the location of sculpture is near the highway and this means the users (drivers) are always moving. Therefore, multiple viewpoints ensure the users have visual experience all away along the highway even though they are moving. Secondly, controlled view point guarantee that users only see what we want them to see. Therefore, a certain view or environment for users could be provided and different visual experience could be applied. Our group believes a successful sculpture has most to do with users. Our approach could interact with users and provide memorable visual experience for users.
http://sfdm.ca.scad.edu/faculty/mkesson/vsfx319/wip/best_ winter2011/ali_jafargholi/FinalProject/Images/aoBig.jpg
MOCA@LBC General information:
Invited competition proposal for the Museum of Contemporary Art at the Luther Burbank Center, Sonoma, CA This new 7,000 sq ft museum building proposal is adjacent to a freeway and provides an opportunity for the façade to serve as visual icon for the institution. Responding to a driver’s perspective from the road, the building’s surface data of text, color, and architectural openings emerge legibly, only to fully recede from a different position. Using redundant layer of metal tubes, the façade’s surfaces pulsate with changing visual hot spots. The tubular skin can be sculpted to create varying surface depths, and due to geometric laws of tubular stacking, it is everywhere unique. As an intelligent skin, the exposed west side of the building provides its own shade to reduce solar gain. The entire building is raised above a linear strip of glass to perfectly align site lines from
http://faulders-studio.com/proj_moca.html
interior courtyard visitors bodies beyond - the effe hovering upon flows of vi
Why for our proje
First of all, the location project: it is adjacent to it has the same user as and the cars. Meanwhi experience by respondin from the road: it requ achieve the design intent one attractor point.
This project is quite int because it allows the dri turning their heads, slow that is what our projec drivers enjoy the sculp anything, without any cha and safety is absolutely i
s to views of automobiles ect is of a building lightly isual movement.
ect:
of MOCA is same as our a freeway which means our project: the drivers ile it provides a visual ng to driver’s perspective uires the movement to t instead of viewing from
teresting and successful iver view things without w down or speed up. And ct looking for: We want pture without changing anges maintain the safety important in a freeway.
How we change: Learning from MOCA, our group realized the importance of using multiple viewpoints. We decided to divide our sculpture (which is shaped like a long tunnel) into 10 or even more sections, each section is controlled by different attractor point. Therefore, drivers could view sculpture without any changes.
Casalgrande Ceramic Cloud General information: The Casalgrande Ceramic Cloud, the first work of architecture in Italy by Kengo Kuma, the Japanese master, and a new symbolic gate of the ceramics district of Emilia Romagna, is located in the municipality of Casalgrande, in the province of Reggio Emilia. The CC Cloud transversally divides the space of a roundabout like a thin diaphragm curtain dynamically attracting the viewers’ sight. The layout plan of the work is oblong and streamlined at the ends and the central section reaches a maximum width of 1.7 metres. It is almost 12 metre tall.
Why for our project: First of all, the CC Cloud created a new environment by simply dividing the space. This shared similarity of our project, because our group also wants to give drivers a special experience by creating a new environment along the road. Furthermore, CC Cloud is not only a monument that standing in the middle of the site, it became part of the site by using dual character. The anti-monumental approach went far enough to decide aligning the direction of the ceramic wall with the road that leads to it so as to make it almost disappear: when reaching the site, drivers will only perceive a roundabout divided by a vertical line. Therefore, it played with viewer’s sight and that is what we want to achieve in our project. Learning from CC Cloud, our group was provided a clue of how to produce visual experience.
How we change: According to this project, we decided to increase the length of our sculpture and put another layer of sculpture. Besides, we also tried to learn from the structure of CC Cloud and wondered if we can use this structure: Its 3D structure is composed of nine layers of large technical porcelain stoneware slabs – standard production items by Casalgrande Paraná – placed one onto the others and interconnected by means of thin hidden threaded bars.
http://www.evolo.us/architecture/casalgrande-ceramic-cloud-kengo-kuma/
Centro Signal Box Architect:Herzog and de Meuron
General information: The Signal Box at Basel Station contains electronic apparatus to regulate the signals for trains arriving at and leaving the station. The concrete structure is wrapped with copper strips, allowing a glimpse of the equipment contained within. The copper also acts as a lightning conductor to protect the sensitive equipment from a lightning strike. The concrete core is wrapped with approximately 20 cm-wide copper strips that are twisted at certain places in order to admit daylight. The concrete box that forms the interior-exterior boundary is transformed by a cooper basket which gathers the linear structure of the rails in an envelope of continuous strips.
Why for our project:
First of all, the cooper strips which shade the sun without interfering with the view of outside lead to the idea of fins which are suitable to the fast moving users to create a sense of rhythm and the time. Furthermore, it also provides the construction method
How we change:
After learning this project, our group decided to use fins as the main form of our sculpture and this helps us later in our matrix processes. And we come put with some idea of how the rhythm and time could be change (shown in next page) text refer to book: 1997-2007 :Herzog and de Meuron, P74-P75
http://tylerapolich.files. wordpress.com/2009/08/ba central-signal-box-skin-deta
aselail.jpg
http://www.architecture.com/Awards/RoyalGoldMedal/ RoyalGoldMedal2007/CentralSignalBox.aspx
PART O2 week five Cut project 2.0
Case Study 2: BKK Pavilion
This experimental structure was built for an architecture exhibition that proposed to capture the experiential quality of space, as opposed to the standard practice of presenting images of building on the wall. Using an integrated parametric process, a series of operations was undertaken on the honeycomb grid of a geodesic sphere, resulting in a cube of cells converging on a single point in space. This structure was then suspended from the ceiling, allowing visitors to duck underneath and position their heads at the point of convergence. There only the edges were visible, and the piece appeared as a net. As depth dissolves, one senses that one is the centre of an enormous system Leonardo’s Vitruvius Man in a galaxy of mid-twentieth century geometry. This precedent provides a very interesting experience which involves the users. As a sculpture or pavilion, BKK is successful in its artistic shape and for the interactive effect, BKK pavilion also achieve what it is desired. Our group want what we design could provides both sculpture and experience and has most to do with users. Therefore, BKK pavilion is a good start point.
step 1
This was the first step we took in attempting to recreate our case study. Because we hadn’t read up on the process yet and had no idea where to begin, we decided to create just one of the hexagonal cells and produced a basic understanding of BKK pavilion’s form. Also, we didn’t fully understand the ‘extrude to point’ component and overlooked it. Meanwhile, we created vectors between ht e hexagon and the attractor point. Therefore, the extrusions are overlapping.
step 2
The second stage was disco component, because we tho is a significant step to cre attempt was aimed to rec of the box and repeat this a box. We first created a w grid and extruded it towa However, this attempt was 1.all the cells are in same s is not). 2. the adjoining cor the effect of infinite projec
overing ‘extrude to point’ ought ‘extrude to point’ eate BKK pavilion. This create one of the walls s for six times to make wall by using a hexagon ards an attractor point. s failed for two reasons: size (which BKK pavilion rners/edges would stop ction
step 3
After we knew that this project was originated from a geodesic sphere which had been extruded and trimmed to create the cube shape, we planned to follow this. However, we could not download the geodesic dome model at that time, so we decided to create one by ourselves. So the third attempt was trying to create a geodesic sphere by drawing hexagons on a sphere. But the truth was, all of us had no idea of how to create geodesic sphere.
step 4
Since our group decided download the geodesic sphere after tutorial, we started to figure out extrude and trim process. So we found a model which is similar with geodesic sphere and traced points to frame lines (because this model was composed of solid). Because this was just a test so we only created a small corner and trimmed in Rhino instead of Grasshopper.
step 5
Generally, I though Basically we shar definition with BKK similar shape and pa differences. Our gr point of BKK pavilio and trimmed accor done our model and pavilion, we realize an attractor point o is lacking of symm faces.
ht our model is successful. red the same parametric pavilion and this resulted in attern. But there are also some roup believed the attractor on is a central attractor point rdingly. However, after we d compared it with the BKK ed that the real project had off centre. Thus, our model metry between the different
PART O2 week six Matrix
First of all, we developed a grasshopper definition (Variable fin depth with angle) which allowed fins to be created on the surface with varying depth. This depth is aimed to provide visual experience for users. Like the BKK pavilion, this definition allows our model appeared transparent (or as lines) from a certain point. However, this type of model requires user to turn 90 degrees to view it, and that is not suitable for roadside project. Secondly, we developed a grasshopper definition (fixed fin depth with attractor point) which enables the rotation of fins according to the attractor points. However it could not allow the depth of fins to change. And without changing depths, it could not match our design intent. After those two attempts, our group found that using the first grasshopper definition and extrude the fins to an attractor point in front of the model could achieve our design intent: pattern could be seen by users while approach and appeared as line in transparency points.
Test of the Third Grasshopper Definition : After decided which grasshopper definition we should focus on, our group began to try to fully text the third definition. First of all, we reduce the density and number of fins. Because we want to each set of fins attractor to a point and repeat those fins sets to create a rhythm (this idea came from our precedents in week 5). Then we tested different patterns and angles with a flat plane base geometry. After tested different patterns, we realised the ‘horizontal triangle’ shape pattern could provide the sense of speed change (pulsing effect).
PART O3 week seven Model making
Fabrication: Step 1: sketch model Our group made two small scale sketch models by hand in the start. This try was aimed to help deciding the size of our presentation model. And we also got new ideas about detailing and materialty through this experience. One sketch model is about 5cm height and one is about 15cm height. The 5cm height model was made by paper. By making those models, our group found paper is a very soft material and soft material is suitable for the fins, because the fins of our design are curved and need to be bended (in some extent) to provide the visual experience. And for the structural layer of sculpture, a mass and strong material is needed to support the whole structure. What is more important is, by comparing the making process of two models, we realized the bigger the model is, the easier the fins could bend. And the better bending of fins provide a better visual effect for drivers. Therefore, the height of our model is suggested to be around 20cm. Furthermore, we found keeping the structural layer as one whole piece is better to divide it into separated section. Because one whole piece could support the structure stronger and it is also easier to be connected to the base. So we combined all the structural layer sections into one in Rhino and drew some small gaps in structural layer to let fins fixed in.
Sturctural layer sections combine to one piece small gaps are created to let fins fixed in.
Sturctural layer sections for sketch models a support base is connected with each strctural layer sections
Fabrication: Step 2: Material selection
Step 3: detailing
After decided the size of model, we began to consider the material usage. According to our argument which attempt to transform the typically mundane task of driving into memorable visual experience, our group found a strong comparison between structural layer and fins could be interesting. And this comparison could be achieved by using different colours of material. Therefore, our group came up with two selections: first, black structural layer with white fins, second, transparent structural layer with white fins.
Apart from the gaps in was to be made in Rhi support for structure. etch lines which exactl layer and fins were Therefore, the structur suck into the base or Gaps were also created it possible for fins fixe without any glue.
Furthermore, in order to meet our group argument, we thought the material which allowed the light go though could create a interesting visual experience. Therefore, Perspex and polypropylene is suggested to be one good choice. However, after testing the material, we realised polypropylene was too stiff to bend and fixed into the gaps of structural. So we used box board instead.
g
structural layer, a base ino to offer a stronger Basically, the medium ly follow the structural created in the base. ral layer and fins could fixed into base better. d in fins and that made ed into structural layer
http://purpleopurple. com/inventions-andinventors/perspex. html
comparsion of colors
small gaps on fins
PART O3 Mid semester Break
PART O3 week eight
EOI presentation copy
PART O3 Mid semester Break
Response to Feedback Futher Development Our problem: 1. We didn’t push the definition far enough. To be honest, our definituion is basically followed the one Alison posted on our group wiki and just changed small part of it. personally, this may be one of our biggest problems. 2. We ’ve either got a good technique or a good design idea but not both. I think our group design intent is very clear and our technique is interesting. However, both of them are not good enough. Just as Stanislav mentioned in the tutorial, our design is quite straightforward, but it may lose attraction for users because the experience produced by sculpture is the same as they went through free way. Obviously, the more complex the design is , the more complex the grasshopper (or the technique) should be.
How we improve: First of all, I think the matrix is what we should work on. We could text more matrix by change part of the ‘stater definition’ (which we used for our design). Last time we tested various images, slider numbers and inputs (different curve shapes), and this time we could keep all the elements as the same but change part of the grasshopper definition. Through this experience, we may create something
interesting and that cou the design could be cha
Secondly, we could inv our design. So far, our g Attractor point. Howev other groups, I think w into account. For exam aim to preset opport the user’s perceptions Therefore, kinetic, resp could be the interesting
Third, we can also imp our sculpture throug example, we could make response to the sun sha Our precedent, the Cen example how the fins re can learn from the cons and develop our own co
The last thing we need rhythm thing our grou had several ideas of ho achieved and we also th it will offer. However, We should test each of
k
uld provide ideas of how anged.
volved more aspects in group only focus on the ver, after learning from we can take more things mple, our argument is tunities for distorting of space and/or time. ponsive or Bio-mimicry g aspect to work on.
prove the attraction of gh constructions. For e the fins moveable and ading or something else. ntro signal box is a good esponse to sunlight. We struction method of that onnection joints.
d to push further is the up came up with. We ow the rhythm could be hought about the effect it is not deep enough. f the purpose in Rhino
and figure out what the effects will look like. interesting and that could provide ideas of how the design could be changed. the grasshopper (or the technique) should be.
Response to Site Info Futher Development Site observation and consideration of project� 1. There are 3 sites. Each site is isolated by different roads. This raises the difficulty in sit chose and the size of our sculpture. Because our design is like a half-tunnel along the road, it could only work in one direction and only for one road. Where should we put the sculpture and how to make it work for all the drivers (from different roads) is what we need to think about.
Response:
I think we could change the shape of our design. For example, we could change the half-tunnel into a whole tunnel. Meanwhile, we make it in a really large scale, which could cover all three sites. However, it is difficult to satisfy the structural work and this needs further
research of precedents grasshopper definition t
Site observation and consideratio
2. There is electricity pit a is pretty dark in the night it is possible for us to d which may use electric sculpture could not be o time and that could be k
Response:
the existing electricity moveable fins (mention which runs by electrici could put lights and so needed). Furthermore, use materials which refl with the invisible probl