Studio Air
ABPL30048 | 2017 | Sm2
Journal
Samuel Choy Weychun 789797
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Table of Contents PArt a: Conceptualisation 3 A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic sketches Bibliography
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Part B: Criteria Design 27
B.1 Research Field B.2 Case Study 1 B.3 Case Study 2 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives & Outcomes
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B.8 Appendix - Algorithmic Sketches
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Part C: Detailed Design 64
C.1 Interim Feedback C.1.2 Inspirations C.1.3 Site observations C.2.1 Form Finding C.2.2 Design Beginnings C.2.3 Connection Testing & Panel Development C.2.4 2nd Design C.2.5 Prototyping Issues C.3.1 Final Design C.3.2 Design Details C3.3 Final Prototype C.3.4 FeedBack C.3.5 Possible Solutions C.4 Learning Outcomes References
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65 66 68 70 74 76 80 82 84 92 96 98 100 102 104
Part A:
Conceptualisation
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Introduction Hi! I’m Samuel, a second-year student, currently enrolled in the Bachelor of Environments and majoring in Architecture and Urban Planning & Design. One of my main hobbies is music and even though my schedule as an architecture student becomes hectic, I still find time to play the piano and sing. Being overseas from where I am is a whole new experience for me. It has been an exiting journey so far and I’ve heard many stories about Studio Air that has both intrigued me and frightened me in a way (from the workload). However, I can say that I am ready for what is ahead. As I am also pursuing a second major - Urban Planning and Design - the next few semesters for me will be one hell of a ride. There is a reason why I took the 2 major - besides the fact that I become more employable, I see how history plays a huge role in how our cities are being built and also how architecture has played a role in defining the city we live in. Through technological advancements, we’ve been able to create better cities and more impressive buildings that continue to recreate and redesign our city. As I came from a developing country (Malaysia), I’ve observed how certain parts of the city grew, developed and even collapsed. The history of our capital city is written by its architecture when we were under the British rule for a few years. We had our own vernacular architecture and many of them are still built today. Singapore, our close neighbour, was another country that I loved comparing our country to. As they always had a better public transport system and in general it was impressive to see how the urban landscape could accomodate 6 million people in one tiny island. Bjarke Ingles has been a growing inspiration in how I perceive design as he always practices good design - something that Malaysia should have as well. I strive to achieve this in all my work as well as an architect and an urban designer in the future.
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A.1 Design Futuring Design of the present might come to a halt. The end of our design could be near. As Fry puts it, as a human species, we have collectively reached a critical moment in our very existance.1 Why does he think so? The reason is because that we have been adopting design practices that produces a negative impact to the planet. The Earth’s natural resources are being used as if they are renewable and infinite. As we continue to modernise as a species, we will soon realise that what we created will not follow us into the future because of its unsustainable practice. This places in a state of defuturing where essentially, we realise that we have been destroying the planet and thus making us panic as we anticipate an end of an era or even worse, our species. As a reaction to this, Fry suggests and empowers the design community to rethink about how we design so that our current design doesn’t defuture. We need to think about what we can do with design, how it influences, the economy, politics, society and the planet. Very often our design is anthropocentric and it has come to a point where defuturing is seen as a plausible future.2 Therefore we need to explore our designs in many more possible scenarios to ensure that we as a species is prepared for and will continue to thrive as a species in those other possible futures.3 This is where design futuring takes place.
‘Design futuring’ is simply creating designs that possibly answers the question of ‘how a future can be secured by design?’. We are essentially, predicting the future with research and hoping that it becomes true. Fry continues this concept by saying that we as designers have the potential to create our own futures and we have the power (like the hand of God) to create designs that have the economy, political scenes, society and the planet in mind.4 We are always advancing, especially in technology, and this places us in an advantageous position because we have more knowledge of how we can design futures that stay and not leave. We have that potential now with Rhino and Grasshopper as we the age of the exploration of algorithmic design. This new advancement allows us designers to recreate design that has the ability to follow design that takes the inspiration of the natural environment.
(1) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pg 4 (2) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pg 4 (3) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pg 5 (4) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pg 3
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Amager Bakke Bjarke Ingles Copenhagen, Denmark
Bjarke Ingles is a great influencer for stressing good design in his work. His team BIG (Bjarke Ingles Group) have been working on a recent project called Amager Bakke. This state of the art plant sets a new standard for environmental preservation, energy production and waste treatment. It’s design is also influenced by the public’s interest as the residents of Copenhagen love skiing but would need to travel far to access one. By taking inspiration from that, they have designed a power plant that is attractive to society. Multi-purposing the use of the plant, enforces alternate designs that accommodate for more in a lesser space. It provides energy from waste and is an architectural landmark and a leisure facility. This improve the lifestyle choices of the public whilst initating the conversation of what defines a powerplant and how we can design undesirable buildings to be attractive landmarks to have as part of the city skyline. The power plant is designed with a sloped roof to imitate the terrains of a mountain top and utilising the roof space as spaces for leisure. Skiing will be the main attraction, meanwhile, hiking accomodates the faint of heart. Just by incorporating these design techniques, we have arguably created good design that could possibly tackle the risk of defuturing.
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The question only remains whether the project is of course sustainable one and how it will cope in the future. There may however be some debates about how feasible it will be to have leisure near a power plant as the reputation of these buildings are seen as unclean and pollute the air. The Amager Bakke plant is definitely one step towards the right direction in multi-purpose use and designing buildings for the future.
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Vertical Glass House Atelier FCJZ Shanghai, China The Vertical Glass House is situated along the west bank of Shanghai’s Huangpu River. This bunker-like building is a 13.5 metre high concrete tower with rows of horizontal slit windows that make the floor. The building is quite deceptive in terms of the play of materiality. When observed outside, the tower appears to be sturdy and strong to withstand the harshes weathers. However, when entering the building, we find that the glass floors imposes the impression of lightness in the interior. You can see the floors above you and acts as a natural skylight with continous interior view to the ceiling. As the beholder ascends upwards, the vibes of the space change from one that is corporeal to an ethereal atmosphere. Yung Ho Chang, the architect of this buliding, argues that the his creation influences inward-looking residence, both phyically and metaphysically. The house provides little to almost no privacy between what is normally known as public to private spaces. Naturally, his design serves as a critic to the Modernist theory transparency where a glass house always opens to landscape and provides no privacy. On another note, he also expresses the fact that this house is temporary and hosts temporary artists and architects during the next West Bund Biennale of Architecture and Contemporary Art. The argument stresses that buildings need not be occupied for it to be considered a house because if it was then the purchased-but-uninhabited units of so many other Shanghai apartments would not be deemed houses. His message essentially with this piece of design tests the limits of livability in a home and creates debate in whether we are creating houses for everyone and not just the rich. Even if the rich bought houses, Not all will stay in it and that is a dilemma where many cities around the world face.
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A.2 Design Computation
Our technological advancem us to produce complexity o called computational design pared to design computeriz confused as both are almo to distinguish between the engages with our creativity vide the variable that at w to process and generate re
The parametric design proc ductivity and creativity of d ier to produce something s done by traditional method have been some debate ab computation sets up a bou the design industry. But as thinking is the ability to un ate and create algorithms�
Computational design also collaborative design among the performance simulation tive and accurate. It is ther parametric design has rede as a thinking generation th rithm6.
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ments today has allowed out of simplicity. This is n and is always comzation which is is often ost similar. A simple way two is that the former y and therefore we prowhich the latter takes over esults.
cess has improved prodesign. It has become easso complex that cannot be ds of design alone. There bout it, however, that undary and a standard for s Kalay puts it, “algorithmic nderstand, execute, evalu5 .
provides a new level of g designers which allows n to become more effecrefore safe to say that efined the design practice hrough the logic of algo-
(5) Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 (6) Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
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DonGdaemun Design Plaza Zaha Hadid Seoul, South Korea
South Korea is no surprise to anyone for its adoptions towards new technology and redefining its design practice. This plaza is the first project in Korea to utilize 3-D building Information modelling softwares. The design process was that the building needed to have a set of inter-related spatial relationships that define the social interactions and behavioural structure inside and around the building. Having used parametric building information modelling software and design computation, they were able to continually test and modify the design towards the client’s brief and changes to it, as well as integrating engineering and constructure requirements. Through this, the designers were able to maintain great control over the design and details with greater precision. The facade cladding system features a field of picilation and perforation patterns which creates dynamic visual effect depending on the light conditions and seasonal changes. This complex cladding design is something that cannot simply be done by hand as this frame and infill design has been algorithmically computated. We wouldn’t know when to place small panels or larger panels or ones with a mesh in it but the computer can generate this for us. And as mentioned earlier, the design brief can sometimes change and therefore, computational design systems are efficient enough to adapt to new information, far better than the conventional methods of design.
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One Main Street Decoi Architects Cambridge, USA This design project is yet another example of how computational design is changing the design industry drastically. This project was for the penthouse offices of an investment group in green building and clean energy technologies. The aim was to mill all the elements of the interior from sustainably-forested spruce plywood using numeric command machines. Essentially, the project comprises of 2 planes - the floor and the ceiling, both of which are articulated as continuous surfaces inflected by function. The curvilinearity expresses both the digital genesis and the seamless fabrication logic, with the architect providing actual machineing files to the fabricator. The development of the project was nuanced parametrically and milled using a small 3-axis CNC router, which efforlessly carved the ply sections according to the prescribed paths generated from the computer. Effectively, the process was error free and highly accurate which makes assembly straightforward. It is even more impressive that only the tooling paths were only provided by dECOI without any plans or sections of how the design would look like. Without parametric design tools, this project would have been much harder to complete as we cannot gauge with precision about each curve and replicate a unique curve onto thousands of sheets. The process would have been wastefull by hand but with the help of paramatric design, the wastage was only 10%. dECOI
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A.3 Composition/ generation
Parametric design, our now plex designs has never be understanding its coding sy search into organic design we are able to replicate th These processes have the ration and go beyond the through generative design ed results that seem intri a tree as a simple exam tree takes its form, by und why each branch is wher ate a result similar to tha
This means that all we hav set of commands that can erative form that looks eer Composing this form of des thinking and design approac ties in the design process, fa
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w new tool to create comeen as editable as ever. By ystem, and with much rens from the natural world, hem into the digital world. potential to provide inspie intellect of the designer n that produces unexpectiguing and engaging. Take mple - by studying how a derstanding the pattern of re it is helps us to generat of nature in these tools.
ve to provide is a rule, or a help in generating the genrily close to the real thing. sign enables new ways of ches and creates opportuniabrication and construction.
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The Morning LIne Aranda Lasch This project, commissioned by Thyssen-Bornemisza Art Contemporary, is a project conceived by Ritchie as a collaborative platform to explore the interplay of art, music, architecture and cosmology. It looks as if to portray a ruin from the future. It is a drawing in space, where the design rules apply - each line connects to other lines to form a network of intertwining figures and narratives with no single beginning and end. The product of the design is as such that the movements around multiple centres together trace a dense web of ideas concerning the history and structure of the universe and our place in it. Essentially, the paramatric design used has been coded with simple instructions to produce complex shapes and design that has resemblance of the universe and questions our very existance. Not dezeen
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VoltaDom Skylar Tibbits MIT, USA
This installation was created for MIT’s 150th anniversary celebration and FAST Arts Festival. It is one of the firms recent experiments in computational design. The project aims to revisit a historically paramount structural element - the vault, attempting to find its contemporary equivalent through various assembly and fabrication techniques. It is reminiscent of the vaulted ceilings of the gothic cathedrals and can be seen from inside and outside equally, creating spectacular views. The VoltaDom also attempts to expand the notion of the architectural “surface panel”, by intensifying the depth of a doubly-curved vaulted surface, while maintaining relative ease in assembly and fabrication. The further combination and orientation of multiple vaulted structures into one corridor further enhances the effect of the paramatric design portraying a biomimicry effect that resembles an unidentifyable creature. This is the power of generative design and what it can produce with just simple ideas, concepts and of course rules that the computer generates into complex forms. Dezeen
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A.4 conclusion In this journey through parametric design so far, we have come to realise how our traditional design forms are at risk of defuturing and as designers, we intepret our own futures for the society. We need to save sustainable design practices that can last forever. Algorithmic design is one possible way to look into our future as we attempt to save our old design practices with technological advancements that greatly improves our effiency and with the ever changing desires of society. Without doubt, the introduction to computational designs has brought a great deal of interesting structures, installations and buildings into the world of architecture. The question of design defuturing still remains as to whether this pathway for 21st century design will become something of the past in a few decades as we continue to further improve our technology and design techniques. I sometimes see it as a vicious cycle. As we keep improving the more we refine our techniques and tastes for design. Another question to ask is whether we already know everything there is to design, Will we ever know everything about it? This question remains unanswered, and we will never know for sure but all is left is to keep searching and keep progressing into the future with design. The precendents that I leans towards elements linked with patterns, geometry and biomimicry. I find them inspiring to look and and fascinating. The amount of precision and efficiency that comes from technology has changed the face of architecture.
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A.5 learning outcomes Part A has provided me with a good foundation and understanding of the world of computational design. I used to wonder how people like Zaha Hadid or Bjark Ingles produced such fantastic and awe inspiring work but having gone through the first 3 weeks of Air has really taught me about the fundemantals of parametric design and how these architects produced works like these. The world of parametric design is a pretty fun one with the endless of design outcomes that can be produced in even just a simple code. I am amazed at how much you can manipulate in just simple curves or even just a dot. I would say so far, that the grasshopper has been abit challenging to use at the beginning. As usual, I was expecting a learning curve quite similar to rhino. Slowly, I begin to realise that many of the commands that are used in grasshopper shares some similarities with Rhino. Things like loft, surfaces and curves all have the same function in rhino as in grasshopper. However, I still find data trees a challenge. Parametric design, let alone, grasshopper, takes 3D modelling to another level with coding techniques and knowing your end goal. It is an interesting approach to producing complex design. So far, I feel the limits are endless with what we can produce with this powerful software. Reflecting back on my previous work from other studios, I slowly realise how I could have used the skills learnt here to shorten my time in producing designs that are similar to parametric designs produced from coding. I am still awestruck by how quickly these designs take to produce and it just justifies how coding and parametric design is spearheading the architecture industry in the 21st century7.
(7) Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pg. 11
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A.6 Appendix - Algo
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orithmic Sketches
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BiBliography Aranda\Lasch. 2013. Aranda\Lasch - Work - The Morning Line. Accessed August 11, 2017. http://arandalasch.com/ works/the-morning-line/. ArchDaily. 2015. Dongdaemun Design Plaza / Zaha Hadid Architects | ArchDaily. May 31. Accessed August 11, 2017. http:// www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects. ArchDaily. 2014. Vertical Glass House / Atelier FCJZ | ArchDaily. January 30. Accessed August 11, 2017. http://www.archdaily.com/471261/vertical-glass-house-atelier-fcjz. B&W Volund. 2017. Amager Bakke / Copenhill waste-to-energy plant, Copenhagen, Denmark - B&W Volund. Accessed August 11, 2017. http://www.volund.dk/Waste_to_Energy/References/ARC_Amager_Bakke_Copenhagen. dECOi architects. 2016. dECOi architects >>One Main. Accessed August 11, 2017. https://www.decoi-architects.org/2011/10/ onemain/. Grozdanic, Lidija. 2011. VoltaDom Installation / Skylar Tibbits + SJET - eVolo | Architecture Magazine. November 22. Accessed August 11, 2017. http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
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Part B:
Criteria Design
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B.1 Research Field Biomimicry Biomimicry is a contemporary design philosophy that seeks solutions for sustainability in nature. It is more than replicating the natural form, but also understanding the rules governing those forms. The core idea is that nature has already solved many of the problems we as a human species are facing. By analysing nature’s tried and tested patterns and strategies and using it as a model, it provides inspiration to solve manmade problems. It can also provide solutions that will catalyse a new era in design that can benefit both people and the natural environment around us.
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“You could look at nature as being like a catalog of products, and all of those have benefited from a 3.8 billion year research and development period. And given that level of investment, it makes sense to use.� - Michael Pawlyn
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B.1 Research Field Selection Criteria
C1. Siting How well does the design respond to or attach to the landscape and existing structures? Does it integrate well with the natural environment or is it interogative?
C2. Construction How transportable is the design intent? Can it be easily constructed by a minimum number of people?
C3. Material What sort of material will be used? Something heavy or light? What are the embodied characteristics of the material? Are they man-made or natural? How do they respond to the environment? Are they recyclable?
C4. Cost Are the materials used predicted to be low cost? Are they available on site or must they be imported? Is the fabrication method low-cost?
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C5. Structure Since we are focusing on a change room, is the structure that holds the room the same as the visual enclosure? Or are they independent from each other?
C6. Symbolism How does the change room suggest/connote a broader theoretical context? How does it encourage people to think about themselves and the river differently? Does it relate to a culture? Or more of a worldly habit?
C7. Aesthetics How does the design look? Is it provocative? Subtle? Inspiring? How does it emotionally affect people? What is the design trying to represent? Why does it look the way it is?
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B.2 Case Study 1 Spanish Pavilion
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The Spanish Pavilion was opened in Aichi, Japan in the year 2005. This building explored the cultural hybridisation which has been a central theme throughout Spanish history. This pavilion focused on the architecture potential of hybridisation of the European Jewish-Christian cultures and the Islamic occupation of the Iberian Peninsula between the 8th and 15 centuries. One example of the hybridisation of cultures is the arches and vaults found in this building - they are both elements of Christian and Islamic cultures. The lattice envelope is also a reinterpretation of a traditional element, as this is commonly found in Spanish architecture which reflects the fusion of Christian and Islamic architecture. The combination of geometrical variety and colour resulted in an apparently non-repetitive pattern, maximising the presence of the pavilion.
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B.2 Case Study 1 Species Matrix
Iteration 1
Iteration 2
Species 1
Internal Component Modification
Component A = -2
Component A = -1
Species 2
Offset Frame
Offset = 0
Offset = 0.25
Species 3
Internal Component Modification Component B = -2
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Component B = -1
Iteration 3
Iteration 4
Iteration 5
Component A = 0
Component A = 1
Component A = 2
Offset = 0.5
Component B = 0
Offset = 0.75
Component B = 1
Offset = 1
Component B = 2
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B.2 Case Study 1 Species Matrix
Iteration 1
Iteration 2
Species 4
Image Sampling
Colour
Red
Charge = -2
Charge = -1
Charge = -10
Charge = -5
Species 5
Attractor Points Scale
Species 6
Attractor Points Extrusions
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Iteration 3
Iteration 4
Iteration 5
Green
Blue
Brightness
Charge = 0
Charge = 1
Charge = 2
Charge = 0
Charge = 5
Charge = 10
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B.2 Case Study 1 Successful Species
Successful Species 1 S2I2
Aesthetic Function Fabrication Flexibility
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Successful Species 2 S3I2
Aesthetic Function Fabrication Flexibility
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Successful Species 3 S5I4
Aesthetic Function Fabrication Flexibility
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Successful Species 4 S5I4
Aesthetic Function Fabrication Flexibility
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B.3 Case Study 2 Nature Boardwalk at Chicago’s Lincoln Park Zoo by Studio Gang
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This pavilion was inspired by the tortoise shell. It uses pre-fabricated wooden planks that have been interconnected and milled to form the curving structural members. This pavilion is part of a larger redevelopment of the 19th century urban park pond. This redevelopment features many educational and leisure components that is suitable for a yoga class and an outdoor classroom for school children. The project also features a boardwalk made from recycled plastic milk bottles, and other educational components. Altogether, the design improves water quality and plant variety for a better, more diverse animal habitat, reduces reliance on aging city infrastructure, and creates an experiential outdoor educational environment. 43
B.3 Case Study 2 Pseudo-code
Design Intent Rehabilitate a 19th century old urban pond and provide a space for educating the public about nature in an urban setting.
Parametric Model - Surface morphing - Lofting surfaces from arc - Array and grid
- Must still allow light into t space. - Must be a sheltered spac but still open for people to pass through.
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cs
the
ce o
Realisation Fabrication Method - Milling of timber to achieve curved frame - Joint System (Nail Plates) - Breaking up design into components
Finished Pavilion
- Weatherproof materials and environmentally friendly - Material must produce curvature - Lightweight for easy transportation and installation
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B.3 Case Study 2 Reverse Engineering
Step 1 Generate sine curve and rotate it by 90 degrees
Step 2 Loft the 3 sine curves to create the infill for the frame
Step 2A Offset the 2 sine curves to create thickness.
Step 2B Step 2C Region difference to create Extrude the frames to crea planar surface that estab- ate height to object lishes the thickness of the frame
Step 1A Create a point and move it in the x-axis to create 2 points and draw lines
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Step 3 Array the objects x-axis
Step 1B Move the lines in the y-axis in both directions to create 3 lines.
Step Mov to cr crea
s in the
Step 4 Create a bounding box for each object so that it can be arrayed in the y-axis
p 1C ve the middle point up reate 3 lines that can ate arcs
Step 5 Step 6 Create a union bounding Morph the surfaces onto box so that the surface can the arc surface. be morphed
Step 1D Divide the 3 curves into points and make arcs through 3 points
Step 1E Loft the arcs to create one uniform arc tunnel.
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B.4 Technique: Deve Species Matrix
Iteration 1
Iteration 2
Species 1
Frame Size
Size = 0.2
Size = 0.4
Array = 2
Array = 4
Array = 1
Array = 3
Species 2 Grid Divide x-axis
Species 3 Grid Divide y-axis
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elopment Iteration 3
Iteration 4
Iteration 5
Size = 0.6
Size = 0.8
Size = 0.1
Array = 6
Array = 8
Array = 10
Array = 5
Array = 7
Array = 9
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B.4 Technique: Deve Species Matrix
Iteration 1
Iteration 2
Species 4
Point Charge Decay Decay = -2
Decay = -1
Point Charge = -1
Point Charge = -2
Decay = -2
Decay = -1
Species 5
Surface Morphing + Point Charge
Species 6
Point Charge Decay + Surface Morphing
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elopment Iteration 3
Iteration 4
Iteration 5
Decay = 0
Decay = 1
Decay = 2
Point Charge = -3
Point Charge = -4
Point Charge = -5
Decay = 0
Decay = 1
Decay = 2
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B.5 Technique: Prot
Our first few prototypes were based out of laser cuts that were made from grasshopper. We used MDF and Polypropylene to create our frames and extrusions..
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totypes
We tested the MDF for its elasticity and based on our experiment, the MDF breaks past the 10 degree mark which means that this material can only work best with rigid structures and not too flexible ones. The Polypropylene has a much greater elasticity as the material is thinner than MDF and is made out of plastic. Therefore, we were able to fit the Polyprop in the MDF Frame without much trouble, which would have been otherwise difficult with MDF.
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B.5 Technique: Prot
The aim of this prototype was to try to create an infillstructure that looks like the actual lofted surface. However, this would require more than 1 person to produce this. It already speaks on the installation process for panels like these on a large scale as it would take many more people to install a single panel of infill.
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totypes The next thing that we wanted to do was to try and find a better connection connect the MDF to the Polyprop. We tried sewing by using dental floss beacuse of its wax that prevents it from tangling up. However, we found that they were impractical for life size construction. We ultimately resorted to using cable ties to connect the two pieces together.
We also wanted to connect each frame to the next in line so that it becomes one unison piece. There were a few probles at first as each frame has a different height of extrusion. We finally decided to use eye hole pieces to connect the two together.
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B.6 Technique: Prop Dights Falls
Extract lines and curve from site topography
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Pulling lines from positive line charge
Flip Matrix to generate surface
Interpolate sin
Rotate sin curve
curves from series of
in two directions
Grid generat to input obje
Input
posal
tion ect
Point Charges
Frame Holder for Wires
Extrusions from negative attractor point
Offset of Base surface to the top
Bending of timber &
Connection be-
polypropylene
tween pannels
Location of Rocks
Field Lines from negative point charges
Our proposal for the interim presentation featured a structure that looked rigid and provocative at first glance with wire frames that create more fluidity in the design (imitating the flow of water and also a shape of a leaf). The gradual steps downwards into the water invites the user into Dights Falls which will intrigue the users. The change room is located inside the taller tower of steps. There are about 3 change rooms and each one of them provides privacy while still allowing light to enter the space.
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The layering effect can be replicated with specific types of materials. The material that we have gone for was Polypropylene and it has a translucent tint to it. This means that it blur out objects making them less obvious of its shape and form. However, it still allows enought light to enter the space providing natural lighting.
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B.7 Learning Objec
Objective 4: Develop an understanding of relat through interrogation of design proposal as p
I have learnt that sometimes with fabrication, things may ne thing looks possible to fabricate until you add physics in the e think of methods to connect pieces and reevaluate a design s into the digital world for a better alternative.
Objective 7: Develop foundational understandi tures and Types of Programming.
As I keep moving back and forth between the physical world extract information from grasshopper and I find myself more of Studio Air.
Objective 2: Develop an ability to generate a var tion by introducing visual programming, algori their intrinsic capacities for extensive design-s
Reverse engineering a given example was an excellent way learn about the different ways of approaching one scenario. T have its limits depending on your hardware and that is whe
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ctives & Outcomes
tionships between architecture and air physical models in atmosphere.
ever turn out the way it seams. With Grasshopper, everyequation and gravity takes over. It is where I was forced to scheme so that I was able to feed these information back
ings of computational geometry, data Struc-
d and digital world for design fabrication, I’ve learnt how to e skillful in the software than I was in the first few weeks
riety of Design possibilities for a given situaithmic design and parametric modelling with space exploration.
to helping me learn Grasshopper more extensively and to This also works in reverse. The software does, however, ere designs can sometimes fall short.
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B.8 Appendix - Algo
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orithmic Sketches
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Part c:
Detailed Design
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C.I interim feedback Feedback During the interim presentation, the critics pointed out that we were still relying on grasshopper to produce our design instead of using our own fabrications to inform grasshopper on our design. Besides realising that our design was very rigid, we also got feedback that we needed to incorporate more on how it blends in with nature or how the space would invite people to use it and lead them to the water. With these considerations, our group moved away from the design entirely. For the prototypes, the most favourble was the layering effect produced by the Poly. while the plaster infill was unfavourable. As for the connections, eyelets and cable ties were more desirable than dental floss as the connections now need to be realistic for large scale construction.
Back to Basics With the feedback and realisation, there was an urge to rethink our concept and how we approach the task. We were back to looking at the Lincoln Park precedent and we continued testing on sine curves in fabrication. With fabrication, we discovered a new way to intepret the sine curve in a more abstract approach and it enabled us to incorporate it into any desired form. With this, we had an input to be inserted back into grasshopper.
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C.1.2 Inspirations Lincoln Zoo Pavilion Studio Gang Architects
Functioning as an outdoor classroom for the renewed Zoo (1), the concept of transparency is prominent. The ability to look out while still being sheltered became a basis for our design (2). Additionally, the sine curve form also originated from here. The Zoo Pavilion will be a big influence to our design.
Yorishiro
Japanese culture
These objects are used to spirits called kami. They ac markers as spiritual ground inspired us to think about progression. It can act as m ers to create a conscious a ness to the user of what m lie ahead in the journey.
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attract ct as ds and
markawaremight
Ban Pavilion Orproject
The form of this pavilion draws inspiration from floral petals (3). However, the concept it brings struck as a huge inspiration to the design project: anisotrophy. We think that using this technique of construction, we can create a structure that is self-sustaining and includes elemts such as a column, wall and ceiling that seamlessly transition
Final Design Dights Falls Site
Being able to understand the site is crucial in forming our design correctly. There are many different locations where the design can be placed. However, we have a series of criterias to meet for where we want to place our design. Refer to C.1.3 for more details.
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C.1.3 Site Observatio At the peninsula, we were treated with great views of the waterfall and felt that the area provided a good space for privacy and relaxation. It was a gentle and quiet area and was perfect to incorporate our design into.
There was a pathway that connected dights falls to a small peninsula further up. The pathways reminded us of the progressive nature of discovery and surprise. This was where progression was drawn upon and the Yorishiro precedent tied in perfectly.
The waterfall area was the loudest among the 3 locations we visited and it was the area that already had manmade structures. This was where we obtained the idea of continuity as we saw the waterfall as an inspiration towards the endless current.
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ons Objectives From the precedents and the site visit, we combined our design concepts and came up with the following objectives to follow for our project:
Anisotropy The ban pavilion inspired us to utilise this concept into our design and we decided to focus on polypropylene as the only material we would use to create our self-sustaining structure. Progression We intend to utilise our design to create a conscious awareness of the water and the local environment that establishes a journey to the water.
Continuity Our design should portray itself with fluidity and continuation that will lead the user from the changeroom to the water. They should mimic the currents of the water that immerses the user into an aquatic mindset. Privacy The choice of polypropylene and the arragement of the material should provide enough privacy and enclosure for the user but still allow enough sunlight to enter the space.
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C.2.1 Form Finding
Panel 1
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Panel 2
Panel 3
Aesthetic
Aesthetic
Aesthetic
Connection
Connection
Connection
Sturdiness
Sturdiness
Sturdiness
Flexibility
Flexibility
Flexibility
Privacy
Privacy
Privacy
This panel is organic in looks. The springing force helps to retain its structure but it is not a flexible panel. However, there is a tipping point in the compression force making the panel unsuitable for a self-supporting structure. It is also tricky to assemble as it needs a certain force to keep it in place for joining the pieces.
Panel 2 is more stable and resists more compressive force. They can be compressed sideways to be flatenned out. However, the asymmetrical shape makes it hard to connect many of these panels together. It makes for a connection panel joint rather than a common panel for mass use.
This panel consists of 2 folded panels in different sizes and slotted in between each other. The slits that are cut destroys the rigidity of the structure and the form changes very frequently. It is easy to bend and many not be strong enough to hold many pieces together.
Panel 4
Panel 5
Panel 6
Aesthetic
Aesthetic
Aesthetic
Connection
Connection
Connection
Sturdiness
Sturdiness
Sturdiness
Flexibility
Flexibility
Flexibility
Privacy
Privacy
Privacy
Panel 4 is the next generation of panel 3. These panels are connected with cable ties instead of the slotting method. Although the aesthetic of the panel was unique, the connection system for it was lacking. It felt very 2-Dimensional in connection and it was hard to connect many of these panels together.
This panel was simply a fold in a rectangular panel and it produced a unique shape that somehow reflected the sinecurve in an abstract way. It was also a stable structure and was perfect in connecting vertically and horizontally. Although, it was not aesthetically pleasing as the other panels, it was the most practical one to use.
Panel 6 was a continued experiment from Panel 5. We decided to cut profiles to see if the panel could bend easily while still retaining its rigidity. However, this resulted in the panel loosing its structure when force was applied above, making this panel unsuitable for a self-sustaining structure.
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C.2.1 Form Finding Chosen panel Panel 5 This panel was the best choice for producing conplex structures that could sustain itself without compensating much of its aesthetics. The pieces can be connected vertically and horizontally and was easily transitioned from a wall, to a ceiling and a column.
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C.2.2 Design Beginn
Our first design was based heavily on the fibonacchi sequence as it gave a great progression from drawing people into the space and leading them out again. Mirroring the fibonacchi curve defines the space at which the user will walk in between. As you progress inside, the walls are brought closer and more layers of the walls start to wrap around you, this creates even more privacy as the layering of the polypropylene starts to create visual privacy while allowing light in. The change room is situated in the centre of the vortex and then the path leads out the other side, leading them into the water.
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nings
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C.2.3 Connection Te Aesthetic Construction Stability Flexibility Cost
Aesthetic Construction Stability Flexibility Cost
Aesthetic Construction Stability Flexibility Cost
Aesthetic Construction Stability Flexibility Cost
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These connections were easy to install and can be easily removed if an error is made, they are very flexible and was not costly and held the pieces in place quite well. The only downside is how it might affect the detailled aesthetics of the design.
The eyelets gave a beatiful aesthetics as they define the joints just right without overpowering the entire design. They held the pieces very well and they were relatively flexible. They allowed for a second connection in the ring. However, they were hard to install because a flat surface was needed to hammer the joints. The bolts and nuts gave a very strong fixing of the pieces. They were very easy to work with and were flexible with joining many pieces together. However, they were slightly costly. They were also not as pretty to look at and actually added extra weight to the structure which was not good. In view of finding a more stable cable tie, we tested the steel ties. They, however, turned out to be even more unstable than the plastic ties and were not as flexible. It also tainted the look of the design quite prominantly and we decided to discontinue from using this connection type.
esting Chosen Joints
After testing these joints, we desided to choose eyelets and plastic cable ties as they are lightweight. Also, these two connections are flexible to be removed and reinstalled. While the eyelets are aesthetically pleasing, the cable ties provides a camouflage to the structure as they can be tucked away in the holes and are similar in colour to the polypropylene. These two connections, ultimately prvide the most transparency in them and do not disrupt the appearance of the design heavily. They are easy to install but still not as noticable as other connections.
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C.2.3 Panel Develop After experimenting with the connection system and testing out if the wall worked, we wanted to push our design further to test if we could create a structure that could transition from a wall to a ceiling and to a column. We made multiple column prototypes but found one to be the most stable for the wall structure to easily connect with it. Therefore, we started to create a prototype that we could then transfer back into grasshopper to test if the form was feasible.
We imagined that the panels are arranged so that the wall and the column can meet in the centre and we had to test it out to see if it worked and could be structurally stable.
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pment Joint placements With manipulating with where the joints happen, the column can expand or contract. Below shows the view of the connection face from an expanded joint to a contracted joint.
Our refined iteration gave us more control with where we want the column to expand or contract and it also allowed us to use the concept of anisotropy to our advantage as it was very stable and could withstand the whole structure.
Our first few iterations of the column did not provide much stability and could not connect very well with pieces above. The angle at which the column expands is also too rapid and may cause some structural instability.
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C.2.4 2nd Design One of the main challenges that the form we imagined was hard to replicate digitally, especially with such a complex joint system, there was a need for the computer to understand automatically where each joint should go at where. After successfully replicating our imagined form digitally, we were able to see the poten-
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tial of it and to its full extent of how the user will experience the space and how much privacy will they get. There was one setback, however. It was that the column and the wall were quite disconnected and too much of the column is being exposed. This might become a problem.
Drawing of Base Curves
From River and Waterfall
Sine Curve
Divide into points and create 3 pt arc
Loft the 3 point arc to create a surface
Establish the u and v domains of the surface
From fabrication findings
Rotation, Mirroring & Lofting
Morph the array onto the surface
Input
Array the object in the x-axis
Array the result in the y-axis to create a grid
Offset the grid to fill in the gaps between
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C.2.5 Prototyping is
The asymmetrical ra were an interesting build. The pattern of quencial and each r of joints. This create the ceiling and then
Our issue with this w tached to the colum lowed the privacy to
During the prototyping for our first design, we stumbled upon some problems with connecting some parts of the structure together. Therefore, we started to also test with different connection joints and systems so that we try to resolve them (such as the one below).
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ssues
adial spread of the panels construction system to f joining them were serow had a different loaction ed the curving structure of n weaving into the wall.
Our first connection system for the column to the ceiling had a more complicating sequence. It was asymmetrical and the provided quite a rigid and tense structure in the end. There was a need to revisit and reconstruct the process for the top column row.
was that the first ring atmn had no infil which alo be compromised.
We also had another issue with filling up that gap in the structure as it is the point at which it had the most tension and connections were getting quite complicating. If we continued, we would have too many complicating connections to work with.
(View from top)
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C.3.1 Final
The final design tackled ou connection issues that we h also modified to suit the ne meant that we had to go ba ise our new form. With this, realising our
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l Design
ur problems and resolved had before. Our design was ew joining system. This also ack to grasshopper to realwe were one step closer to final design.
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CasCad
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de
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Site Plan
Plan
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Section
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Perspectives
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C3.2 Design Details
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s
The new column connection now has a cleaner look. Each part of the column is now connected to the ceiling and the joint spacing system has been simplified to produce an eye-catching vortex when observed from above. This provides enough visual privacy. There is also no more gaps in the walls so now the structure can be enclosed correctly with the proper amount of privacy.
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C.3.3 Final Prototy
Front View
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ype
Back View
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C.3.4 Feedback
Comparing the feedback we got from the interim presentation, many have pointed out t design has changed. At our current stage, we now have a very solid concept for our des the logic behind our joint system has come a long way from where we started off. Many critics commended our efforts of how we were able to produce an architectural form wi conventional architecture elements or building type. Nevertheless, we were still given a how we could improve our design further. In the next few pages we will try to solve prob were still prominant in our final design with reflecting on these questions:
How doe How does our design relate to the water?
How does our de site
In what way does the design draw people
How could
How much does the material define our form 98
that our sign and y of the ithout advice on blems that
es our formal outcome answer the site analysis?
esign relate to the te?
e to the water?
d our joint-panel system arragement be used on a fixed form?
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C.3.5 Possible Solu
One of our solutions to some of those questions were to create a foo ture and out into the water. It is just an added feature to serve a few our design with the site better and (2) it will draw the attention of peo suggestive elements of our form before approaching to the changer
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utions
otpath that will lead people into our strucpurposes: (1) it would help with integrating ople which will lure them into seeing the room.
In this addition, we have added footpaths that guide the user to the changeroom and lead them to the water. This can be identified in the 2 renders on the left. Below is the plan view of where the stone steps would be placed.
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C.4 Learning Outco Objective 1
Objective 3
We were able to interrogate and challenge the change room with questioning the concept of privacy. For example, must a room be completely enclosed for privacy? Or, do translucent walls also serve the same purpose?
This skill was important to transfer our digital model into physical models. It was needed to understand how the shape of our panels looked like before converting it back into rhino and it helped with visualising where each panel will fit at where.
Objective 2
Objective 4
With the help of computational design, could easily generate multiple iterations of our design and we could refine again and again of the form of our design. Without grasshopper, it would have been very difficult to produce a variety of choices.
Our design helped us realise how we should integrate our design further in our site. Before the Interim, our design was very based on what grasshopper gave us but now after pushing our design further, we were able to create something that was much more relatable to the site than before.
“Interrogat(ing) a brief�
Generate design possibilities for a given situation
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Three-dimensional Skills
Architecture & Atmosphere
omes Objective 5
Making a Proposal Being able to refine our panel system and with intensive research of different connections, we were able to make a stronger proposal of the types of connections for our design. This helped us to also realise the feasability of the design and sometimes forced us to think more practically about how our structure was to be constructed.
Objective 7
Understanding computation Part C brought new experiences with computational design as we had to keep going back and forth between software and fabrication. It was a challenge to bring what we fabricated back into grasshopper but we managed to do that pretty well. However, we also saw the setbacks - sometimes we needed to transfer logical sequences that were not easily achievable in grasshopper.
Objective 6
Objective 8
We had precendents to refer and draw from as insipration for our final design. The other part of analysing was the technical aspect of things where we needed to figure out how the project was done digitally before fabrication and I think we managed to successfully analyse them.
With this new ability to use grasshopper, I feel I can now make very complicating designs without much effort. It was also new for me to learn about how materials behave and the fabrication process to inform our grasshopper definition as they are important information that needs to be considered before pursuing a design.
Analysing projects
Personalised repertoire
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References
Furuto, Alison. 2012. ‘Ban’ Pavilion / Orproject | ArchDaily. October 18 ban-pavilion-orproject.
Minner, Kelly. 2010. “Lincoln Park Zoo South Park / Studio Gang Arch 22. https://www.archdaily.com/83676/lincoln-park-zoo-south-pond
Wikipedia. 2000. Yorishiro - Wikipedia. https://en.wikipedia.org/wiki/
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8. https://www.archdaily.com/280395/
hitects | ArchDaily.� ArchDaily. October d-studio-gang-architects.
/Yorishiro#cite_note-Tamura20-1.
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