Pandey_Shubhangi_834589_Final by Shubhangi Pandey

Shubhangi Pandey 834589

al DESIGN T U D I O urn AIR :

CONTENTS Introduction PART A: Conceptualisation

Namaste, it's me!

A.1. Design Futuring Precedent 1 Precedent 2

A.2. Design Computation Precedent 1 Precedent 2

A.3. Composition/Generation Precedent 1 Precedent 2

A.4. Conclusion A.5. Learning Outcomes A.6. Algorithmic Sketches

PART B: Critical Design

B.1.0 Research Field Raga Research Raga Frequency Study System Matrix

B1.1. Exploring Grasshopper Translate Experiment Analysis

B.2. Case Study 1 B.3. Case Study 2 B.4. Technique Development What is it about? Translate Explorations 2D Exploration 3D 1.0 Exploration 3D 1.1

B.5. Techinique: Prototypes Prototype Analysis

B.6. Technique: Proposal

Site Detail Fabrication: 3D Print Process

B.7. Conclusion B.8. Learning Outcomes

CONTENTS (continue)

PART C: Detail Design

C.1. Design Concept

Criticism Analysis Solidify Concept Why Parametric? Gain Control Over Script Purpose in Collaboration Tell Via Showing

C.2.Tectonic Elements And Prototypes Fabrication Process A Closer Look: Diagrams A Closer Look: Prototype Printing

C.3. Final Design Details Final Model

Final Conclusion

Discussion Learning Objective References

Hello

Namaste

Being a two year old victim of being crushed under architecture school, I've well and truly fallen in love with the rush of pulling an all nighter, regret everything I made in first year, and I thought I skipped the experience of the whole 'teen phase' in my life.... But, right about now is the peak of my teen emotions getting the best of me and I feel like the world is ending. I'm just about getting used to the work ethics of an architecture student, and see myself doing somewhat, somewhere, somewhen inside this area of design. I can say this confidently and with pride, I am a creative weirdo and I can't change that, which is why I'm here, doing Air. This course was a pathway into me laying the foundations for a design career and as I experience this subject, I feel more and more interested in what else it has to offer. I have always enjoyed architectural studios more than anything and I look forward to learning and discussing new and old concepts and expanding my computation knowledge through the classwork. I'm well practiced in basic Adobe Creative Cloud (Photoshop, InDesign), and have an intermediate level of understanding of AutoCad, Rhino and SketchUp. My existing knowledge of algorithm based programs is close to zilch, which I aim to grow extensively by the end of this semester.

conceptualisation PART A

A.1. Design Futuring

A.1. Precedent 1

“All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multilinks, secretive or obvious, or through the whims of memory.”1 (Friedrick Kiesler) In the reading, Design Futuring, the idea of redirection is strongly discussed; the idea of using the great power of design and “reorienting it”2 sustainably, for the better of our future. The cause of choosing Kiesler’s Endless House as a precedent relates back to this perspective of redirection and suggests a system that points to new forms of architectural “knowledge and action that have sustainabilty.”3 The purpose of Kiesler’s conceptual architectural model was to combine the spiritual with the practical and also his way of representing his views on metaphysics through design. He explores abstract concepts in his design, such as “connectivity, correalism and biotechnique”4, to deliver new ideas of viewing architecture and design. To demonstrate connectivity, Kiesler uses curvilinear structure that is built with just concrete, with no structral seams in the construction. Correalism, the constant association amongst man and nature, implied that Kiesler thought of the rooms of this space as expansions of the groups of its occupants.

The Endless House by Fredrick Kiesler, 1920s Image source: MoMA, Endless House: Intersections of Art and Architecture June 27, 2015-March 6, 2016 The Museum of Modern Art

1 The Endless House, Reality Bytes: Selected Essays 1995–2015, ed. by Bart Lootsma, (Birkhäuser, 2016), pp.56-57, (p. 57) 2 Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.10). 3 Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.11). 4 Wikipedia contributors, ‘Endless House’, Wikipedia, The Free Encyclopedia, 12 January 2018, 08:52 UTC, <https://en.wikipedia.org/w/index.php?title=Endless_House&oldid=819970390> [accessed 15 March 2018].

A.1. Precedent 1

Friedrick Kiesler was a solid devotee to a versatile spatial idea, one that must be equipped for giving an ideal reaction to the changing social concerns and employments of its inhabitants. The underlying state of the Endless House demonstrates a smoothed spheroid, which turned into a reason for his Manifesto of Correalism. One of his fundamental contentions for the shape is that it depends on a lighting framework; a shape that would enable sufficient light to achieve each edge of the room without being separated by corners and inside dividers of a regular building. The house recieved much appreciation however it was labeled “ too revolutionary to build”1. Kiesler’s work of the Endless House was an attempt at displaying the importance of the merge between art and life in the eyes of a common man. The criticism received for this piece, found in research, is regarding the degree if dissimilarity between the incomparable and outstanding potential of his models and the seemingly underdeveloped drawings produced to represent his theory. I, personally, am of the opinion that this is a CRITICAL DESIGN that expands a designer’s horizon to, as mentioned in the reading, Speculative Everything, “fully engage with and design for the complexities of human nature”2, which to be honest, can be quite ugly. The form of sustainabilty shown is the level of indeterminancy of spacial functions. Unlike other modernist architects at the time, Kiesler’s focus for this biomorphic design was not merely to present more nature inspired practice than other Modernists, but also practical to expand future possibilities, through his sustainable outlook to art and design.

1: “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler - Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks.org/article/endless-houses-or-vast-potatoes-the-impossible-architecture-of-frederick-kiesler/#!> [Accessed 17 March 2018]. 2: Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014).

Image Source: The Endless House Plan, 2018 <https://www.moma.org/calendar/exhibitions/1529>

A.1. Precedent 2

“LISI: Living inspired by sustainable innovation... designing, building, and operating the most cost-effective, energy-efficient and attractive solar-powered house.”1 (ArchDaily, 2013) The LISI home is a fitting example for the development of changes made in design thinking for the future. The primary motivation of the design was to bring together the “state of the world”2 and the “state of the design”3 and offer a space that is relevant and addresses undermined problems of today: Climate change. The reading, Design Futuring, unforgivingly blames lack of public consciousness and superficial designers for not confronting major current concerns that are acting as enzymes for defuturing our world. The LISI home and its success of being built and performing well, positions people to really believe in resilient methods of design, as it ensures its ability to provide comfort in low energy costs and maintains the character of being ‘one with nature’. The designers of this home aim to “redirect us towards far more sustainable modes of planetary habitation”4 and embrace the true outlook to design practice -- providing a picture a new form of design process that makes a significant difference within the social, cultural and political aspects of society. Promoting this way of thinking reminds us that DESIGN IS THUS NOT MERELYTO BE SEEN AS “PURELY APPEARANCE AND PERFORMANCE”5, yet it is so much more. If confronted strategically, it has the power to revolutionise how we live.

The LISI by Team Austria, 2013 Image source: Public Relations for Research and Education

The LISI, as I see it, is a design innovation that plays a role in finding and implementing the cure to an extremely rapid condition affecting the health of Earth. It displays positive change to slow down the rate of defuturing through its quality open plan, offering “optimal communal space as well as ventilation and light control”6. (Nicole Jewell, Journalist at Inhabitat, 2013) Now, although Team Austria’s vision, LISI, is sustainable, environmentally, I would argue its ability to sustain versatile climate zones, especially ones with high levels of humidity and minimal wind, as the house is an open plan. This is another perspective to ponder upon-- What is the meaning or degree or forms of sustainability necessary to improve the future for the next generations? However, as the reading, Design Futuring, suggests, design and its motive “unfolds as a continuous process”7-- it must become a ‘redirective practice’ -- design strategies must be implemented step by step and developed in the process for it to solve any problem, and this precedent inpires change. 1: “Solar Decathlon 2013: Team Austria Wins Top Honors”, Archdaily, 2018 <https://www.archdaily.com/438022/solar-decathlon-2013-team-austria-wins-top-honors> [Accessed 17 March 2018]. 2, 3, 4, 5, 7: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 6: Nicole Jewell and Nicole Jewell, “Team Austria’S LISI Solar Decathlon Home Keeps Cool With A Movable Exterior Curtain”, Inhabitat.Com, 2018 <https://inhabitat. com/team-austrias-lisi-solar-decathlon-home-keeps-cool-with-a-movable-exterior-curtain/> [Accessed 17 March 2018].

A.2. Design Computation

Heydar Aliyev Centre, Zaha Hadid Architects, 2007-2012 Image source: Zaha Hadid Architects

A.2. Precedent 1 “During the last decade, innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.”1 The Heydar Aliyev Centre is a design of computation, redefining the possibilities of architecture in our current and future world, yet it remains a target of criticism for its mass scale of materiality and some could even say, it is an exploitation of parametric design accessability. It can often be taken for granted in the field of architecture. The building, nonetheless, is an enmoring case of how parametric design can be used as a “facility for the control of topological relationships enables the creation and modulation of the differentiation o f the elements of a design”2. (Oxman, Theories of Digital in Architecture, 2017) It provides the opportunity to go absolutely wild and solve complex arrangements of form, structure and function within the desired design. Zaha Hadid Architects is continually stressing a parametric procedure, and it is apparent in every proposal offered by the firm. They are well and truly in the centre of synthesizing material culture, with the merge of computer and architecture, and have contributed greatly in evolving the relationship between man and machine. In this building, they could not have achieved such soft risings and smooth folds and tuck-ins without entirely depending on digital design. Some argue that emergence of computation has reduced creativity for organic design and restriction in perspective of art has formed inside this realm of numbers and technology. There has been a loss of materiality in the process of digitalising, I believe; however, numbers are an infinite space that only increase the flow of creative ideas in an unimaginable and unique format. It has totally changed conventional forms of architecture, in the sense, it enables more control over materials and design, as well as granting the priviledge of ‘breaking the rules’.

1: Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014). 2: Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014).

A.2. Precedent 2 Parametric design used in a field other than architecture has fascniated me, as the purpose of it in this case is completely different and focuses on an individual rather than a community. It is almost a scaled down model of representing elements of digital architecture. Similar to precedent 1, computation has enabled such expansion of innovation, influencing all of design as a whole. In this example, the course at Penn Design architecture school studied the relevance of garment design, process and systems and their capability to “redefine current architecture elements”1, for example, “envelope, structure, seams, tectonics”2 and subtle elements which brought about this 3D printed dress. Technique explored in the study was ancient pleating using parametric design. This is an example of utilising an ancient form of art and innovating it for current day use. I view this as preservation of historical craftsmanship, sustaining the old by merging it with new technologies and adapting a practical approach to achieve total functionality. Design computation, as I’ve previously mentioned, opens doors to unique design opportunities that could not have been explored a few decades ago. I think, although there are draw backs, as stated in reading Design Futuring, “whenever we bring something into being we also destroy something,”3 computation holds a promising future with so many ideas to innovate and produce with all their quirkiness, detail and accuracy. The complex-looking geometric pattern adopted in this example justifies, exceptionally, the power of digital design; delivering a feeling of invinsability; broadened horizons and wings to fly much higher through “simple procedures of extrusion, seam lines and contours.”4

1,2,4: 3D Printed Dress, Relevance of Garment Design to Redefine Architecture, ed. by Musab Badahdah, Benita Trenk (PennDesign Architecture School, 2018). 3: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.4).

3D printed Dress, Penndesign Architecture School, 2018 Image source: ArchReporter.com

A.3. Composition/Generation

A.3. Precedent 1 “History and new; tradition and innovation.”1 The idea of the relation between creation and destruction is touched upon in A.2. The famous saying, “to gain something, you lose something”, superbly applies to the transition from COMPOSITION to GENERATION in architectural design. This project interest me for this topic, since it is a play of two generations and eras, with two opposing design methods, yet combined into one architectural structure. And there’s no attempt of trying to hide one from another. They both stand opinionated, connected and with presence of individuality. Its an opportunity for creating dramatic new architecture with potential of being an extraordinary and unique public attraction, using generative approaches. Here an ensemble is created, which “regenerates the urban significance.. solves the complex functional issues, and dramatically improves exhibitions, facilities, programming and amenities”2. It is no secret by now that computation is redefining architecture. Although this example does not qualify exactly under composition vs generation, it does architecturally show the growth or change in design procedures throughout time. When debating the old and the new, I’d like to state analogies written in Design Futuring (I keep referencing this article as I believe it is an informative and detailed introduction reading on how to confront new sustainable design), which I feel mirrors closely to this concept: “the omelette at the cost of the egg, the table at the cost of the tree”3, if I elaborate, to an extent, the new at the cost of the old. This is an age of instead of architects using programs, they are creating and innovating them. But that costs them the rawness of sketching and drawing on the screen, due to the taking over of scripting on softwares like Grasshopper and Maya.

1, 2: Marcus Fairs, “Daniel Libeskind At Royal Ontario Museum | Dezeen”, Dezeen, 2018 <https://www.dezeen. com/2007/05/14/daniel-libeskind-at-royal-ontario-musem/> [Accessed 17 March 2018]. 3: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16

Royal Ontario Museum (old, left), Toronto, 1914 Royal Ontario Museum (new, right), Toronto, Daniel Libeskind, 2007 Image source: Dariyan Group

This case study follows a form-finding algorithm that was used to create the cable-net structure of the building, by generating many forms of parametric models (above). This provided architects with reliable unique designs that can portray many variations, thus enabled them to explore even deeper before deciding a winner. Since this is the tallest tensile structure in the world, it was imperative to have an accurate cable arrangement/system. This can only be achieved through generative design. Clearly, generative is preferred approach to all design today, it arrives with its own disadvantages, for example, it lacks a clear theoretical framework and is definitely not cost-friendly. The significance of criticising generative design is highly placed due to its rising popularity.

Khan Shatyr Entertainment Centre, Astana Foster + Partners, 2010 Image source: Fosters + Partners:

A.3. Precedent 2

A.4. Conclusion

Part A of this journal has been a journey of exploring past works of architects that support discussions initiating on the current state of design approach and the necessity of truly understanding Sustainment, in order to grow into a potential future; the emergence and impact of computation in the practice of architecture; and finally the critical distinction between the stage of composing (Composition, e.g. computerisation) and the stage of generating (Generation, e.g. computation). Generative approach is an advancing process that has proven to provide access to creating quick, informed, and unique designs that are easily editted and promote experimentation. I intend to lead a path towards the generative approach, as I believe it is more relevant to current times and will facilitate to enable exploration of the â&#x20AC;&#x2DC;impossibleâ&#x20AC;&#x2122; zones of design. This is beneficial to my way of thinking as an architecture student. It allows me to use variations of the same design to experiment with design, therefore, strengthening the result of the final product/structure. I am provided with a simpler platform that allows quick judgement of whether or not my design is aiming towards change and responding to current climate concerns. This approach is a pathway to having the freedom to change ways of thinking and living in the future, for the benefit of our community/world.

A.5. Learning Outcomes

I feel most of my learning experience of Grasshopper has been through the process of completing classwork requirements. It urged me to go online and watch tutorials to get accustomed to how to operate this complex system. I have gained insight through research and readings about the rapid rise of change through the introduction of algorithmic networking in the practice of architecture. How much it has influenced the future design approaches and procedures? I have asked myself many questions, not just about the current affairs of the world, but also about me and my own blockages that potentially act as obstacles. Iâ&#x20AC;&#x2122;ve taken up the role of a problem solver and designed products that represent my thoughts and will assist the forming of an analysis on personal issues. I have learnt that as soon as you give a project some meaningful context, the value of the outcome will be much higher quality and much appreciated than just designing for a distant brief. This is something I wish I had known during my past projects. I would reach the point of blank, no ideas, a lot less.

A.6. ALGORITHMIC SKETCHES

NATURAL NETWORK CONCEPTUAL: MIND SHELL Networks prove the strength in loops and connectivity, which are both topics discussed in the interpretation of the Crown Chakra. This natural network is inspired by the functionality of the human brain. The process involves the forming of the great human brain, however the end product is only the shell. The design demonstrates the blockage of the fear of the incomplete. It is a symbolism of the result of one trying desperately to create their consistent loop, however somewhere, always, imperfect.

SAHASRAHA CHAKRA EXPERIMENTAL DESIGN To achieve this form, I started off with exploring and experimenting with circular floral designs. this design happened after changing few numbers on the Grasshopper network panel. I decided to make the flower shape more complex to symbolise my personal problem of thinking too much and developing a fear of incomplete work.

critical design PART B

B.1.0. RESEARCH FIELD

SYSTEM OF NOTES IN RAGA â&#x20AC;&#x153;A raga is defined as a melodic structure with fixed notes and a set of rules is maintained while playing the notes so that a certain emotion is evoked by the performance. By a set of rules we mean that note sequences are rendered in aroh (ascent) and in awaroh (descent) while singing the raga, the specific note combinations are typical in a raga and by the way a particular note or a particular note combination is rendered it is quite possible to determine which raga is rendered.â&#x20AC;? In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions. Our system is the study of the action and reaction of two ragas of the Sahasrara chakra, that belong to opposing categories in terms of time of day. RAGAS AND CHAKRA Ragas are designed to help activate specific chakras, which allows the Kundalini energy to rise easily and energize and nourish the chakra. The raga also influences the chakra to maintain its optimum spin and balance, ensuring a balanced energy supply to different organs that are connected to the specific chakra.

Ragas Darbari (Darbari Kaanada in Carnatic) and Bhairavi (Sindhu Bhairavi in Carnatic) are helpful in prolonging the state of meditation and thoughtless awareness. The notes of these ragas help relax and calm the emotionally-related limbic area. The Kundalini energy then soothes and nourishes the Sahasrara chakra and the brain. The result is that one feels, joyous, energetic, peaceful and relieved of tension and depression. The person also enjoys the sensation of a cool breeze on the finger tips and achieves the state of Self-Realization or enlightenment. RAGA #1: BHAIRAVI A pleasant sobering atmosphere full of love and piety is created when anything in raga Bhairavi is performed, and one feels so close to the Supreme. The raga is extremely versatile in the genres of music. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill. RAGA #2: DARBARI The ideal singing time for darbari, is at night, typically, closer to midnight. That time is very calm, quiet. So is the composition of Darbari. If the raga is presented by a great singer, who understands Darbari, it is bound to create the effect the raga should ideally be creating. (Rasanishpatti). It creates a soothing, lasting effect of calmness, seriousness filled with dedication and devotion. Naturally, such environment reduces your stress.

BHAIRAVI VS DARBARI RAGA BHAIRAVI VS. RAGA DARBARI - 10 SECONDS 600 500

Frequency

400 RAGA BHAIRAVI ↑

300

RAGA BHAIRAVI ↓

200

RAGA DARBARI ↑ RAGA DARBARI ↓

100

Seconds

RAGA BHAIRAVI VS. RAGA DARBARI - 30 SECONDS Frequencies (if Sa is C) Western Equivalent

Mood

Shadja

240

Unison

Calm

Re (komal)

Rishabha (komal)

256

Minor second

Tensed

Re (shudh)

Rishabha (shudh)

270

Major second

Happy + Romantic

Ga (komal)

Gandhaara (komal)

288

Minor third

Longing

Ga (shudh)

Gandhaara (shudh)

300

Major third

Romantic

Ma (shudh)

Madhyama (shudh)

320

Perfect fourth

Longing

Ma (teevra)

Madhyama (teevra)

337

Augmented fourth

Tensed

Panchama (shudh)

360

Perfect fifth

Happy

600

Dha (komal)

Dhaivata (komal)

384

Minor sixth

Longing

500

Dha (shudh)

Dhaivata (shudh)

405

Major sixth

Sad

400

Ni (komal)

Nishaada (komal)

432

Minor seventh

Calm

Ni (shudh)

Nishaada

450

Major seventh

Happy

Shadja

S’

480

Octave

Calm

600

Frequency

500 400 RAGA BHAIRAVI ↑

300

A loop is created of the aroh avroh and the waves are dancing in all different directions, even though both ragas belong to the same chakra.

RAGA BHAIRAVI ↓

200

RAGA DARBARI ↑

100

RAGA DARBARI ↓

Seconds

Frequency

RAGA BHAIRAVI VS RAGA DARBARI - 1 MIN

After one minute we can clearly see Raga Darbari, although sound calming, its formulation is scattered. The ragas are together forming a chain.

30 SEC

Western system: C D E F G A B Indian classical system: Sa Re Ga Ma Pa Dha Ni Note Name Full Name Notation ID

10 SEC

NOTATION TABLE

In the ten seconds we can see a similar incline in the ascent (aroh) of the ragas however the difference in the character of the two raga is highlighted in the descent (avroh). Bhairavi maintains a steady, more linear rhythm down, however Darbari shows that certain notes are so significant in the raga that the flow of coming down is preferred to be broken.

0 SEC

DIAGRAM ANALYSIS: Frequency Waves

RAGA BHAIRAVI ↑

300

RAGA BHAIRAVI ↓ RAGA DARBARI ↑

200

RAGA DARBARI ↓

100

1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59

Seconds

RAGA BHAIRAVI VS. RAGA DARBARI - 5 MINUTES 600

Frequency

500

DESIGN PROCESS

400 RAGA BHAIRAVI ↓

200

RAGA DARBARI ↑

100

RAGA DARBARI ↓

101

151

201

251

Seconds

RAGA BHAIRAVI VS. RAGA DARBARI - 10 MINUTES 600

Frequency

500 400 RAGA BHAIRAVI ↑

300

RAGA BHAIRAVI ↓

200

RAGA DARBARI ↑

100

RAGA DARBARI ↓

101

201

301

Seconds

401

501

600 SEC

At the tenth minute, the graph is unrecognisable with multiple, countless, bodies of waves colliding together to look like a whole piece of architecture.

300 SEC

These effects are explored in our timed loops of the aroh (ascent)and avroh of each raga, to study the play of frequencies of each note used in its specified order, in aims to land a versatile range of design and conceptuals. The mood of each raga is reflected in its actions on the graph and the ragas are compared to draw attention to the ‘balanced” nature of the crown chakra.

RAGA BHAIRAVI ↑

300

The density of this infinite chain increasing displays the forming of a solid, rather than a chain of frequency waves. Personally I feel calmer as the visibility of the wave structure has reduced.

60 SEC

SYSTEM MATRIX

EXPLORATION OF FREQUENCY CHARACTERISTICS ON PARAMETRIC PLATFORM

0 SEC

10 SEC

The results are similar to the earlier studied Excel graphs. As the time goes on, the design becomes less chaotic and forms a solid figure. The frequencies are most interesting when time is in the first 10 seconds, as you can clearly see a dance being done why the frequency values on the panels illustrated above.

30 SEC

60 SEC

300 SEC

600 SEC

B.1.1. EXPLORING GRASSHOPPER BROKEN EGG

TRANSLATE Expanding Design Thinking and Creating Wonders! In conventional design tools it is â&#x20AC;&#x153;easyâ&#x20AC;? to create an initial model - you just add parts, relating them to each other by such things as snaps as you go. Making changes to a model can be difficult. Even changing one dimension can require adjusting many other parts and all of this reworking is manual. The more complex the model, the more work can be entailed. From a design perspective, decisions that should be changed can take too much work to change. Tools like these can limit exploration and effectively restrict design. For someone of my blockage, someone who can get carried away with detail because they just donâ&#x20AC;&#x2122;t know when to stop, conventional design can be a pain to use for exploration. In many ways, it prevents my blockage from becoming a strength. In B1, we played with the limited limits of parametric design and developed a script reflecting the battle between aiming high and aiming too high which leads to self-doubt. The goal set for this script was to explore the opportunities grasshopper offers to enable us to build a design more relevant to our selfmade brief. We work towards creating a design that displays an ascending and descending order of some sort, highlighting the behaviour of the two ragas studied earlier, as per the assessment guidelines. To portray a clear and applicable bond of the system of the ragas and our blockage is a challenge, yet an advancement in our ability to create and reflect our ideas through exploring 50 or more iterations.

B1 PSEUDO CODE

This code is produced through the backbone of the system matrix. We choose to start with a box as the initial topography. Then break up its singularity by granting it floating points that open up hundreds of design prospects to emerge from within the box. Then we repeat this process however choosing different geometry and altering the quantity of size and amount, in attempts to achieve varying results. The aim was to try new shapes and outcomes while following the planned behaviour of the system stated in the matrix. Populating the shapes assists in breaking it down and then introducing a pattern onto the skin gives the object a new dimension. Then the pattern is restricted through the use of a range and domain. This step controls the uneven appearance of the egg-like shape and is responsible for breaking up the consistency and the size of the pattern. It is what truly reflects my blockage of feeling the fear of incomplete and never reaching my full potential.

EXPERIMENT 1 SEPARATION Y AXIS - MATERIAL: GEM

+50

+75

+100

+125 SEPARATION Z AXIS - MATERIAL: PLASTER

+50

+75

+100

+125 SHAPE SIZE

+25

+50

+100

+200 SEED - MATERIAL: PLASTIC

+10

+15

+20

+25

+30 DOMAIN START - MATERIAL: METAL

+50

+75

+100

+200

EXPERIMENT 1 (continue) DOMAIN END

+0.1

+0.2

+0.5

+0.8

+1.2

+10

+25

+50

+70

+10

+20

+30

+40

TARGET DOMAIN

GRAPH VARIABLE

SHAPE COUNT - PAINT

+10

+50

+0.1

+0.3

+500

+1500

PLANES

This script, although, supports my blockage particularly well, it seems to have a lack of variations to compare outcomes with. Thus, instead of learning differences with entirely geometry and scales, we investigated the different materials also and how it can impact the appearance of an object/space. For example, the results obtained from gem (first row) are interestingly different from metal (third row), in areas such as transperancy, vibrance, reflectance, shine, density and levels of the appearance of spacing between broken skin geometry.

ANALYSIS: SELECTION CRITERIA CONCEPT

FUNCTION

AESTHETIC

FABRICATION

ANALYSIS: One Vs Four 1

The concept behind this follows the path of the blockage, where pieces are unlinked and their is some sense of an incomplete object that didnâ&#x20AC;&#x2122;t quite reach the stage of union; however is still displaying the initial spherical shape to represent the infinte loop/cycle suggested of the Sahasraha Chakra. There is no current function and fabrication is not accessible for such an open surface model. Aesthetically, it is appealling as it stands out in the crowd of majority round, patterned iterations.

A much stronger concept is derived from this design due to its clear positioning of density and transperancy. The inner center is the most dense, getting lighter as it expands out, directly implying the connection to the blockage. The different scales of spheres show the range of frequencies dealt with in the raga, and takes us deep into the restrict and repeat strategy from the system matrix. Its appearance is very neat and clear, with the gradient in the pattern showing marvelously. Function is yet not determined as this design cannot, yet, occupy people. Fabrication is a failed criteria for this design due to its incompatability with 3D printing conditions.

The design is unique for its material and paint. Aestheically and conceptually it is less than Choice 2, because of its bigger spheres merged into a single solid. Itâ&#x20AC;&#x2122;s scale varies less, and looks all too similar. It looks much like a transparent blob, rather than a representation of note frequencies, or the chakra, or the blockage. Fabrication, again is not feesable, as it is not a joined model, and function is also undetermined at this stage.

Personally, from just pure form and material, this one is most appealing, however, it has one of the lowesr selection criterias overall. Itâ&#x20AC;&#x2122;s chaotic, massy, imperfect look can be considered the descending nature of Darbari raga, however the design is not descriptive enough visually to deliver that thought or justification.

B.2. CASE STUDY 1

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UNDERSTANDING THE TRANSITION In the reading ‘The Building of Algorithmic Thought’, by Brady Peters, the author mentions that the day the digital becomes no different from normal design, is when it can truly take shape and “computation can become a true method of design for architecture.” This task enables one to familiarize themselves even more with algorithmic design through analysing the play of an existing script. In my case, I have now taken one little step towards normalising digital in architecture. The exercise allowed us to recognise the flexibility of a feature and how easily its operation can be represented through computation. This lead us to trying out several different scripts and my knowledge of and interest in parametric design has only expanded. The script chosen for case study 1 is of floating, and rotating louvers.

B.3. CASE STUDY 2

Al Bahar Towers Facade

This building is the world’s largest to have a sun responsive facade. Working with Arup Engineers, Aedas Architects created an incredible ‘mashrabiya’ façade that pays homage to traditional Arabian architecture and design. The geometric patterns that comprise this gigantic screen include over 1,000 moving elements that contract and expand during the day depending on the sun’s position. We chose this as a precedent for its flexible design and connection to site. They have used traditional patterns to symbolise the place and the people of the place, as well as designing a smart geometry that promotes future computation and energy efficiency.

B3 PSEUDO CODE

DESIGN PROGRESS OF FACADE

HEXAGONAL GRID

TRIANGLE FORMATION

RESPONSIVE GEOMETRIES

RESPONSIVE FACADE

RESPONSIVE NATURE OF FACADE

Direction of attractor point is UP

Direction of attractor point is DOWN

B.4. TECHNIQUE DEVELOPMENT

WHAT IS IT ABOUT? â&#x20AC;&#x153;Algorithmic thinking means taking on an interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.â&#x20AC;? In this section, we have adopted the behaviour of algorithmic thinking, and incorporated it in the making of our design. Starting off with taking on the role of understanding the surroundings, culture, nature, understanding what we want to do with it, and how this proposal will be beneficial to this surrounding, culture and nature. In B4, development of potential designs on site Merri Creek are explored and one is presented in aims to better the environment and and the wellbeing of the people of Melbourne. Throughout the process, we have created design specifications that keep us focused towards reaching our goal and lead the path towards the atmospheric value desired in the proposal. B4 Technique Development is a further development of the tasks performed in B1, B2 and B3, thus these past experiences will now be used as inspiration and assisting tools to achieve best potential results. Main technique applied is the system of notes in Raga Bhairavi and Darbari, bringing them together to create a balance structurally, mentally, appearance-wise and metaphorically. SYSTEM MATRIX (REDEFINED)

Temple is a place of prayer and sacrifise. It is also a place of self- reflection, meditation and tradition music. These three activities are aspects that will be promoted through the design along with ecological development. The precedents portray many similar qualities, which is significant piece of information to gather for the formation of a conceptual. Their physical form compiles of a large mass filled structure with levels stepping down to get larger in surface size. They all share a sense of heirachy as well as symmetry. Another common factor is they all are positioned in open land where they stand out to the public eye. Why is this? In my opinion, Iâ&#x20AC;&#x2122;d say people feel a sense of security when a large structure regarded with so many prayers is rising above them. It delivers positive vibrations, which is what my design is looking for.

PSEUDO CODE

TOPOGRAPHY: 2D EXPLORATION

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â&#x20AC;&#x153;If raga is a space, it is not an empty space, or a set of equal points. Ragas serve as flexible but stable topographies that singers explore through both melodic and gestural action. Singers explore this space of a raga in the physicial space around their body. Singers explor ethis space while leaborating on melodies, moving through particular regions via particular melodic paths, with particular textures and topographies.â&#x20AC;? Our topography is the crown chakra. It is the detailed mapping of a specific area. In these iterations, we explore the nature of frequency graphs playing on the topography of the Sahasraha chakra. Graph 1 representing Bhairavi at 10 seconds, graph 2 at 30 seconds, graph 3 at 60 seconds and graph 4 at 300 seconds (five minutes). 600 seconds is left out of this experiment, due to its lack of significant alterations iin 2D geometery in comparison to the other graphs.

3D EXPLORATION 1.0

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3D EXPLORATION 1.1

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B.5. TECHNIQUE PROTOTYPES

ANALYSIS: Two Vs Two

CONCEPT

FUNCTION

AESTHETIC

B4 Most Successful

FABRICATION

1. Night: Darbari

2. Morning: Bhairavi

B5 Cover page

Combining the two Ragas and portraying the Sahasraha Chakra through their behaviour has been the entire concept of this practice. The slightly more chaotic nature of Darbari is mixed with calm and soothing Bhairavi to create a balance in the system. Night and Day are merged to create something even more beautiful. Something that involves the beauty of the star constellations and sunlight wavelengths with a charm and purpose. The upwards shape is taked on through the characteristics of a Raga, as the notes are always rising first and falling after (aroh and avroh), no matter what the raga. The

rising step formation is a take on from the typical look of traditional temples. The design being proposed is a multi-storey park in the shape of an inverted temple, which metaphorically means to find the divine within yourself instead of looking for it outside in statues and temples and writing. Become of devotee of THAT divine. This is what will get me to overcome my blockage.

B.6. CONCEPTUAL PROPOSAL

The selected site is located at the corner of the Yarra Bend Park, beside the water in the Merri Creek Trail. This site choice was ideal due to the temple influence temple. It offers an open space available to everyone, clear in sight, and has accessible view to the urban as well as Melbourneâ&#x20AC;&#x2122;s green gardens. The function of the architectural space is a multi-story, available to all, park, with all the views.

SITE ANALYSIS

Perspective 1

Perspective 2

Perspective 3

Perspective 4

The Proposal + Concept In the reading, Design Futuring, the idea of redirection is strongly discussed; the idea of using the great power of design and “reorienting it” sustainably, for the better of our future. This proposal is a part of a system that points to new forms of architectural “knowledge and action that have sustainabilty.” The purpose of of this design was to combine the spiritual with the practical; take an abstract natural system and apply it to a functional build. The design explores abstract concepts such as the frequencies of the two chakra ragas, in attempts to deliver new ideas of viewing architecture and design. THE PHYSICAL STRUCTURE:

ELEVATION 1.1

ELEVATION 1.2

The inner structure is designed by a cosine curve, representing raga Darbari. The notes are chaotic with their frequencies, reflecting on the physical chaos on the uneven pyramid structure. The surface area is dependent on the height of the structure, symbolising the higher number of frequency as higher notes are sung. The second raga (Bhairavi), much softer and smooth, wraps around the inner, in attempts to control it. To balance the system out and work together towards the chakra. However, this concept is not final yet. What if it does not control it? What if it merges with the chaos, rebelling, disobediantly, acting against its natural course and adapting smoothly to the environment it is presented? HOW IS IT USED?

ELEVATION 1.3

PLAN

The idea is to recognise that the site is located in proximity to the urban environments, where demand for lifestyle around greenery is on the rise and required to improve wellbeing. This proposal is a design for a multistorey park, which preserves rare plants and grows vegetables to sell locally to promote local produce. It offers spaces of retreat, an opportunity to experience a park above ground with undercover facilities and looks directy out to the Melbourne CBD, Melbourne gardens, Merri Creek and the Yarra River. Developing a space that is sustainable and promotes sustainable produce is an attempt on creating balance in the ecosystem around urban areas like Melbourne and growing a healthy community.

B.7. Conclusion

BRINGING IT BACK TO MY CHAKRA AND MY BLOCKAGE Connecting with nature is a step towards building a society with a higher level of consciousness to work in our present to make their future better. This very rise in consciousness is a sign of reacting to the Sahasraha chakra. The design provides so people enjoy their time at the park and feel a sense of relief and happiness when they leave the building, making them more capable of activating the chakra, without them even knowing. Greenery is incorporated in the design to this degree, since people react positively around it. The chakra is the starting and finishing point of this proposal, as it is purely, innately infinite. My blockage since the beginning has been about continuously doubting my potential, because my initial reaction is to intantly aim top level, which only mostly ends with disappointment. This chakra along with the raga system and this design, all suggest a balanced rise- one note at a time, each step at a time.

3D Printed Model

3D PRINTNG PROCESS Initial Process:

5. SUBMIT

1. Book training classes on 26th March.

2. Watch FabLab Powder Printer Introduction and Function Tutorials

3. Build concept for final proposal on Grasshopper, Bake and keep as Rhino file

4. Arrange model as per FabLab 3D printing terms and conditions. (Scale to fit inside a 255x205x205 template, with minimum 2mm thickness, and closed surfaces)

Result:

3. SUBMIT

1. Two Days later we receive an error in file.

2. Closed off singular surfaces, and separated in two. Submit to different printer due to long queue at Fablab.

4. Tried another 3D print company (United Make). Unsuccessful, again.

Problem Solving:

6. Semi-worked

1. Booked 3D Printing Consultation

2. Found that there is problem with the basic structure of script. Frequency graphs used are too complex for practical 3D printing

3. Managed to close the polysurfaces, however required eliminating “Mirror” and “Loft” to create a solid.

4. Getting rid of Loft has changed the entire look of the model. But this is sufficient for representation purposes.

5. SUBMIT

B.8. Learning Outcome

This part has been a huge learning process for me, possibly the most new and knowledgable information I’ve gained that has left me baffled several times in the design process. Its pushed me to develop new skills that seemed to be the most alien topic to me few weeks ago. I’ve learnt there are constantly inprovements required in a design, which is why your initial sketch is never your final. Its a long and tedious and exciting journey before you decide on an outcome that satisfies all criteria’s set by yourself. I’ve learnt to work with a partner, taking into account each of our talents and shortcomings. I do believe this project is incomplete, because there are so many doors left open and concepts to discuss and experiment with. However, I think I have overcome a little bit of my restriction during this process. I KNOW this is incomplete, yet I have no fear of it, because this is exactly the stage I should be at right now. The learning stage: where you start, fail, miserably fail, break, get back up and learn more. I have no fear of not achieving as high as I expected, because my personal gain from this task outnumbers all that. Aspects I need to reflect upon are being more clear and relevant in presentation of ideas. Every minor detail does not require a display. For the next part, I will need to find a technique to self-jugde the work I do and filter what is most informative and supportive of the idea or concept I wish to present, as time is always limited.

detailed design PART C

C.1. DESIGN CONCEPT

Criticism Analysis

â&#x20AC;&#x153;Almost all quality improvement comes via simplification of design, manufacturing... layout, processes, and procedures.â&#x20AC;? The journey of enhancing my concept and representing it as a potential part of reality is the core of this part of the study. Proving to viewers that the proposed conceptual is possible and it will effect lives by opening gates to a collaborative thinking and teaching space that reminds people of the extent of power they possess and the differences they can make by performing and teaching basic equations. The equation of creating life; and growing it with love and care, while enjoying yourself; and contributing to making balance in natural resources; contemplation of a form. The conceptual proposed in the interim presentation led to contemplation in itself, compelling me to break barriers and apply new strategies to improve and reflect efficiently on the feedback given by the critics. To set basic targets, my approach is to break down the criticism received and my self-criticism into five, in attempts to fight the fear of incompleteness through completing the circle.

Solidify Concept

__________________________ give it character

To define a detailed character to the concept, the technique of further breaking down the most significant messages and elements symbolised in the design and working from there seems most promising. The beginning and, hopefully, the end is aspired to reflect back onto the Sahasraha chakra and my blockage of self-doubt and fear of feeling incomplete. FINAL CONCEPT A COMMUNITY VEGGIE GARDEN the space forms an experience that enables people to connect with the divine within, through the opportunity to create life. Instead of worshipping an idol or an imaginary idea of divinity, this garden will offer people to take control and feel responsible for the creation of a life form, further encouraging contemplation and discussion among individual minds and communities.

Why Parametric?

___________________________

display through the design the advantage of using parametric design

= New Equation

Critical to this studio is the usage of parametric design and exploring the possibilites granted to designers. A lacking factor in the conceptual design was the display of parametric qualities. Features and abilities that differentiate computerisation from computation. Working on the script and adding elements that are restricted/limited to application specifically in Grasshopper, not just opened doors to more iterations, but gave each face a character to play in the story, making each space versatile in experience. The Pseudo Code on the left represents the difference in form and function a change in script can make and consequently, bless and enhance the concept and spacial value of the building.

Gain Control Over Script

_____________________________________ concept before script 1

The feedback I received for the interim presentation questioned my relationship with the script developed. After a lot of questions, listening, and self-doubt, I realised that I was at a design blockage. My script was preventing me from being more creative, as I was too dependent on what it will produce, rather than me being in charge of the design concept. Personally I feel this is one common hurdle crossed by newcomers of parametric design. Your constant journey of exploration lands you into believing what the script produced is fulfilling the thought behind the desired concept. However, in my case it was not. It had become quite lost after a little while. With only a few weeks until the final presentation, quick changes to my approach to design were made. I travelled from creating a script then developing a concept, to finalising a suitable, appropriate and purposeful idea for a space first and, only then, filtering out aspects I plan to develop, hence adding them to the script accordingly. This approach to parametric design helped in gaining control of, not only the possibilities of the script, but also the experiences I intend to create for people in the spaces have evolved. The 12 stages on the left show the development of a controlled design, with combinations and elements much more relevant to the context.

Purpose in Collaboration

_____________________________________ assign a functional/meaningful purpose to each element

Outer Pipe: One Thickness

INITIAL DESIGN

Outer Pipe: One Thickness

Outer Pipe: Multiple Thickness

Inside Pipe: Small base

Inside and Outside Pipe: Large Base

Inside and Outside Pipe: Multiple Thickness 1.1

Inside and Outside Pipe: Multiple Thickness 1.2

Inside and Outside Pipe: Multiple Thickness 1.3

Inside Pipe: Coordinated Thickness Ascending Order

FINAL DESIGN

The two frequency waves that inspired the initial design, although represent the smooth merging of the opposing qualities of nature (Raga Darbari: Night and Raga Bhairavi: Morning) to symbolise balance in the chakra, did not fulfill the requirement of connectivity. WThe major flaw was the physical link with no purpose, thus making it important to develop the design accordingly and merge the two waves into, literally, one, with different roles to play in the space.

Tell Via Showing

____________________________

take us on a journey; your journey; my journey

Initial Vs Final Concept

Raga Frequency Study

Final Concept

Detail Drawings: Plan, Section, Elevations

Blockage + Chakra

Iterations

Self-Criticism

Close-up Experience Shots

Chakra + Raga

Interim Proposal: Conceptual Design

Design Development

Learning Outcome

Introduction

Initial Design Development

Final Design Development

Conclusion

C.2. TECTONIC ELEMENTS AND PROTOTYPES

Fabrication Process The veggie garden is proposed to construct an on-site fabrication using industrial robots and autonomous vehicles. Advantages of using 3D printing is faster construction, lower labor costs, increased complexity and/or accuracy, greater integration of function and less waste produced. This design is rather complex and large in scale. Though fabricated such a scale is not possible, through 3D printing in the current age, it is expected that the technology will be advance enough to produce a mass of such load in the coming future. The building’s core is made of a mixture of quick dry cement and recycled raw materials.

3m long 3D glass printed pillar, by G3DP2 team Concrete 3D Print wall display

As this construction is a produce of the future, I have found the growing industry of 3D glass printing to be very interesting, as I was completely unaware of the possibility of 3D printing glass on an architectural level. Recently, G3DP2 have attempted this and succeeded in exploring 3D printing glass at architectural dimensions using a large-scale 3D printer. The team has explained how this works: “This new manufacturing platform includes a digitally integrated thermal control system—to accompany the various stages of glass forming—as well as a novel 4-axis motion control system permitting flow control, spatial accuracy and precision, and faster production rates with continuous deposition of up to 30kg of molten glass.” In my veggie garden design, there are glass pillars supporting the floors, which are to have water flowing through it. The glass will be fabricated using this largescale 3D glass printer, off-site.

STRUCTURAL SYSTEM

WATER CIRCULATION

SPACIAL COMPOSITION

PEOPLE CIRCULATION

As the location of the building is on top of the creek, structural components must be deep and resistant enough to survive in water and hold a huge living piece of architecture up. The diagram, below, shows the load bearing components in purple. This includes the heavy glass pipes, the concrete boxes below the structure, under water, and the stumps, pushed deep into the water bed.

The decision to utilise the water from the creek as a water recycling system for maintenance of the plants is an idea I had wished to implement, desperately. I believe this aspect of the design is under developed, as the commitment to research is quite basic. It needs to be more detailed for a sprinker system providing water for such a large structure to function as required. The diagram below demonstrates the concept of a constant cycle built from natural resources, using the pure form of the structure and giving it more of a purpose, i.e. other than structural and metaphorical.

The spacial allocations are arranged to be practical. All spaces exposed to the sun are areas of greenery, while all undercover spaces are gathering or resting or meditation and contemplation spaces.

Circulation for people traffic, due to its radial structure is accessible from multiple ends on the horizontal plane. However, vertical transportation is intentionally restricted to one person at a time. The stairs are too narrow for more than one adult. This feature is a reflection of the behavioural system used to produce this form: Ragas. Notes in Ragas progress upwards and downwards one note at a time. People, in this instance, are representing each note of the Ragas as they ascend and descend from the structre. Although, I do not expect visitors to feel as if they are musical notes of a Raga, but the limitation will help maintain a consistent flow of people; a linear progression. Itâ&#x20AC;&#x2122;s all about the balance and patience.

A Closer Look: Representational Diagramming

A Closer Look: Prototype Printing

1. Watch FabLab Makerbot Printer Introduction and Function Tutorials

8. Final prototype

2. Prepare File that needs to be printed

3. Convert onto Makerbot file

4. Calculate weight and time: 7HRS and 132.94 GRAMS

7. Collect

6. Submit design ASAP due to long queue,

5. Calculate cost: $19.94

C.3. FINAL DESIGN

Top View 1:400

South East Elevation 1:400

Section 1:400

North West Elevation1:400

Perspective 1.1

Perspective 1.2

Perspective 1.3

Final Detail Model 1:200

final conclusion

Discussion CONTEMPLATION...Contemplation is defined as “deep reflective thought,” “concentration on spiritual things” or “a state of mystical awareness of God’s being.” With such a wide range of interpretations, this word allows the creative freedom for a designer to envisage a unique form of space and use, and motivate topics of fascination, discussion and debate. Our natural curiousity to question every little unknown detail, to justify our beliefs with solid evidence and find solutions only to move on to the next problem is what makes us such intellectual beings. Our minds are continuously looking for new information to eat and digest, however, in the rush of things, we commonly forget to pause and reflect on what we just digested or learnt, and end up following blindly. My vision was to create such a space where individuals and groups are encouraged to make their small contribution towards potentially creating an ecosystem of lifeforms, in hopes to ignite curiosity and imagination in people’s minds. This is the first step out of ignorance and towards growing more AWARE and observant. The idea roots from the meaning behind the Sahasraha chakra and its characteristics. I believe this community veggie garden is a symbol of a mind that grows healthier the more you nurture it and care for its life and wellbeing. It has the ability to teach as well as relax and think privately. It is structured to purposely reflect the out-standing stature of a temple and behaves as two opposing raga waves in one, merged together, unseperable, ultimately reliant on one another, balancing out their weaknesses, and as a result mine too. Its the process behind this project that has really reflected upon my blockage of self-doubt and fear of incompleteness. I have learnt to convert my self-doubt into self-criticism with the motivation to improve and develop as a designer, rather than feel disappointed and stuck. The intention of the spaces within this garden is to provide a variety of experiences that strengthern concentration, enable teaching and provide people with the opportunity to take a break and meditate amongst nature.

Learning Outcomes

Other then compelling me to face my challenges and work even harder to impress myself, I am taking away several skills I had never imagined myself possessing. These include the basic understanding of parametric design, and the complexity of the subject. It is very broad and still quite understated in the normal crowd, making it such an alien topic to dive into immediately. I have learnt that with its gifted ability of providing dozens of ranging iterations that make developing a design, that much simpler, there can be a moment when the power of parametrics takes over your concept and may very much so lose its way into the bin. As a student, Iâ&#x20AC;&#x2122;ve learnt to get out of a dead end design without any break downs and energy drinks, which is the biggest accomplishment for me this entire semester. Iâ&#x20AC;&#x2122;ve also experienced working with a partner and learnt how to handle sticky situations when you cannot just agree to disagree. Overall, Studio air has been a memorable experience, it has been the most beneficial and rewarding subject, knowledge wise, for me, but I am glad it is over! Iâ&#x20AC;&#x2122;d like to give out credits to my project partner Lexi, my tutor David, the presentation crits for being constructive and my class for the great discussions and feedback. :)

References Fry, Tony, Design futuring: sustainability, ethics, and new practice/Tony Fry (New York: Oxford, Berg, 2009) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014) Dunne, Anthony, and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014) “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks.org/article/endless-houses-or-vast-potatoes-the-impossible-architecture-of-frederick-kiesler/#!> [Accessed 17 March 2018] Jewell, Nicole, and Nicole Jewell, “Team Austria’S LISI Solar Decathlon Home Keeps Cool With A Movable Exterior Curtain”, Inhabitat.Com, 2018 <https://inhabitat.com/team-austrias-lisi-solar-decathlon-home-keeps-cool-with-a-movable-exterior-curtain/> [Accessed 17 March 2018] Fairs, Marcus, “Daniel Libeskind At Royal Ontario Museum | Dezeen”, Dezeen, 2018 <https://www.dezeen.com/2007/05/14/daniel-libeskind-at-royal-ontario-musem/> [Accessed 17 March 2018] “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler - Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks. org/ “Discrete Elements | Using Generative Algorithms To Create Architectural Space”, Archreporter.Com, 2018 <http://www.archreporter.com/discrete-elements-using-generative-algorithms-create-architectural-space/>