633789 gu yun finaljournal

STUDIO AIR CONCEPTUALISATION 1

Content PART A

CONCEPTUALISATION

A.0 About Me A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

PART B CRITERIA DESIGN B.1 Research Field B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal B.7 Learning Objectives and Outcomes B.8 Appendix - Algorithmic Sketches

PART C DETAILED DESIGN C.1 Design Concept C.2 Tectonic Elements & Prototypes C.3 Final Detail Model

YUN GU 633789

Semester 1 2015 C.4 Learning Objectives and Outcomes

A.0 ABOUT ME YUN GU Bachelor of Environment Architecture Major 3rd Year Studio 6 MSD 215 633789 This is my final year of Environments study majoring in architecture.

I have much expectation in Studio Air to develop digital modeling skill and algorithmic design. I am a huge fan of technology and furniture design.

My Asian background has much influence in my view and value in architecture.

My experience in using designing software is very limited. I have used Rhino for virtual environments two years ago, which have little memory of; also practiced in Sketch-Up and Auto CAD for Studio Earth and Studio Water.

In Virtual Environments, I have explored making a 2D pattern to 3D model of lantern.

Firstly I have fold a square piece of paper in an irregular order, scanned to an image and imported into Rhino. Then it has been ‘exploded’ and adjusted to a form like flower but nothing like lantern. Final step was making surfaces and squeezing to the middle; adding a ring in the middle for hands to hold and digging some holes for lights to go through.

I liked the production that is not enclosed like a normal lantern would have and that was my first experience using Rhino.

4

CONCEPTUALISATION

In last year, I did not focus much on learning software, instead I focus more on the expression and proportion for the purpose of aesthetic and mathematical reference in architecture.

The design brief for studio Earth was to make a space for a family to hear a recording at one time that the space express ‘timeless’. I used squares only in horizontal section and the height of each level follows the proportion of an egg. Lower level was underground and only high enough for children to go through with a tunnel connected to ground. For studio Water, I studied Richard Meier’s architecture and simulated his style. The floor plan uses certain scale of rectangles interacting and the two parts of building follows the proportion of geometry as well.

CONCEPTUALISATION 5

A.1 DESIGN FUTURING

FIG.2

Image[1] Beijing 2015, MAD Architects, 2006

Design futuring has been a main term of design strategy in the 21st century. By forecasting the future, architects predict new trends and identify weak signals that can be extrapolated into the near future. [1] It’s interesting that architects use imagination to design futuring however the future is orientated by these designs. Dunne’s article mentioned his interest in ‘positioning design speculation in relation to futurology’, which I believe every architect does the same.

Design futuring encourage people’s imagination to flow freely, and the imagination amazed me is from MAD Architects.

MAD Architects purposed ‘Beijing 2050’ in 2006 which respond to the reshaping of Beijing in the future. They purposed the political space change and a floating island over the CBD which reflects people’s life style may take more places ‘up in the air’.

At the same time of looking into the future, MAD Architects also reviews the history. The CBD in Beijing was built according to the western vision of modernization created in the last century regarding to an expression of wealth and status.

[1] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp.1-28 [2] MAD, Chinese Architects, last viewed 20th March, 2015 http://www.chinese-architects.com/en/mad/projects-3/beijing_2050-7040

8

CONCEPTUALISATION

Image[2] Beijing 2015, MAD Architects, 2006

But the density in China is far more than Western countries and instead of chasing the building height to accommodate, MAD architects purposed a literal connection between buildings. [2] In their report, there are two very interesting principles of “machine aesthetics” and “vertical city” that are characterized by modernism. The space MAD Architects purposed lies ‘somewhere between reality and the impossible’ like Dunne says referring to the concept of design futuring.

Technology has enabled designs and construction

that increase the probability of more desirable futures happening, but as Fry says: Whenever we bring something into being we also destroy something. [3] To what extend should architects forget how things are now and wonder how things could be in the future? Would those imagination destroy something important now we have such as culturally and socially? Sustainability is the most important consideration in design futuring; and it’s to be developed, not maintained. Design that ‘take time away’ mentioned in the Air lecture, is more about the intelligent system for a more livable environment rather than just an innovative design.

[3] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice(Oxford: Berg), pp.1-16 Image[1]&[2] http://www.i-mad.com/zh-hans/work/beijing-2050/?cid=17

CONCEPTUALISATION 9

A.2 DESIGN COMPUTATION

10

CONCEPTUALISATION

CONCEPTUALISATION 11

Digital technology has brought up architectural design to a marvellous level. The most significant effect it has made on designs is communication.

From drawing to scripting, and the related shift from static components to parametrically conceived generative components, computing has accelerated the circulation of communication in architectural design.

“Architecture addresses itself to ‘the discipline of architecture’, new communication structures will be promoted that should serve to update and upgrade the discipline.”[4]

Architectural design programs such as Auto CAD, Rhino and Revit can offer a direct transformation from 2D graphic to 3D model, from parametrical design to structural or construction documents therefore cost less time in the design process.

Digital tools also allows more variety of forms and more controllable by using tools like Grasshopper Image [3] BANQ Restaurant by Office dA, 2008

[4] Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Image [3] http://www.yatzer.com/BANQ-restaurant-by-Office-dA

12

CONCEPTUALISATION

Design computation views design as the specification and expression of organizational or material forms[5], which is argued that is less poetry.

I personally think it is true to a certain extend digital design method has replaced some good quality of poetry in architecture and lost some nice things that are ‘eventually’ made. But overall, computing design technology is what we need to bring the development forwards future.

Image [4] Torus House by Preston Scott Cohen, 1999

Innovative technologies have become a driving force in formulation and production of tectonic design and boost material creativity.[6] In the design of Torus House by Preston Scott Cohen and BANQ Restaurant by Office dA, computing has been effectively used to analysis and form the structural system of the building. The structural elements extracted form an irregular form were designed far more quicker by computer technology than manual drawing. Parametric design method is able to analysis the dependency relationships between objects and their parts-and-whole relationships.

By having accurate structural and architectural drawings, computation also economically optimized the construction process.

[5] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice(Oxford: Berg), pp.1-16 [6] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.1-10 Image [4] http://www.pscohen.com/torus_house.html CONCEPTUALISATION 13

14

CONCEPTUALISATION

A.3 COMPOSITION & GENERATION

CONCEPTUALISATION 15

Image [5] Algorithmic diagram of Bird’s Nest (National Stadium of China), Beijing, 2003

16

CONCEPTUALISATION

“When people think of design, most believe it is about problem solving,” [7]

Image [6] Structural frame of Water Cube

Image [7] Conceptual design of Water Cube

Image [8] Lighting effect of Water Cube

In the digital age, arranging composition has been far more easier and quicker, more complex forms are available to be actually built. Analytical computation could be used to actively shape the buildings in a dynamic fashion.[8] The National Stadium and Aquatics Center in Beijing, China are representative in computing composition. The surfaces and forms of these two buildings seem simple but the compositions are very complex. The National Stadium is as known as the ‘Bird’s Nest’, it uses 26km of unwrapped steel that were twisted and intersect.[9] The calculation of geometry are numerous and complicated that are not possible to be solved manually.

The architectural style of Bird’s Nest is described as “Deconstructivism”. It is only possible because digital technologies have enabled extracting, exchanging and utilizing information. Therefore the process of describing and constructing a design can be now more direct and more complex.

What makes algorithmic design appealing is the function of shifting forms to structures and interconnections internally and externally. On the other hand, it is high rely on intuition and creativity; then communication becomes extremely important. The production of algorithmic design relies on shared knowledge, understand textual, numerical, graphical and auditory messages.[10] That means architects need more professional knowledge such as construction, engineering and structural knowledge to be able to complete the design.

[7] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp.1-28 [8] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp.3-62 [9] Beijing National Stadium, ‘The Bird’s Nest’, China; Designbuild-network; http:// www.designbuild-network.com/projects/national_stadium/ [10] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MAl MIT Press), pp.5-25 Image [5] https://libertecture.wordpress.com/2014/01/28/algorithmic-boogie-beijing-olympic-stadium-case-study-gsapp-adr-i-13/ Image [6] & [7] & [8] http://www.water-cube.com/en/ CONCEPTUALISATION 17

A.4 CONCLUSION Architecture is the connection between people and environmental, it creates and divides spaces from nature. Forms and materiality of buildings are less restricted with the improvement of technologies.

Computing design is a product of human intelligence and creativity, and it allows designers to explore more possibilities in terms of enhancing both the appearance and functions of a building. Working with digital programs, designers can develop and realize their concepts in a more effective manner.

However, there are some draw backs of computations which I have illustrated before. People may put effort in developing the use of digital design to aim for creating more desirable living environment in the furtue

PART A CONCEPTUALISATION

Through the theory and practical exercises in Part A, I have learned the basis of using Grasshopper in Rhino and I believe by more practise it could lead me to more complex forms and faster expression of ideas. Algorithmic and parametric modeling enables much more complex forms and have more control on the geometry. In the next few weeks, I will explore more use on Rhino and find out the possibilities of the design in next part. Also I would like to explore ideas referring to the actual site. The precedents in Part A have given me lots of inspirations of how computing design form an interesting architecture. I will keep on looking up precedents in relation to the project

A.5 LEARNING OUTCOME CONCEPTUALISATION 19

A.6 APPENDIX - ALGORITHMIC SKETC

20

CONCEPTUALISATION

CHES

CONCEPTUALISATION 21

PART B CRITERIA DESIGN

22

CONCEPTUALISATION

B.1 RESEARCH FIELDS Digital design techniques has brought parametric design to forth. Sectioning is the most compelling area of conceptual design implications for me; it will be discussed as a design approach throughout this chapter. By analyzing precedents and exploring different iterations, this chapter is attempting to produce interesting outcomes and evaluate its potential in parametric design for the next project.

Sectioning is not only 2D presentation like it was in the past, digital technology has reconceptualized it to a modern level of special form of architecture. Series profiles from surfaces of the geometry is extracted and iterated by a certain scale. By doing so, the surface of architecture of sculpture has a landscape like three dimensional texture and shows the gradual change of the form body.

Sectioning design could implicate to produce contouring or waffle grids on a surface and distort it in a manner to create a unique appearance.

Sectioning has been widely applied to modern architecture design, one example is the Studio Gang’s Aqua tower. The tower was constructed oneliner, deriving a vertical system of contours with careful consideration of sun shading and views, giving the architecture a sculpture form.

Image[9]&[10]: Aqua tower by Studio Gang, http://studiogang.net/work/2004/aqua-tower

CONCEPTUALISATION 23

24

CONCEPTUALISATION

Image [11],[12],[13] One Main by dECOi Architects, from http://www.decoi-architects.org/2011/10/onemain/

CONCEPTUALISATION 25

One Main by dECOi There are two planes ‘sectioned’ in this project - the floor and ceiling. The design approaches a highly crafted interior whilist “celebrating both a new formal virtuosity and a radical level of detail finesse”. Interior and furniture were also customized to produce harmonious curves.

It is shown in the examples of projects implicating sectioning design that it manifests experiential quality and has the potential to transform further with parametric manipulation. The variability in shape, composition, volume, outside and inside texture together with material is fascinating to be explored further in the discourse of parametric design.

Image[14] One Main by dECOi http://www. decoi-architects.org/2011/10/onemain/

26

CONCEPTUALISATION

Image[15] Wooden Parasol Structure - “a square waffle-grid system of interlocking, CNC-milled timber fastened with steel connectors and high-strength glue” - designed by J.Mayer H. Architects, Seville, Spain, 2004-2011

CONCEPTUALISATION 27

B.2 CASE STUDY 01 BanQ Restaurant

by Office dA, 2006

“Demonstrates how to create a series of intersection ‘ribs’ from a rhino surface and a surface created by a nolli diagram.”

This project has used sectioning as a design technique, turning horizontal plane to vertical planes to form a curved ceiling. By systematically manipulating the section planes and fabricated with CNC cutter, the project presents an innovative interior space.

28

CONCEPTUALISATION

To understand each component of this model, early exploration was adjusting number sliders and changing direction of components.

CONCEPTUALISATION 29

30

CONCEPTUALISATION

Deconstruct the surfaces and divide them into circles and rectangles.

By inserting a point, the level of density of different parts could be varied. Controlling the algorithm design by points extracts could potentially get very complex form with different rhythms.

On the left the points are lifted to different heights according to the area of colours on a pattern. The intention of doing this was to extract points to different levels then form surface or loft. However, it wasn’t successful.

CONCEPTUALISATION 31

B.3 CASE STUDY 02 Driftwood Pavilion

by Architectural Association, 2009

Using a series of curves (created via offset) and an intersection process with a polysurface to generate planar surfaces.

32

CONCEPTUALISATION

The design consists of 28 layers of plywood which conceal an overall internal ‘Kerto’ structural system.

DESIGN INTENT The sustainable spruce ‘Kerto’ plywood structure is “neither art nor architecture, science nor ecological advanture, but a sculptural installation and prototype that defies classification. It embraces invention, experimentation, new materials and aesthetic intelligence.”

The use of parametric design in this project enables deconstructing the poly surface in a algorithmic way to get equal spacing and laser cut the plywood in particular shapes.

The form of pavilion is designed in a way more like a sculpture than architecture, whcih redefines the concept of pavilion.

Images:http://www.arch2o.com/2009-summerpavilion-the-architectural-association/

CONCEPTUALISATION 33

34

CONCEPTUALISATION

CONCEPTUALISATION 35

B.4 TECHNIQUE DEVELOPMENT

36

CONCEPTUALISATION

The iteration of Driftwood Pavilion includes deconstructing the surfaces into geometries such as circle and rectangles; construct the form with waffle grid; sectioning in the vertical direction, etc. There are lots of ways to parametrically design the surface of this form but not much to do with sectioning.

Perhaps a better way is to use looping to have more variation of geometry or surface then use sectioning to gain more effect.

CONCEPTUALISATION 37

38

CONCEPTUALISATION

B.5 TECHNIQUE: PROTOTYPE

CONCEPTUALISATION 39

The first prototype was an imitation of Banq Restaurant, using sectioning on a surface but pattern replaced with aboriginal ones. The form itself is very simple, however, with specific material such as transparent perspex, in combination with light potentially it can produce very interesing effect.

It could be used as part of the roof but not the whole structure.

So I tried to extract the shape out of pattern and offset to a three dimensional form, but sectioning this form wasn’t successful. Because the Aboriginal pattern uses points only, potentially those points could be extruded and connected to create more interesting forms.

40

CONCEPTUALISATION

My attention has drifted from aboriginal pattern to their shelter long time ago. As the architecture form has been merged very differently, I think it will be good to have something connecting to the past of the site. The aboriginal shelter uses tree branch to make the structure of shelter then cover with bark.

To make a modern version of shelter, the structure could be a waffle grid made of wood and covered with waterproof material. The cover could be designed parametrically by looping geometries on surfaces, texturizing the surface, etc. By having a few layers, the ‘shelter’ will provide different spatial experience(i.e. external and internal) At the same time, the designs should express the same form of architecture in a ‘futuring’ way.

CONCEPTUALISATION 41

B.6 TECHNIQUE: PROPOSAL The site was traditionally the location for large getherings of Wurundjeri people, valley were built around the site. As CERES’ purpose is to “initiate and support environmental sustainability and social equity with an emphasis on cultural richness and community participation”, a reference of previous owner - Wurundjeri people will achieve certain response to the site.

There are unlimited potential forms to be evolved from the Aboriginal shelter, and I think the waffle grid as part of the structure could be a stable way of construction. To enable more variety of parametric surface, I purpose that we could have a base structure like the branch in Aboriginal shelter, then covered with a modern roof surface.

The design could be explored further with sectioning various geometries and materials.

42

CONCEPTUALISATION

CONCEPTUALISATION 43

44

CONCEPTUALISATION

The first prototype is a series of sections extracted from an Aboriginal pattern. The material was transparent Perspex, that was experienced to have interesting performance under natural light which changes during the day. The prototype was examining a possible outcome of roof. The layering of transparent material with different levels of overlapping works well with coloured lights, but lack of supprting from ground.

The second prototype is made by cardboard, scaled from the waffle grid model illustrated from traditional Aboriginal shelter.

Waffle grid structure is easy to construct, stable without any other assistant such as glue. The hole in the middle is a trial of structually having other function under one continuous grid. But I did not find much potential in developing this form into something creative and unexpected.

CONCEPTUALISATION 45

B.7 LEARNING OBJECTIVES AND OUTCO The use of Aboriginal sources is a way responding to the site, but the form and algorithmic development is not yet satisfying the aesthetic and functional purpose of the design.

From this point, I will experiment more reverse engineering of sectioning, discover more possibilities to generate a range of creative and futurist design.

In combination with other student’s idea, we are planning to build an actual model that requires testing materials and consideration of construction. The fundamental concepts behind proposal were not clear that needed to be worked out and developed.

46

CONCEPTUALISATION

OMES

CONCEPTUALISATION 47

B.8 APPENDIX: ALGORITHMIC SKETCHE

48

CONCEPTUALISATION

ES

The technique of sectioning requires further experimental(e.g. Sectioning from a particular angle) and the next step will be how to fabricate the conceptual ideas with recycled materials. As we discussed to build on site.

The connection to traditional owners’ art and architecture is an essential idea to develop forms but should not be the limit. In combination with modern aesthetic and technology, the art form could be much more interesting.

In the next phase, the objective is to develop the form and experiment sectioning in more unexpected ways.

CONCEPTUALISATION 49

50

CONCEPTUALISATION

CONCEPTUALISATION 51

PART C DETAILED DESIGN

52

CONCEPTUALISATION

C.1 DESIGN CONCEPT I am taking part in the group project because I think combining different techniques and style of design could potentially create a very unique design.

We have been to the site visit together and come up with several design considerations in order to the function, material, impact and others.

Design Considerations:

- Encouraging people to walk through and explore the area in a way that incorporates the plants.

- Using the space at site efficiently .

- Creating interest in the project and educating people.

- The design having minimal contact with the site and not impeding on growing spaces.

- Slowing water movement across the site, because of erosion down the terraces. Creating a funnel system/ reservoir for excess water.

- Creating a hook – a system that is symbiotic and self sustaining. Looking into ways of growing otherwise unavailable.

Materiality:

- Creating volume and substance to the design, by giving individual elements 3 dimensionality.

- Cardboard as beneficial to the site later on. After an amount of time it degrades.

Testing the Impact of the Design: - Wind simulation through fluid dynamics using falcon.

- Sun simulation using ladybug - Using vector fields with positive and negative charges as a graphic investigation of water or the process of erosion.

CONCEPTUALISATION 53

After considering every group member’s digital modelling skill, the overall concept was set in a a few parts that connected to each other. The initial design have 4 sepatate systems that cascade down the slop of the food forest. Each will be designed to meet a specific function, and respond to different levels of rain intensity.

The catchment is evolved from Voronoi, sits on the highest point of chosen site. A curved surface produced by Kangaroo will lead water to a downpipe, then the downpipe will have a L-system to distribute the water to different use. The catchment will initially funnel the pipes underground because the path in middle could not be obstructed for access to the site.

54

CONCEPTUALISATION

The catchment will initially funnel the pipes underground because the path in middle could not be obstructed for access to the site. Most water sources collected from the catchment will be lead to the pond, secondly to the storage tanks for agriculture use. Smaller pipes will be used to water the pots for plants and bees to live in, least water will be lead to chicken troughs for chickens to drink.

I am in charge of the bee hives that functioned as same as plant pots. This should be firstly experiment with its base form and surface treatment. Then use L system to rotate on different axis to have a group of pots connected to each other. The design should match the habitat of both bees and plants.

Why attract bees on the site?

- 65% of crops we grow in Australia depend on bee pollination - pollinate crops of bees assist with the process of food production and significantly increasing the yield of certain crops - improve fruit sets nearby - help practicing flower fidelity - livestock are dependent upon beepollinated forage plants, such as clover - value of native or wild pollinators in a variety of agroecosystems - interaction with local habitats, both natural and agricultural - transfer of pollen grains between male germ cell of a plant and the female reproductive system in seed plants

The precedent I have looked at is the Hive City, aka Elevator B by graduate students from the University of Buffalo. (image below) The overall goal of this design was to for the relocation and habitation of a colony of honeybees occupying a building at Silo City. The material properties of the tower represent the cluster of material manufactures now located around the site while housing the colony of bees.

The bees are housed in a hexagonal cypress box with a laminated glass bottom through which the bees can be observed. The structure is sheathed in perforated stainless steel panels that were designed to protect the hive and visitors from the wind, and allow for solar gain and shading.

CONCEPTUALISATION 55

C.2 TECTONIC ELEMENTS AND PROTOTY

I have studied how the precedent is designed to accommondate bees and the bees habitats to decide the properties of pots. Some important properties need to be followed are: - bees need long-lasting, undisturbed nesting sites in sunny, relatively bare patches of ground with a diversity of nectar and pollen-rich plants nearby.

- pots should receive sunshine all day, early morning sunshine is important for them to warm up and start working early

56

CONCEPTUALISATION

- require easy access, good drainage so bees don’t get wet, a nearby water source, dappled sunlight and minimal wind - field bees bring water back to the hive and deposit it in cells - providing a windbreak at the rear of the hives, blocking harsh winter winds that can stress the the colony - put the hive in dappling sunlight, avoid full sun especially the extreme hot sun in summer - provide good ventilation

YPE

CONCEPTUALISATION 57

The second experiment was done by another method of repeating forms.

The intersections of each pot is trimed so the overall edges are smoother. By using an uneven form such as cone, it is very hard to link them at different levels but the Weaver Bird surfaces work well with it.

58

CONCEPTUALISATION

I have the grasshopper tool Weaver Bird to different division of surfaces, firstly on a curve that is similar to a shelter.

The sectioned views are showed above. After that, I have tried variations on enclosed forms and having triangular divisions and hollow sections to match the bees habitat.

To be able to rotate and match faces on different levels, extend to different directions; I have chosen polygons as a focus shape to develop. As its function as a pot, earth need to be placed on the bottom of pots so the enclosure of each face is varied. The prototype was laser cut with plywood and sticked with glue-gun.

CONCEPTUALISATION 59

C.3 FINAL MODEL The final group design is combined with four different systems which linked to each other. The catchment on the highest point of site has a slope leading to downpipe in the middle which goes underground to the other side of path. Then the pipes are distributed controlled by L-system to various directions in order to responsing different amount of water needed for each section.

The pots for bees and plants are placed in the middle of the lower part. With a larger pot arounded by many small ones, its intention is to accommondate a real beehive and the holes in between allows them to travel through, receiving sunlight and ventilation.

60

CONCEPTUALISATION

This prototype is laser cut in plywood but the real one is expected to be produced of steel to be welded to gether. At the same time steel adapts heat very easily to keep the pots warm in winter. The triangular holes produced from Weaver Bird are controlled to have more and larger holes on the top to let the plants grow out of it and more enclosure on the bottom to hold soil. It’s L-system is developed on four different axis to have extension from different sides. the faces are connected to each other and the holes in between allow the bees to travel through.

CONCEPTUALISATION 61

62

CONCEPTUALISATION

CONCEPTUALISATION 63

64

CONCEPTUALISATION

CONCEPTUALISATION 65

C.4 LEARNING OBJECTIVES AND OUTCO Underpinning the group project concept, the interaction with algorithm designs forms an interesting outcome. The design puts in lots consideration on development of food forest and responding to the site use conditiono. The reflect on parametric design became the primary starting point and it result in an impressive mix of techniques.

Overall, the concept was interesting but there is a disadvantage in mix of materials and the individual focus areas are hardly getting a responsive rhythm to each other. Most connections are one-way and there is little chance for the water to release back to ground.

66

CONCEPTUALISATION

My focus area is very dependent on the plants and bees which may result in too much focus on those. The parametric design could have been further developed with more experiment in producing forms from extracted points.

OMES

The intergration of environmental issues and responding to the real needs on the site are essential in this project and the L-systems became a considerable drawback.

The structural performance is also within the form itself. The combination of different parametric techniques in one model is critical due to the harmony and conjunction of different design styles and materials. However, at personal level, the group project has broadened my view and inspiration that I hope to investigate further into parametrically controlled digital designs.

CONCEPTUALISATION 67