STUDIO AIR 2017, SEMESTER 2, Finn Xinyue Wu
C R I T I R A D E S I G N
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RESEARCH FIELD .1
TESSELLATION
Tessellations are formed by a surface on which repetitive patterns are formed by geometric shapes. In this way, there is no overlapping and gaps. The tessellation system has the characteristics of entirety and interlocking. There is an interaction between patterns and structure. By using the method such as folding, the patterns can be 3-dimentional. The complexity and variations of patterns can make the surface fascinating. Different from patterning used in decoration design like faรงade design, tessellation has the potential of being integrated into the structure. In part B, I want to explore how to design a systematic acoustic structure which can embody the interaction of the structure and patterns. Furthermore, I want to explore if the gradually various of patterns can response to the surrounding environment.
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‘Voussoir Cloud’
Tessellation
According to the work of Gaudi and Frei Otto, who concentrate on using hang chains to find effective form, they also used the same logic to refine and adjust the shape in order to make a pure compression structure come true.
Material
designed by IwamotoScott, is an invited installation in Los Angeles with the help of a group of SCIArc students. This project expresses the classical structural paradigm of pure compression using a kind of ultra-light material. Under the help of the simulation and computation, it allows us to adjust the shape to a perfect equilibrium of force. The boundary of the vault is determined by the entry soffit and the two long gallery walls.
As for each vault is comprised of a series of Delaunay tessellation that has gradient in shape and density. It is obviously that the lower tessellation is compact, which strengthen the whole structure while the upper vault shell gains porosity. Consequently, it confused the traditional concept about column and beam, which is hard to find out and define clearly where is under pressure.
When it comes to the material, the threedimensional panels are formed by folding ultra-thin wood along curved seam. The curve produces an inflected form that relies on the internal surface tension of the wood. Finally, a plastic rope is used to hold its shape.
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.2
CASE STUDY 1.0
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CASE STUDY 1.0 ITERATION A DEPTH
Displacement distance ( d )
A-1
d1 =4.23 d4 = 3.01
.1.2
d2 = 4.54 d5 = 3.85
d3 = 4.57
A-2
d1 = 4.23
d2 = 4.54
d4 = -5.78 d5 = 3.85
B WIDTH Scale ( s )
B-1 d = 4.23
s = 0.296
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B-2 d = 4.23
s = 0.204
d3 = 6.86
A-3
d1 = 8.30
d4 = -5.78
B-3 d = 4.23
s = 0.300
d2 = 4.54 d5 = 3.85
d3 = -5.79
A-3
d1 = 9.15
d2 = 6.24
d4 = -5.78 d5 = -7.85
d3 = -5.79
B-4 d = 4.23
s = 0.459 CRITERIA DEISGN
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C SKELETON Nurbs Curve
C-1 Kangaroo optimized mesh
C-2
List item ：List points on mesh edges
C
D FORCE DIRECTION CONTROLLING KANGAROO
D-1 10
Release : points on boundary Anchor point : point on scaled and moved voronoi
Force: Fz=12 Stiffness Sz=1456
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B-2
Anchor point : points on boundary points on scaled and moved voronoi Force: Fz=100 Stiffness : Sz = 90
B
C-3
Nurbs Curve ( degree = 2 )
B-2 Anchor point : points on boundary
points on scaled and moved voronoi Force: Fx =48 Fy=50 Fz =372 Stiffness : Sx = 595 Sy=173 Sz =756
C-4
Nurbs Curve ( degree = 0 )
B-2
Anchor point : points on boundary points on scaled and moved voronoi Force: Fy = 12 Stiffness : Sy = 595 CRITERIA DEISGN
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E TRIANGULAR TESSELATION Triangular Evaluate curve
E-1
Kangaroo optimized shape Evaluate curve ( number slider = 0,1 ) Polyline
E-2
Evaluate curve ( number slider = 0.15 ) Boundary Surface
E-
F-2
Random reduce （ remove circles n =0.1 )
F-
F COIN TESSELATION
Tanget circle
F-1
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Kangaroo optimized shape Mesh tanget circle
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E-3
Evaluate curve ( number slider = 0.32 )
E-4
F-3
Reduce number of circles according to Z unit ( n = 0.2 )
F-4
Kangaroo optimized shape Evaluate curve ( number slider = 0,4 )
Reduce number of circles according to Z unit ( n = 0.7 )
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G SURFACE GENERATION
Loft three curves. Two of them are the edge of the mesh. And the middle curve is a line connectting with two mid points. By scaling down the middle curve and move it towards to the direction of mesh vector, we could gain a series of surface with different curvature.
G-1
G-7 14
Extract curves and points of the mesh
G-2 Line 1 : curve 1
Line 2 : curve 3 Line 3 : c2 (point on curve =1 ) with c4 (point on curve =0 ) move = 1 , scale = 0.7 ( scale centre : point on curve = 0.25 )
Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.6) with c4 (point on curve =0.4 ) move = 2 , scale = 0.8 ( scale centre : point on curve = 0.3) CRITERIA DESIGN
G-6
G-3
Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.9 ) with c4 (point on curve = move = 1 , scale = 0.7 ( scale centre : point on curve = 0
Kangaroo optimized mesh
G-4
Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =1 ) with c4 (point on curve =0 ) move = 1 , scale = 0.7 ( scale centre : point on curve = 0.25 )
0.1 ) 0.3)
Kangaroo optimized mesh Line 1 : curve 1 Line 2 : curve 3 Line 3 : c2 (point on curve =0.7 ) with c4 (point on curve =0.3 ) move = 1 , scale = 0.7 ( scale centre : point on curve = 0.1 ) Flip curve
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H PYRAMID
Extrude according to face normal Remove some triangular surface
H-1
Extrude face boundaries extrude point : moved area centre extrude direction : surface normals
H-2
Remove surface ( Indices = 0 , 6 )
I WB DUAL GRAPH Weavebord’s dual graph
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WB dual graph
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I-2
WB mesh window ( offset = 44 )
H-3
I-3
Remove surface ( Indices = 1 )
Move direction : mesh normal distance : 0.9 normal vector
H-4
Remove surface ( Indices = 2 , 4 )
I-4
Duplicate points loft CRITERIA DEISGN
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CASE STUDY 1.0 SELECTION
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CASE STUDY 1.0 SELECTION 3-DIMENSIONAL PATTERNS
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
The most interesting part of this outcome is the variability of the patterns. The patterns gradually change with the curvature of structure. As for materiality, fiber cloth can be fabricated to make the patterns but many supports are required. Furthermore, the form is optimized by kangaroo and fabrication will become much more complex.
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
This kind of 3-dimentional patterns are the most developable. The open and close of the taper like patterns allows dynamic shadows to be created. The variation of the 3-dimensional can perfectly response to the ‘weaving effect’ of the curved surface. As for materiality and fabrication, there is a wide range of materials such as bamboo veneer that can be fabricated to make this pattern. By the way, it can be easily pre-fabricated. 20
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2-DIMENSIONAL PATTERNS MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
Although circle patterns are quite simple. The partially removed patterns can let various light go through and create rich shadows. The interactions between triangular patterns are quite interesting. It seems that the open and close of the patterns can be dynamic These 2-dimensional patterns can be easily fabricated because there is no material requirement for bending, twisting, folding and so on. Thus, a wide range of material can be fabricated into the required shape. By the way, the supporting structure can be simple and light. However, both development and aesthetics are limited.
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.3
REVERSE ENGINEERING CASE STUDY 2.0
DIFFERENTIATED WOOD LATTIC SHELL Performative Wood Studio (A. Menges)
Wood Lattice Shell is designed by Performative Wood Studio, Harvard University Graduate School of Design. The propose of this research project is to develop the possibility of bending wood and analysis the force status in different curvature. Initially, a robotic water jet cutting technique was developed in order to reduce the risk of splitting during the subsequent bending process. Subsequently, through the related fabrication variables, each wooden element’s stiffness can now be adjusted by locally reducing its structural depth. And the information during the test was encoded in the digital design software, which could change the shape according to the force status. The second propose of this project was developing a method to erecting a flat lattice without extra scaffolding. The shape of each component panel was determined by local force state. After the detailed research, we could summary lots of data in different size, thickness, and fiber orientation. Finally, a computational tool for deriving the related situation and location was developed and tested in a large scale.
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REVERSE ENGINEERING surface
Quad Panel
PATTERNS
ANCURATE BOLT
BASE STRUCTURE
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Area central point
Attr
ractive point
Remap
Distance
Vector 2D End point
Move Along surface normal
1/2 point on curve
Area central point
Move Along surface normal
1/2 point on curve
Move Along surface normal
Merge
Loft
Line Move Along surface normal
Extend Curve
Pipe
Vector 2 Pt Line
1/2 point on curve
End Point
Move
Extrude
Interpolate
Extrude CRITERIA DEISGN
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REVERSE ENGINEERING
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REVERSE ENGINEERING
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.4
REVERSE ENGINEERING
ITERATIONS
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A FORM GENERATION OPTIMIZATION Optimization of forms using Kangaroo
B FORM EXPLORATION AS ACOUSTIC POD Exploration of forms using Kangaroo
B-1
Contruct a simple shape which used to optimized the shape in Kangaroo.
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B-2 Adjust the mesh in Rhino
B
co
B-3
Using ‘spring’ and ‘gravity’ force omponents to simulate in Kangaroo.
B-4 Loft those curves together, such we could gain a surface
from a mesh, although the result surface is not accurate enough.
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C HUNCH-UP PATTERN (1 DIRECTIONS )
Displacement distance( d ) Cull Patterns
C-1
Extrach two sides of the panel, choose the mid point of the curve, then vertically move the point according the vector of the panel. d1 =0.26 d2 = 0.50 d3 = 0.75 d4 = 1.20
C-2
d1 =0.26
d2 = 0.50
d3 = 0.75
d4 = 1.20
D HUNCH-UP PATTERN (2 DIRECTIONS) Displacement Cull Patterns
D-1
Attempt to utilize bending wood panel as components with two kinds of shape. One is towards to outside and the other is towards to interior. Each row chooses alternant shapes.
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D-2 Cull Pattern Component with 'True Flase' as input to remove some panels in the row whose panel is towards to outside.
C-3
D-3
Cull Pattern Component with 'True Flase' as input.
Cull Pattern Component with 'True Flase' as input to remove some panels in the row whose panel is towards to inside.
C-4 d1 =25%
d2 = 50%
d3 = 75%
D-4
Merge two distinct rows with differnt shapes together.
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E HUNCH-UP PATTERN (2 DIRECTIONS) Displacement Cull Patterns
E-1 Diamond subdivision panels.
E-5
In order to connect the surrounding panels in a row, remove some panels which is not in the row.
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E-2 Split the surface with diamond curves.
E-6 Same approach to the other panel list.
E-3
curv
3
Extrach two sides of the panel, choose the mid point of the ve, then vertically move the point according the vector of the panel.
E-4 Reverse the direction of movement.
E-7 Merge them together
E-8
And then remove some of them so as to group them including two different form of panel.
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F FOLDABLE BIOMIMICRY PATTERN HEXAGON CELL
F-1
Attempt to subdivide the curve with hexagon curves.
F-5 Loft 5 curves to generate form . 38
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F-2
Offset each hexagon curves to their center point.
F-6
Apply patterns onto surface
F-3
Move new curve vertically with different height. And then loft two curves.
F-4
Add some pattern in the loft surface by extracting each control and reconstruct a new curve.
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G PATTERN GENERATION FLOW ON SURFACE
STAGE 1
Foldable patterns
STAGE 2
Foldable patterns flow on surface scale rotation
STAGE 3
Foldable patterns flow on surface The scale of patterns influenced by attractive curve
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H PATTERN GENERATION REMAP ON SURFACE
Point
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1/2 Point on curve Divide Domian Surface
Isotrim
1/2 Point on curve
Line + Pt
Remap
Area
Orient
Scale Reconstruct point Move Move
Rectangle 3 Pt
Crv cloest pt
Max
Rotate
Scale
Remap
Curve
Rectanglar Array Area normal
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I PATTERN GENERATION
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CASE STUDY 2.0 SELECTION
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CASE STUDY 2.0 SELECTION
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CASE STUDY 2.0 SELECTION
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
This is a successful outcome which can embody the interaction between patterns and structure. There are many design possibilities behind this series of outcomes. All the patterns I made can be folded along etches and generate 3-dimensional shape. Moreover, all of these patterns can be prefabricated in accurate scale. For materially, I want to test what material is ductile enough for folding. I also want to test which pattern is the best one to fit on to grid. I add an influence curve to change the open and close of patterns. However, it will be better if the open and close of patterns can be influenced by the curvature of the form.
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MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
There is a regular logic behind this kind of patterns and all the patterns are will organized. Thus it can be fabricated. Furthermore, it can flow on can any kind of surface using the same logic. However, it is 2 dimensional and is suitable for faรงade design but cannot response to our acoustic pod design.
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
This outcome shows organized 3 types patterning: turn-up, turn-down and arranged gaping. By the way, light in different intensity can go through the gap in different angle. It can also be used for semi-private area, acoustic area and so on.
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The surface formed by biomim folding. There are many etches folded to be 3-dimensional. By These patterns can be folded Once they are used in our desig interesting viewing perspective fabrication is quite important. I fi good to achieve this design appr
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micry patterns has the ability of wholly on the pattern and the patterns can be the way, the entire surface is foldable. and reshaped in many different ways. gn of acoustic pod, users can have many es. As for fabrication, the accurate of find the texture of timber veneer is quite roach.
MATERIALTY
FABRICATION
DEVELOPMENT AESTHETICS
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.5
PROTOTYPES
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B5 .1 PROTOTYPES 1.0
Triangulated form
The usage of polypropylene could be a mistake but also a successful try as well.
According to the form that generated by Kangaroo, we laser cut a part of the model for contemporary form testing. The connections we use are eyelets. Compared to the tabs joints used in Dae Song Lee’s Component 101013, eyelets reduce the flexibility of this triangulated form and cause a problem that triangle panels are not able to fold to the angle that they are supposed to. At the end, it turns into a shape that curls itself up. However, visually this curled shape looks a bit more interesting than the ordered and regular shape in Component 101013.
Since the prototype we make is only a small part of the whole form, it is hard to tell whether this kind of connection will fit the actual form or not. For future prototyping, we might test out the form with some constructible material. Besides, material selection will also relate to the final proposal and its needs.
During this model making process, we also find out that the definition of triangulation is restricting our design. Triangulation can only create triangle pattern. Even though this planar triangulated structure provides us benefits for future composition, it is restricting the pattern types that applied on the form.
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MATERIALS: POLYPROPYLENE, EYELETS Our group consider that we will explore more complex pattern with constructing potential. In this case, the triangulation will be a obstacle and what we need is another medium that connect the form generated by the kangaroo to the pattern we want. After some discussion, we think the case studies and prototyping of another groupmate might help to solve this problem, potentially providing a structure system that represents the form and supports the pattern at the same time.
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B5.2 PROTOTYPES 2.0
BALLOON VAULT
B5.1 Prototype One
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The design varies from digital to fabrication. To reach the organic tessellated cells derived from VoltaDom, the relation between various cells and entire configuration can be abstract. Noticing the flexibilityof material are required, we tested single void and grouped void by balloons, strings and glue. Balloons are acted as temporary formwork to keep strings in shape until hardened. Strings are proposed to create linear surfaces with temporary form work of balloons and hardening by glue. The voids naturally generate while wrapping string around balloons, which create interesting patterns and visual filter.
This prototype shows the producing method is workable to make and connect cells. The strings perform as surfaces and structure at the same time through wrapping in certain density. However, due to whole producing process is handcraft, it is difficult to control each form of cells, which will also influence much the entire configuration. For further development, we need to think about a removable formwork for recycled use or find better surface material could replace strings.
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B5.3 PROTOTYPES 2.0
balloon vault prototype making process
Balloon used as temporary formwork for strings to form a cone shape.
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Cotton strings which contains more fiber are ideal for hardening in a frame surface.
Wrap the strings around balloons to create tessellated voids, and apply glue to immobilize the pattern. Puncture balloons until glue is dr-y and strings are hardened to get the clean fixed frame surface.
Use string and glue or wax to make connection between cell elements.
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B5.3 PROTOTYPES 3.0
sin cos structure
The structure exploration based on sine curve referencing to South Pond Pavilion. To experiment the structure possibilities. Initially, there were failed attempts for plate clips with boxboard and notches with polypropylene. Box board strip with etches still behaves rigid and is really easy to exceed its bending property, which cause the failure of experiment. Notches for polypropylene are not fixed where the smooth poly-strips become loose frequently. After a few tests for different joint functions, taking advantage of the flexibility of polypropylene which is easy to fabricate by laser cut in any shape, our second prototype resembles the digital model well. Eyelet connections fix the structure successfully to achieve sine grid pattern created by stretching the grids is pleasant. The tructure can stand independently while the boundary bottom is attaching in place.
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B5.3 PROTOTYPES 3.0
sin cos structure
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I tried to use notches for poly strips or rectangular clips for etched boxboard, but all failed. Left top: boxboard is regid which does not allow it weaving in sine grids smoothly. Left bottom & Right: Polypropylebel strips with notches. This connection is loos, so that the structrue can not apply for variable patterns and forms.
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B5.3 PROTOTYPES 3.0
sin cos structure
Above: strips smoothly weave to form sine structure.
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Above: Eyelet joint to connect poly strips in a neat and strong way that always promise the structure follows sine order in different variations.
Left top: arc section for sine structure. Left Middle: top view for sine structure. Left Bottom: perspective for sine structure. We chose the simplest curvature surface – arch, to test the opening variation of sine grids while the extra stretching forces are applied.
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B5.4 PROTOTYPES 4.0 2-dimensional PATTERNS
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These patterns of the prototype are the results of the penalization of the curvature surface. By analyzing the distance to the central points, many holes in different scales are drilled. There is almost no material limitation. We chose MDF for prototype making but we think we can also try Perspex, bamboo veneer and son on. By the way, various shadows can be created with the angle of incidence. However, the disadvantages are obvious that these pattern are 2- dimensional and the development is limited on ‘one plane’. We think it is better to explore the possibilities of 3- dimensional patterns.
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B5.5 PROTOTYPES 5.0
Foldable biomimicry pattern
The prototype is mean to test the foldability of material. We find polypropylene is a good material which can be folded also its etches . The big issue that lead to failure is the connection. It is impossible to laser cut the prototype integrally and we need to joint many pieces together.
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We choose cable tie to connect each patterns but the flexibility for moment at the connection cannot be minimized. Therefore, we are unable to join many pieces together to the accurate angle. As a result, the form cannot be folded wholly as we expect.
From the that conn need to e rigid to e from dig fabricatio
failure of this prototype, we realize nection is an important part. We explore how to make the connection ensure the shape arel controlled gital form generation to physical on.
CABLE TIE CONNECTION
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B5.6 PROTOTYPES 6.0
OPEN- CLOSE PATTERNS
MATERIAL PERF
Cane is made from can be reshaped an the lining and hem suitable for our des
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LASER CUT PATTERNS : As for patterns, polypropylene is used to make the 3-dimensional, foldable patterns. They can be folded along the etches. We drilled holes on the corners of these patterns and plan to apply them on cane.
FORMANCE OF CANE:
bamboo and bamboo is a widely grown and renewable resource. It is a pliable material and nd manipulated. After some researches, once we soak cane in water for around 15 minutes, micellulose in the bamboo cells will become flex. At this moment, we can reshape it. It is sign approach and can be used to construct our structure which could be flexible.
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B5.6 PROTOTYPES 6.0
OPEN- CLOSE PATTERNS : Testing
The prototype test result is quite different from what we propose. Firstly, we are surprised by the interaction between cane and polypropylene. The friction between cane and polypropylene helps with holding patterns in shape and there is no more connection required.
Secondary, we find the simplest qu characteristic of plasticity. It can be frictions force between cane and poly has the ability of holding the two-dir both the pattering characteristic and
As for other patterns, they can be f already shaped and there is no interac suitable for 1 direction array instead o 74
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uadrilateral pattern is the best due to its e shaped in waving shape retained by the yproplene. Furthermore, this kind of pattern rection grid. By the way, the patterns have the connecting function.
folded in 3-dimensional shape. They are ction with cane. Furthermore, they are only of 2-direction grid. CRITERIA DEISGN
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B5.6 PROTOTYPES 6.0
OPEN- CLOSE PATTERNS : Prototype making process
Stage 1. Drill holes on quadrilaterals
Stage 3. soak in water for more than 15 minutes
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Stage 2. Apply quadrilateralson patterns to c the installation process of patterns number of patterns is right or it will b which is the disadvantage of the stru
Stage 4. Bend in two directions
canes to form structural grid. During , we need to make sure the series be quite difficult to disasembly ucture .
FInished grid and patterns . Patterns are gradually varied and the joint direction of each patterns are different to make the patterns waving.
Stage 5. Hold it in the shape we want.
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B5.6 PROTOTYPES 6.0
OPEN- CLOSE PATTERNS : Final outcomes
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By reversing the joint direction, the patterns are shaped in waving form and they look different from outside-in between inside-out. The open and close of patterns are influenced by the curvature of the structure. By the way, it can response to our design approaches of controlling the light and sound . Furthermore, there is no connection required to fix the patterns on which is even better than my reverse engineering precedent. Due to the various scale of patterns, changeable shadows are created.
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.6
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TECHNIQUE PROPOSAL
SITE The site for the acoustic pod is roughly a 1.5*2*2.5 volume and the pod is mainly a meeting area. As a pod for meeting or gathering, noise control is quite important. We might control the noise by the pattern panels that are set in different angle, size or curvature according to the acoustic attractors of the space, or by attaching sound absorption material onto the pattern panels. Apart from this, the function of the pod and the location of the pod in the space will also affect the sound control performance. For example, if the pod is only for important meeting, then a high quality of sound control is required while the quality can be lower when the pod can be used for temporary gathering and chatting. As for the location, the pod sitting right at the middle of the space without touching any wall will create a different sound experience from the pod that sits next to the wall. In this case, the function of the pod should be clearly defined and we need to think more about the material selection and the size or scale of our patterns. However, we can challenge the idea of acoustic control as well. A right amount of noise will help to increase creativity [1], which means a productive working or studying enviro
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B6 DEISGN PROPOSAL PROPOSAL:
To make a pod that wear sound and/or light controlling pattern which sits on a rigid frame structure that refers to the form generated by parametric design tools. As mentioned before, we are intending to use the structure to represent the dynamic form and support the pattern elements. We are trying to engage what we have done previously together, regarding the form, structure and pattern as a whole rather than 3 separate parts. Just like the last prototype at B.5, the cane grid is holding the pattern and the canes have a potential to show the dynamic form generated by the simulation under certain curving forces.
OPPORTUNITY FOR INNOVATION:
Is it possible to make the whole form (structure) movable or adjustable according to different lighting or sound need of the pod? Is it possible to make a small machinery to control the openness of the panel to allow sounds or lights getting into the pod?
ACHIEVEMENT OF THE TECHNIQUE:
With this technique, we are going to combine three approaches of designing into one design. Since this technique require us to have careful selection of material and we have to test out various material to see how well the pattern will work with the structure, we can gain more experience in terms of materiality for future optimization of the proposal.
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ADVANTAGE OF THE
Kangaroo simulated form with opportunities to reduce material Structure, as a communicating m present the form and support th Cane is a proper material for cur
DISADVANTAGE OF T
Merging three designing appro among approaches and we need we need and what we don’t nee characteristic in the final proposa The thickness of the cane we use be useful for a larger scale constr
E TECHNIQUE:
h minimal surface provide l usage and cost. medium, has a potential to he patterns ving geometry
THE TECHNIQUE:
oach might cause conflicts to make a balance on what ed. It is hard to keep every al at the same time. e for prototyping might not ruction.
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B6 DEISGN PROPOSAL
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OBJECT 2:
. 7 LEARNING OUTCOMES
Ability to generate a variety of design possibilities for a given situation
The form generation process in grasshopper is quite cohesive and the final result is controlled by multiple parameters. In this way, parametric provides me with me design possibilities. The exploration process of generating matrix helps me learn more about the cohesive logic behind design algorithm and find out the potential of parametric design. For part B, I am doing acoustic pod, grasshopper and kangaroo plug-in are used for form generation.
OBJECT 5:
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OBJECT 6:
Capabilities for concep architectural projects
In both part A and pa and my understanding The realization proces programming process By the way, the techn Furthermore, it inspire
OBJECT 8:
Dev
Ability to make a case for proposal
techniques
From Part B, my partners and I come up with too much ideas without much thinking. However, we can exam all the possible solutions using criteria set based on researches, together with the fabrication of prototypes, optimized solutions to the problem can be find out. By the way, we just need to focus on all satisfied outcomes. In this process, some mistakes or unsatisfied outcomes can help us with the design innovations.
During part B, my com process to get familia grasshopper. At the b connected the compo all of my file crashed d could be quite inter different when we cha my conputational tech
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ptual, technical and design analysis of contemporary
art B, I analysis two some precedents systematically g to architectural development raised to a new level. ess of reverse engineering introduces me the digital and fabrication process. nic issues behind design are better comprehended. ed me a lot for future design.
veloping a personalized repertoire of computational
mputational skill is largely improved. It is such a tough ar with these computational techniques, especially, beginning, I misunderstood the data structure and onent in the wrong way when I am doing grasshopper, down. However, data structure in visual programming resting because resultant form will become quite ange the data structure. Thus , I still need to improve hniques to achieve my design proposal.
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. 8 APENDEX
Achimmenges.net. (2017). Differentiated Wood Lattice Shell | achim net/?p=4339 [Accessed 15 Sep. 2017].
Burkus, D. (2017). Turn It Up: How the Right Amount of Ambient Nois http://99u.com/articles/16711/turn-it-up-how-the-right-about-of-amb
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mmenges.net. [online] Available at: http://www.achimmenges.
se Increases Creativity. [online] 99U by Behance. Available at: bient-noise-increases-creativity [Accessed 15 Sep. 2017].
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