Air journal final yujing wang by Yujing Wang

AIR JOURNAL FINAL YUJING WANG 692143

PART A

CONCEP

PUALIZATION

CONT ENTS

A.0 INTRODUCTION A.1 DESIGN FUTURING 1.1 CASE STUDY 1 1.2 CASE STUDY 2 A.2 DESIGN COMPUTATION 2.1 CASE STUDY 1 2.2 CASE STUDY 2 A.3 COMPOSITION/GENERATION 3.1 CASE STUDY 1 3.2 CASE STUDY 2 A.4 CONCLUSION A.5 LEARNING OUTCOME A.6 APPENDIX

A.0 INTRODUCTION

I am Yujing Wang, a third year architecture student in the university of Melbourne. I choose architecture because it holds the ability to give from to an idea that otherwise would just remain intangible in the minds. After two years of study, i find that architecture not only represents ideas. it also generates ideas through visualization and diagramatic methods. By taking the earth and water studio in the last two years of study architecture, i realized that my interest lie in visualsing architecture and architecture therory, particularly the complex and ever changing relationship between the rational and emorional humanity, life style and social regulations. The architecture reflects our ever changing beliefs, practices and attitudes. The tectonic studies of earth studios was really helpful and inspiring for me. They helped me to break down the complicated design into the smaller pieces of every week and understand the rationally behind them. The model of earth is the interpration of the secret space to reflect the humanity and contains the human activities in both underground and aboveground. Also, the presedent research was another useful session of my design. Learning from the presedents was not only about simply copying and shape, but also follow the spatial organization and spirits.

Also, the water studio lead me to learn from the master--Louis Kahn. I receive lots of theory and tecniques of architecture by using the symmertrical and geometrical building form. At the same time, my water building also highlights the lighting performance and people circulation. That let me know that architecture is the functional method to achieve the value of society.

A.1 DESIGN FUTURING

“ In today’s ultranetwarked world, it makes more sense to think of design as a process that continuously defines a system’s roles rather than its outcomes. ” ---John Thackara

Architecture, which defines people’s bahaviours and ways of living, is no longer about apperence nor style. We see the growing importance of design as it shapes the perception of material world. 2 We can assert that the architecture is the celebration of rational and emotional thinking and reflect the personality of human. At the same time, architecture style create a range of fashion trends in the world nowadays. Architecture design is a haven for creativity and artistry, also private the visual enjoyment for human. Secondly, architecture design should combine and mirror the local social circumstances and cultures to enhance the positive effects ot the world. As what Brad mentioned in 3 the lecture, ‘architectures should become the facilitator of flow’. According to Fry, in order to achieve sustainability, not only the design process and techniques should be changed, but also the ideology and entire mindset.2 The evolutionary design intelligence should be introduced. Intelligent design has been the diligent workhorse of human progress. It has shaped politics, math, literature,science and more. There is good reason for us to cherish it, to upload it as perhaps uniquely human. Additionally, sustainability is now a buzzword both among professionals and scholars. However, though climate change and resource depletion are now widely recognized by business as major challenges, and while new practices like ‘green design’ have emerged, efforts towards change remain weak and fragmented. Design futuring systematically presents ideas and methods for design as an good option to respond the ethical, political, social and ecological norms and leisure need of human. 1. Thackara John (2005). In the Bubble: Designing in the complex world ( Cambridge, MA: MIT Press), p.224 2. Tony Fry (2008). Design Futuring: Sustainability, Ethics and New Practices (Oxfords: Berg), pp. 1-16 3. Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

The khaleesi tower, a example for us when ture trends. Unconven and mondernism. In N Conversely, the conc significant feeling for located in the facade technologies and fab es, or in this case, how lutely, the Khaleesi to transparency details o additions to the build In other wise, there ha style of this tower aim highly respectation fo NYC. Also, the param Furthermore, for the fu begin to be more cog more connotative an

FIG. 1: This ornate concept skyscraper was inspired by â&#x20AC;&#x2DC;Game of Thronesâ&#x20AC;&#x2122;, http://www.businessinsider.com/the-khaleesi-skyscraper-plan-in-nyc

1.1 CASE STUDY 1 KHALEESI TOWER

a significant project which contains lots of fusing gothic gargoyles and futuristic skyscraper, can be a good we talk about design futuring. In my opinion, this can be a important kind of prediction for the future architecntionally, the purpose ot this architects were to advocate the architecture which highlights the consumerism New York, there have too many architectures have the similar features and still keep the conservative design. cept of Khaleesi tower aims to demonstrate the freedom, luxury and elaborated design feature to bring out the residents and audiences.The design feature which is worthly to mention is the special treatment and sculpture e, it not only a functional residential and commercial building, but also a media to introduce the new design brication methods. ‘Design is thinking of a great many things like how a building appears from different distancw to make each floor unique to the tower,” Gage explained in a project statement. At the same time, absoower creates the new trend which represent the paramatric design included the high resolution and ethereal of the facade. And yet current technology is opening up possibilities for unpresedentedly bold and aweinspiring d environoment.4 ave another feature about design futuring of this builiding made it become more profession. The decorative ms to follow the spirits from the medieval monastery and gothic building, even the myth. This features show the or the past traditions and cultures. They are meaningful to located it at the most trendy and metropolitan city-metric design heip designer to complete this complicative design elements. uture social influences, because the mixed comments for the design of this tower emerged, more audients gitative and critical to the design and they will encourage designers to be more sensitive and efficient to create nd distinctive architectures. These can be seem as the power of architecture in the future probably.

c-2015-12?IR=T

4. Aesthetics as politics: The Khaleesi Tower on West 57th Street, NYC. Mark Foster Gage, Architectural Design, Volume 86, Issue 6. DOI: 10.1002/ad.2106

FIG. 2: This ornate concept skyscraper was inspired by ‘Game of Thrones’, http://www.businessinsider.com/the-khaleesi-skyscraper-plan-in-nyc-2015-12?IR=T

1.2 CASE STUDY 2 WHITE TREE HOUSE Additionally, Japanese architect Sou Fujimoto designed plans for a tower block shaped like a pine cone with balconies sprouting outwards in all directions, as part of a series of “modern follies” underway in Montpellier, France. The White Tree Tower has 17-storey mixed-use tower will follow Fujimoto’s ideology that architecture should reflect forms found in nature. From the project’s concept phase, the architects were heavily inspired by Montpellier’s tradition of outdoor living. This builiding inspired by the efficient properties of natural environment--trees. This is the combinational function building including restauant, art gallaery, offices, bar with balconies view and other common area. The designer attempt to install the functional area by using lots of facade treatment. They put large range of functional area at the outside of builiding.These kind of option let the apperance of house doesn’t only limited by aesthetic effects but also contains the social effects and become the important media for human daliy life. Also, The curvature serves two purposes because this part of the facade offers the best exposure and viewpoint but does not block the view for neighboring residences. Located at the crossroads of several major thoroughfares, including the Lez river and the motorway, the project will also encompass the extension of the riverside park. This attainable passage will make the interesting representaion of the residents’ curculation and these kinds of design attract more attentions from the tourists. At the same time, considering about the future possibilities, this kind of design also encourage the human communication with the natural environment and biology. The balconies are proportioned to make people gravitate toward the outdoors, like leaves fanning out to soak up the warm nourishing sunlight. The large opening of the room will decrease the consumption of the artificial lighting then decrease the energy usage. This is the good way to improve the environmental sustainability.

A.2 DESIGN COMPUTATION

Before t mathem of know ties, wh Then th The des tion in a are con focus o applica In respo from the declinin Over th allows h better k puter A design t of objec compu its relati architec found in the dom system architec essentia design b

4. Tony Fry, 5. J. C. R. Li

the evolution of digital technologies, building techniques were derived through compelx metical testing, physical experiments and even more lessons learnt from failure. Limitation wledges and time cunsuming process of testing has long been a barrier to design possibilihich past design ideas were geometrically and methodically bounded by these constraints. he development of computation has move forward to a new area of design methodology. sign computation technology inquires into the varied nature and practices of computaarchitectural design, and the ways in which design meaning, intentions, and knowledges nstructed through computational thinking, representing, sensing and making. The designer on the development of innovative computational tools, processes and theories, and the ation of these in creative, socially meaningful responses to challenging design proglems. onses to the underlying ‘defuturing’ state, the consequences of our designs handed down e past are beginning to expose its apparent repercussions. Growing pressure to reverse ng conditions have initiated a new form of formal design thinking within the past decades. his period, many have begun to establish a mutual relationship with digital devices that humans to work with nature to produce desirable outcomes in the field of architecture, known as ‘human-computer symbiosis.’5 For example, the current transition from ComAided Design (CAD) to Computational Design in architecture represents a profound shift in thinking and methods. Representation is being replaced by simulation, and the crafting cts is moving towards the generation of integrated systems through designer-authored utational processes. While there is a particular history of such an approach in architecture, ive newness requires the continued progression of novel modes of design thinking for the ct of the 21st century. It includes multifaceted reflections and speculations on the pronfluence of computational paradigms on architecture. It presents relevant principles from mains of mathematics and computer science, developmental and evolutionary biology, science and philosophy, establishing a discourse for computational design thinking in cture. Rather than a merely technical approach, most professional designer will discuss al intellectual concepts that are fundamental not only for a discourse on computational but also for its practice.

Design Futuring Sustainability, Ethics and New practice. (Oxford: Beng. 2008), pp. 16. (pp. 4) icklider, ‘Man-computer Symbiosis’, IRE transaction on human factors in Eletronics, volume HFE-1, (1960), PAGES 4-11.

2.1 CASE STUDY 3 ICD-ITKE RESEARCH PAVILION This design piece is the typical reflection of the design computation. Firstly, for the functionality and material fabrications, this pavilion and research project broke the bounderies of people’s conceptions of the limitations of common meterials. In this kind of design case, Digital programs were essential properties to modelling these as tectonic systems and experimenting through parametric modelling the forms and structures this could create. The case located in the University of Stuttgart, It have completed a new research pavilion demonstrating the robotic textile fabrication techniques for segmented timber shells. The pavilion is the first of its kind to employ industrial sewing of wood elements on an architectural scale. It is part of a successful series of research pavilion which showcase the potential of computational design, simulation and fabrication processes in architecture. Considering the benefits of using design computations, nearly every architect uses a computer. Whether it’s for 3D modeling, documentation or even creating a program spreadsheet, computers are well entrenched within the profession. Architects now need to know almost as much about software as they do about structures, building codes, and design. As our tools become more powerful and sophisticated, we need to evolve and develop our working methods in order to stay competitive. At the same time, the design computation help us to pursue the multidimention design modelling and more

possibilities of spatial organization and constrctions. This options will bring out the higher effiency for creation and fabrication. Refer to the “THEORIES OF THE DIGITAL IN ARCHITECTURE”, Within the last decade the appearance and evolution of the digital in architecture in integration with new digital technologies have begun to produce what might be termed a Vitruvian effect In synthesizing material culture and technologies within the expanding relationship between the computer and architecture, this phenomenon defines a digital continuum from design to constrction industries, from form generation to fabrication design. This new continuity transcends the merely instrumental contributions of the man-machine relationship to praxis and has begun to evolve as a medium that supports a continuous logic o f design thinking and making.6 For the conceivable and achievable geometries consideration, the design computation plays the role play of these. As we know this research pavilion is characterised by a twofold bottom-up design strategy based on the biomimetic invsetigation of natural segmented plate structures and novel robotic fabrication methods 7 for sewing thin layers of plywood. The special biomimetic computation and material differentiation analysis are the important parts of design computation of this case. Also, the interdisciplinary cooperation from architects, engineers and biology enhence the importance of computation.

FIG. 5: ICD/ITKE RESEARCH P

6. Rivka Oxman and Robert Oxman, ‘THEORIES OF THE DIGITAL IN ARCHITECTURE’, Routledge taylor and francis group. 7. ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart (2016), http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart

FIG. 6: ICD/ITKE RESEARCH P

PAVILION 2015/16

PAVILION 2015/16 DETAIL

FIG. 7: ICD/ITKE RESEARCH PAVILION 2015/16 DETAIL

2.2 CASE STUDY 4 FOUNDATION LOUIS VUITTON MUSEUM, PARIS, 20 Additionally, the Foundation Louis Vuitton Museum use the design computation techniques let the fancy dream to be constractable. Refer to the sketch from Frank Gehry, we can find out that the museum is covered by glass sails, supported on stainless steel mullions upon a structural steel and glulam main frame. The 12 sails form a cloudlike collection of canopies over the museum, with range of curves and angles that reflects the surrounding trees and 8 the Paris skyline. Certainly the computational techniques are really potential factor to produce this kind of feature of this building. This is the unique BIM project which modelled in Tekla software in order to detailed out the stainless steel mullions along with the glulam timber beams, glazing fixing plates, main frame and locating the base frame. For this builiding design process, design computation supplied the 3D drawing to aid setting out and quality-controlling the node points then create the more exactly effects and performances. Otherwise, the digital controlling can make all curves and transoms’ spacer beams with varied end-plate

rotations, the computational techniques maintaining the tolerances from the model. Absolutely, in the project of constructin the foundation Louis Vuitton Museum, we can find out that this is the celebration of new high precision design modelling tools to perform simulated tules for the form finding.9 This form finding tool transfer the abstruct sketchy lines into the geometrically complex structure which satisfy the real life regulation and imagination. Yehuda E. Kalay said that we engage in the process of design when the current situation is different from the desired 10 situation. Sometime, computation can achieve the imagnation with exactly research and analysis with clear process to encure our visualizing on the right track and constractable. Also, they formulating the solutions independent with the given paramaters and bring out the desired consequences. The Foundation Louis Vuitton Museum project is the typical example to introduce the new model server system to bring out the design, fabrication

8. Fondation Louis Vuitton: A dream come constructable (2015). https://www.tekla.com/references/fondation-louis-vuitton-dream-come-constructable 9. Tabias Nolte & Andrew Witt, ‘Gehry Partners’ Foundation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architecture Design, 84 (2014), p. 82-89. 10. Yehuda E, Kalay, Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004). P. 5-25

005 and construction excellence. The process shows how design computational technique can enable the perfect solutions for encountering the emerged problem and solve them in the digital way (BIM), also they enbled the concurrent design, advenced parametrics brought the project to the higher level and to be more competitive. It produced the more efficiency automated fabrication chains, decreace the work rotation and supply more efficiency manifacturing techniques.

FIG. 8: The inpiration sketch from Frank Gehry

FIG. 9: Fondation Louis Vuitton Museum, 2005

G. 8: Museum of Contemporary Art & Planning Exhibition, http://www.archipendium. om/en/architecture/museum-of-contemporary-art-planning-exhibition/

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. We are moving from an era where architects use soft11 ware to one where they create software. --Brady Peters 11. Brady Peters, Computation works: The building of Algorithmic Thought, (Architectural Design, V. 83, NO. 2, 2013)

A.3 DESIGN COMPOSITION/ GENERATION

The transition from designing composition to generation appears to be phenomenal in the receng decade, and majority in architectural practice adopt digitalization in design process. Also, the process which means shifting to design computational generation is inevitable and I believe that it will bring out more benefits for the human and society.

FIG.9: situation room, https://www.urdesignmag.com/art/2014/10/13/situation-room-installation-by-marc-fornes-jana-winderen/

SITUATION ROOM INSTALLATION BY MARC FORNES + JANA WINDEREN Firstly, this situation room could be the typical example of the generation approach in architectural design. In this project, digital and meterial utilisation scale from a unit then an entire project. This kind of design use the combination of the envelope, acoustic membrane, structural design and distributed lighting all work together through a coat of neon-effect, it acts a sound object 12. Situation Room installation by Marc Fornes + Jana Winderen, https://www.urdesignmag.com/art/2014/10/13/situation-room-installation-by-marc-fornes-jana-winderen/

3.1 CASE STUDY 5

that absorbs and contrasts the storefornt gallery thus blurring perception of the know through its abstruct, spatial, formal and acoustic. In my opinion, this kind of complicative design contain a range of compostion of design computational technique and knowledges intergration. During this process, the communications through both digital (computer) and physical (designer and clients) are nesscessary. The algorithmic thinking inspire the designer to beyond the intelligence of art and design, in contributing to make multidiscipline reasearch and collaborative environment. As structure, materials or environmental performance can all work as a basic parameter to generate a variable architectural form. Also, for the functionality, when we considering about the positions and rules of this project, it is worthly to mention the composition method. The overall form is an aggregate of twenty spheres of incremental diameters, combined to create an envelope of experiential tension, a sort of sublime dialogue between the comfort of the known and an uneasy interaction with the unknown. The resultant morphology resonates with a series of distributed transducers and lighting sources playing out through streams of 12 porosity derived from structural stress flows across the elements. From this information, we can say that this project provide a brand new method to make designer think about the creation of spatial arrangement and lighting performance based on the specific human activities.

FIG.10: situation room, https://www.urdesignmag.com/art/2014/10/13/situation-room-installation-by-marc-fornes-jana-winderen/

3.2 CASE STUDY 6 TAICHUNG METROPOLITAN OPERA HOUSE FROM TOYO ITO When we thing about the definition about the generative approaches in design, we should not only notice assemblizaiton and combination of meterials and design ideas, but also need to think about the algorithm logic and space distributions by constrction elements. Architectural spaces and compositions are created through the use of scripting alsorithms where ele13 ments are manipulated and explored in various ways. Refer to the project from Toyo Ito which located in Taichung, we can find out the different elements organization in order to bring out the different function: the special arrangements of walls, columns and beams produce and generate the special and unique â&#x20AC;&#x2DC;sound caveâ&#x20AC;&#x2122;. The sound cave is both horizontally and vertically continuous netwark in order to create a acoustic space. Also the more than 50 curve walls generate a maze and interlocking reinforcement steel bar cages and steel trusses, it will also indicate a different human circulation and experience of this building. 13. Brady Peters, Computation works: The building of Algorithmic Thought, (Architectural Design, V. 83, NO. 2, 2013)

FIG.11: Taichung Metr toyo-ito--associates/ta

Considerin tne water contains lo morpholog lowed dur Finally, this to comple cial steps the theatr This is ano

14. Taichung Met ates/taichung-me

FIG.12: Taichung Metropolitan Opera House, http://www.arcspace.com/features/ toyo-ito--associates/taichung-metropolitan-opera-house/

ropolitan Opera House, http://www.arcspace.com/features/ aichung-metropolitan-opera-house/

ng the strucutre and form finding, this building was inspired by the natural caves flow. Ito uses this kind of feature to produce the dynamic structral form which ots of circular shape. This kind of generation in the design process represents the gical logic. This kind of logic acts as a guidance that all algorithmic factors folring the design process. s building is not only generated by the algorithms, but also use lots of elements ete the design compositon. The arrangement and intergration are also the cruin design process. Also, The fluid continuity of the structure reflects the idea that 14 rical arts are spatial arts which combine the body, art, music, and performance. other language to mention another interpration of design compositons.

tropolitan Opera House, Toyo Ito & Associates, http://www.arcspace.com/features/toyo-ito--associetropolitan-opera-house/

A.4 CONCLUSION

Throuth the exploration entailed in Part A, it becomes clear that design is a key factor in the future deveolpment of our society. The all contents of Part A, including the reading and case study bring out the professional design process for the future design. First of all, the significant design is not only the functional and sustainable, but also reflects the recognitions from humanity and culture characters. The better architectural design is the celebration of art design and interdisapline analysis such as biology, geology even the psychology. Furthermore, the design computation part encourage me to understand the trendy techniques (parametric design) which help designer to achiece their imagnations and satisfy the requirement of builders. The design computation is the combination of human rational and creative abilities and try to transcend the limit and produce the powerful symbiotic design system. Also, the good computer-aided design system providing vary levels of assistance to human designer by taking care of smaller or largeer parts of the design process. After reasearching the cases, the principles of design composition and generation are highlight the computation algorithm logic aims to improve the building form then create the more effiency, functionality and sustainable human experiences.

A.5 LEARNING OUTCOME

In the first week of this semester, I have lack of knowledge about any architectural computing even in my opinion, computational technique is not the important ability for architectural design. But after 3 weeks study, I understand that the design computation is the smart langrage to demonstrate the complex structures and details. It can combine the design creation, fabrication and construction rationally without silly mistakes. The design process always involved complex geometries and structural compositions that were impossible to conceptualize and visualize through simple Autocad drawings or sketches. This is the new way which let us to define our design or our imaginations clearly.

A.6 APPENDIX:ALGORITHMIC SKETCHBOOK WEEK 1 LOFTING & TRIANGULATION

FIG.1: Picture from pinterest. https://au.pinterest.com/pin/579908889489963947/

TASK 1: LOFTING WITH CURVES

TWO CURVES Simply lofting by curves to show the concise grafting of this surface.

THREE CURVES When we try to change two curves to three. The surfaces we try to loft are more complicated and twisted.

FOUR CURVES Lofting four curves produced more crazy form which contain lots of intersection and transformation of each surface.

TASK 2: TRIANGULATION

OCTREE

By using the octree in GH definition to creat twisted and ‘freak’ cube. Also, this kind of pattern encourage people associate this to mosaic--the famous and classic luxury pattern.

POPULATE GEOMETRY

This kind of gold ring can be seem as the gold bracelet or the crown. There have lots of ‘hollow-out work’ which produce by the populate geometry definition. Different from other regular bracelet shapes, this shape is more irregular and asymmetry.

VORON

This two ite per, by usi box colum kind of fea tion of rigid

NOI 3D

VORONOI 3D

ems are using the voronoi 3d order in grasshoping this option, we can produce the fragmented mn which even contain the curving surface. This ature shows the great combination and interacd shape and dynamic shape.

PIPE

The pipe option is the important component to produce this kind of â&#x20AC;&#x2DC;capâ&#x20AC;&#x2122; which has special form. The organization of pipe enhance the representation of the dynamic flow of this item.

TASK 1: EXTENTION AREA

FIG.3: Kanye West in Balmain Sleeveless Hoodie and Givenchy “Stars” T-shirt. http:// www.upscalehype.com/2010/11/kanye-west-in-balmain-sleeveless-hoodie-andgivenchy-stars-t-shirt/

This model was created by contour lofting and orient a special geometry. Considering the function and value of my design, i think this can be a small pavilion which attach the house. It is semi open area and provide sun shading at some extents. For the form finding, i just try to produce the organic shape. Foe the geometry, i just receive the inspiration by lots of ‘star’ seties of Givenchy. This is kind of trendy feature in luxury product.

This design maybe used for the roof cladding or ‘green roof’ design-which contains lots of vegetation on the roof in order to decrease the thermal mass of the roof and recycle the rainwater. The geometry feature of this model was refer to the famous ‘rockstud’ series of Christian Louboutin. This kind of design provide the new definition and representation about high fashinion to the old scool element -- rockstud. For the value of my design, i try to combine the functionality, aesthetic feeling and environmental sustainability. FIG.4: CHRISTIAN LOUBOUTIAN. https://www.lyst.com/shoes/christian-louboutin-rolling-spikes-loafers-black/

This design is the further development of my triangulation project which use pipe option at week 1. This can act as a entertainment facility and interesting treatment of the facade.

FIG.5: Marzelo Burlon. https://www.lyst.co.uk/clothing/marcelo-burlon-tshirt-wingsprint-whitegrey-white/

This design aims to enhance the aesthetic feeling of this house. I just refer to the significang pattern design from the Marzelo Burlon. This kind of wings shape highlight the biological effects and bring out the feeling about freedom.

WEEK 3 GRID SHELL AND ORIENT

FIG.6: JESS HALL. http://www.jesshallarchitecture.com/#/alps/

TASK 1: MULTI-FUNCTION SPACE01 ORIENT GEOMETRY

In this design piece, I refer to the strucutre of DNA and other organic texture th show the organic and dynamic form of my design. The value of this design is th method to reflect the relationship between biology development and archite tural environment for human life. Considering the function, this can be seem a multifunction pavilion which located in the public square or maybe near to th science museum.

hen he ecas a he

TASK 1: MULTI-FUNCTION SPACE01 GRID SHELL 01

In this design piece, I refer to the strucutre of grotto and stalactie then sh organic and dynamic form of my design. The grid shell is the main suppo dia for each little column. Also, the curving column show the form of wa clearly. These two object of week 3 sketchbook are based on the biolog natural environment at good extent. This is another method to consider t ronmental sustainability and design computation.

how the ort meater flow gy and the envi-

BIBLIOGRAPHY 1. Thackara John (2005). In the Bubble: Designing in the complex world ( Cambridge, MA: MIT Press), p.224 2. Tony Fry (2008). Design Futuring: Sustainability, Ethics and New Practices (Oxfords: Berg), pp. 1-16 3. Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower) 4. Aesthetics as politics: The Khaleesi Tower on West 57th Street, NYC. Mark Foster Gage, Architectural Design, Volume 86, Issue 6. DOI: 10.1002/ad.2106 5. J. C. R. Licklider, ‘Man-computer Symbiosis’, IRE transaction on human factors in Eletronics, volume HFE-1, (1960), PAGES 4-11. 6. Rivka Oxman and Robert Oxman, ‘THEORIES OF THE DIGITAL IN ARCHITECTURE’, Routledge taylor and francis group. 7. ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University of Stuttgart (2016), http:// www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-ofstuttgart 8. Fondation Louis Vuitton: A dream come constructable (2015). https://www.tekla. com/references/fondation-louis-vuitton-dream-come-constructable 9. Tabias Nolte & Andrew Witt, ‘Gehry Partners’ Foundation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architecture Design, 84 (2014), p. 82-89. 10. Yehuda E, Kalay, Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004). P. 5-25 11. Brady Peters, Computation works: The building of Algorithmic Thought, (Architectural Design, V. 83, NO. 2, 2013) 12. Situation Room installation by Marc Fornes + Jana Winderen, https://www.urdesignmag.com/art/2014/10/13/situation-room-installation-by-marc-fornes-jana-winderen/ 13. Brady Peters, Computation works: The building of Algorithmic Thought, (Architectural Design, V. 83, NO. 2, 2013) 14. Taichung Metropolitan Opera House, Toyo Ito & Associates, http://www.arcspace. com/features/toyo-ito--associates/taichung-metropolitan-opera-house/

PART B CRITERIA DESIGN

FIG. 1. AE27: Honeycomb Oculi. A DALIY DOSE OF ARCHITECTURE. https://a html

archidose.blogspot.com.au/2013/12/ae27-honeycomb-oculi.

CONTENTS

B.1 RESEARCH FIELD GEOMETRY B.2 CASE STUDY 1.0 2.1 ITERATION CREATION 2.2 BEST ITERATIONS SELECTIONS B.3 CASE STUDY 2.0 3.1 REVERSE ENGINEERING B.4 TECHINIQUE: DEVELOPMENT B.5 PROTOTYPING B.6 DESIGN PROPOSAL B.7 LEARNING OUTCOME B.8 ALGORITHMIC SKETCHEBOOK

B. 1 RESEARCH FIELD STRIP AND FOLDING

Strips and folding is the important algorithmic in which multiple strips and single surface is transformed into volumetric space. A bend and a single fold can already turn a flat surface into three dimensional object. By adding more folds and strips, complexity and dunamic builds up which generate unique geometry. This research proposes some important computational methods to generate rapidly complex folded plate structures that can be built with crossed panels. Composition and dimensions of these strips as well as the possibility to mill them by Computer Numerically Controlled digital tecniques, show a great potential for surface structures. In my opinion, the aim of this research field is to reveal this potential in the domain of folded strips structures. An interdisciplinary team investigates architectural, structural and mathematical aspects of folded strips structures built from different components. In my project, this technique is useful to form finding process to create the dunamic and flexible shape of design. It is rapid to alter the size, segment and frequencies of the folds of our design, even the angle of folding. Then the volumetric space change both internally and externally. Also the strips and folding method is forceful to enhance the vusial aesthetic, spatial arrangement, functional circulation of the design directly. Refer to the research, There are different ways of constructing folded structure in terms of their forms and the application of different materials they are made of. Based on the research and analysis of the formal potential of the folded constructions the systematization of folded structures was done in terms of shape and geometry. The term folded structure defines a folded form of construction, including structures made of plates and structures made of sticks which make a folded form by their mutual relationship in space. Some authors also call folded structure the origami construction.1

1. FOLDED STRUCTURES IN MODERN ARCHITECTURE. University of Belgrade, Faculty of Architecture, Serbia

FIG. 1. LOOP 3 https://www.google.com.au/search?q=(Str Bologna&source=lnms&tbm=isch&sa=X&ved=0ahUKEwilt5G

FIG. 2. https://www.google.com.au/search?biw=1500&bih ch&sa=1&q=Chalmers+Uni+Tech+-+Archipelago+Pavilion& ers+Uni+Tech+-+Archipelago+Pavilion&gs_l=psy-ab.3...2266 0.188.353.0j2.2.0....0...1.1.64.psy-ab..0.0.0.0.rUf9Xk5Tv7s#img

rips)+Co-de-iT+and+UniGJ-KTWAhWEipQKHemtB-

h=895&tbm=is&oq=Chalm631.226924.0.228840.2.2.0.0.0. grc=2XjHqDpX_grbjM:

FIG. 3. gallery of marc fornes. https://www.google.com.au/search?biw=1500&bih=895&tbm=isch&sa=1&q=Marc+Fornes%2FTheVeryMany&oq=Marc+Fornes%2FTheVeryMany&gs_l=psy-ab.3...5085.5688.0.7534.2.2.0.0.0.0.1 79.352.0j2.2.0....0...1.1.64.psy-ab..0.0.0.0.L0zCOg_kGUM#imgdii=iEDf-6dqgSZw9M:&imgrc=IUuJM-89Nb5z-M:

B.2 CASE STUDY 01 BIOTHING PAVILION

With And focu al sy of se bec this p patt field dime sect In ea and ship frivin and form mar twee ers o is co diffe pav trac al co artis - em betw poss to th Con stud ome pav acti the

FIG. 4. Patternity. https://www.google.com.au/search?q=Biothing+Pavilion&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiP9py-g6XWAhWMnZQKHW3GCgcQ_AUICygC&biw=1500&bih=895#imgdii=kE6vNtRkEIH6nM:&imgrc=R8zDO2ubKZHH_M:

2. â&#x20AC;&#x2DC;biothin www.dail sa-andras 3. Serouss ing/

h ‘biothing’ the New York based architect Alisa drasek founded a trans-disciplinary lobratory that uses on the generative potential of computationystems for design. Her major intrest is the analysis elf organising and adaptive systems, which can come manifest in different scales.2 The structure of project is described as grown from self-modifying terns of vectors based on the electromagnetic ds. The initial comtutaions were done in the two entional plan then lifted with the microarching tions through frequencies of the sine functions. ach cell unit of the structeure, light and shadow d programming are realized through the realtionp between the angle of sinusoidal wace function ng parameters, direction and aperture size, metal d glass parts. The inner cocoon space structure is med by the dual charge trajectory of emerging rkets. The varying degrees of cohabitation been humans and art is possible in the spinning fibof the cocoon. Rearranging the exhibition space onsidered a series of probability events.3 Also, Six erent geometric systems were used to design the vilion, which were all steamed out of the main ck.Pavilion plans and the building of the traditiononcept of pictures have much in common - this st dynamic blueprint is closer to the music symbols mbedded algorithm and parameters relationship ween the depth of the ecology is the seed of sible physical and chemical process and adapt he site conditions. nsidering the reason for selected this as my case dy, it contains the flexbile nature in which the geetry allows for local adaption to the site (seroussi vilion is implanted into a steep hill). Also, the interive potential of this project is hugh which allows creation of the multi-functional pavilion.

ng’ – a transdisciplinary lobratory founded by Alisa Andrasek. http:// lytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisek/ si Pavilion |Biothing. http://www.arch2o.com/seroussi-pavilion-bioth-

FIG. 5. seroussi pavilion. https://www.google.com.au/ search?q=Biothing+Pavilion&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiP9py-g6XWAhWMnZQKHW3GCgcQ_AUICygC&biw=1500&bih=895#imgrc=xbxPBvC0Zt8d0M:

FIG. 6. seroussi pavilion. https://www.google.com.au/ search?q=Biothing+Pavilion&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiP9py-g6XWAhWMnZQKHW3GCgcQ_AUICygC&biw=1500&bih=895#imgrc=A25KXQ-0j-_IaM:

FIG. 7. seroussi pavilion. https://www.google.com.au/ search?q=Biothing+Pavilion&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiP9py-g6XWAhWMnZQKHW3GCgcQ_AUICygC&biw=1500&bih=895#imgdii=OO2oCDhtsXkY8M:&imgrc=OO6SCPcIH5NDfM:

B. 2 CASE STUDY 2.1 ITERATION SERIES 1 CURVE DIVIDE

1.1

1.2

Change the number of segment of curve divided component to achieve the different field line generations and compositions.

CD=1 1.5

CD=2 1.6

CD=18

SERIES 2 RADIUS OF CIRCLE

2.1

CD=25 2.2

Change the radius of the circles then modify the spatial arrangement of each iterations.

R=-10

R=-3 2.5

2.6

R=2.5

R=5

1.3

1.4

CD=5

2.3

CD=10

2.4

R=0.01 2.7

R=1 2.8

R=10

R=15

B. 2 CASE STUDY 2.1 ITERATION SERIES 3 FIELD LINE

3.1

3.2

Change the size of fieldline to achieve the different form of shape.

3.5

SERIES 4 EXTRUDE + OFFSET

S=20

S=50 3.6

S=500

S=700

4.1

4.2

Add extrude and offset components to the original definition, change the value of x, y and z axis and offset distance to receive the distinctive structure.

X=0 Y=-3 Z=-8 D=0

X=0.25 Y=0.25 Z=0.25 D=0.80 4.5

X=0 Y=2.2 Z=0.2 D=9

4.6

X=6 Y=-3 Z=0 D=17

3.3

S=150

4.3

3.4

S=350

4.4

X=5 Y=7.8 Z=0.3 D=2.0

X=0.25 Y=1.8 Z=1.8 D=5.1 4.7

4.8

X=0 Y=0.3 Z=4.7 D=35

X=0 Y=0 Z=-8 D=20

B. 2 CASE STUDY 2.1 ITERATION SERIES 5 LUNCH BOX- PLATONIC OCTANEDON + MOVE

5.1

5.2

Plug in the component from lunch box, change the value of radius and curve divide numbers.

R=5

R=2 5.5

R=8 T=2 CD=2

SERIES 6 NEW GEOMETRY + PIPE

6.1

5.6

R=6 MOVE: X=6 Z=4 6.2

Creat a new base curve and produce the different geometry, add the pipe components, change the field line to test out the representation in vertical aspect. (the original highlights the horizontal strucutre at x and Y axis). R=0.3 FL=350 6.5

R=0.3 EXTRUDE: Z=7 FL=300

R=1.4 FL=350 6.6

R=0.3 EXTRUDE: X=7 Z=7

7 FL=300

5.3

5.4

R=5 CD=2 5.7

R=8 CD=1 5.8

R=7 CD=1 MOVE: X=8 Y=10 Z=7 6.3

R=6 CD=1 MOVE: X=-7 Y=6 Z=6 6.4

R=0.3 EXTRUDE: Y=8 FL=300 6.7

R=0.3 EXTRUDE: X=7 FL=300 6.8

R=1 EXTRUDE: X=7 Z=7 FL=300

CD=-6 R=1.4 EXTRUDE: X=7 Y=9 Z=3

B. 2 CA

ADAPTA

Could this design and sloped site c

FUNCTIO

The design space to contain variou provide multiple f

DYNAMI

The design space ture and vibrant the future, they c transformed easi

ASE STUDY 2.2 ITERATION SELECTIONS The following criteria assesses different algorithmic for mations according to the applicability and feaxibility of the design in response to the brief. The matrixs records the development of each species and more successful iterations could be further developed.

ABILITY

n adapt and react to rugged condition?

ONALITY

e should have high tolerance us kind of activity of users and function.

ICALLY

e should have flexible strucspatial organizations. Also, in can be developmented and ily.

AESTHETICS The design should have the ability to stimulate userâ&#x20AC;&#x2122;s creativity and emotion. Also, satisfy their visual enjoyment.

FABRICARABILITY

Could the design be pabricated easily with limited available equi[ment and computational skills?

B. 2 CASE STUDY 2.2 ITERATION SELECTIO

ITERATIONS 4.5 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

ONS

ITERATIONS 4.7 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

B. 2 CASE STUDY 2.2 ITERATION SELECTIO

ITERATIONS 5.4 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

ONS

ITERATIONS 6.7 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

B. 3 CASE STUDY 2.0 3.1 REVERSE ENG ICD/ITKE Research Pavilion 2010. In 2010, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) designed and constructed a temporary research pavilion. The innovative structure demonstrates the latest developments in material-oriented computational design, simulation, and production processes in architecture. The result is a bending-active structure made entirely of extremely thin, elastically-bent plywood strips.4 The research pavilio shows another way of computing design: in this case, the calculation of forms is driven directly by physical behavior and material characteristics. The structure is based entirely on the elastic bending characteristics of birch bars.These bands are mechanically made into planes and then joined together to make elastic bending and tight areas alternate in their length.The force of locally stored in each curved area of the strip, and maintained by the corresponding tensioned region of the adjacent belt, greatly increases the structural capability of the system. The computational design model is based on embedding the relevant material behavior characteristics into the parameter principle.These parametric dependencies are defined by a large number of physical experiments, focusing on the deflection of a thin plywood strip with elastic bending. The structural analysis model is based on finite element simulation.To simulate generated by the bending of each element of the complex balance of local store energy, the model need to start from the planar distribution of 80 bands, and then simulated with elastic bending and then coupling.Detailed structural calculation based on the specific modeling reflect the unique characteristics of the prototyping of mesh topology structure, can understand the material relative to the external forces (wind and snow) bending of internal stress load, calculation of light a very significant aspect of the structure.

4. ICD/ITKE Research Pavilion 2010. http://www.achimmenges.net/?p=4443

GINEERING

B. 3 CASE STUDY 2.0 3.1 REVERSE ENG

STEP 1: -draw the base line -offset the base circle -move at z axis.

STEP 2: -divided curve

STEP 3: -explode t

STEP 6: -create an interpolated curve through the set of points

STEP 7: -loft the arc

STEP 8: -set hexag (use polyg circle wor

GINEERING (DRAFT)

tree

STEP 4: -make arc trough three points

gonal frame gon 8 radius using rking plane )

STEP 9: -set second hexagonal frame (use another polygon 7 segments)

STEP 5: -construct the surface geodesic between two points.

B. 3 CASE STUDY 2.0 3.1 REVERSE ENG

STEP 1: -draw the base circle

STEP 2: -generate the number of equal spaces, parpendicular frame along curve

STEP 5: -convert the curve to polyline

STEP 6: -fillet the sharp corners of the curve

STEP 9: -rotate the object on the plane

STEP 10: -join the brep together

GINEERING (OPTIMIZED PROCESSES)

STEP 3: -create an ellipse define by base plane and two radii

STEP 7: -make the curve to planarity

STEP 4: -solve intersection events for the curve and plane

STEP 8: -create a surface by lofting the section curves

B. 4 CASE STUDY 2.0 3.2 ITERATION 1.1

1.2

1.3

-OFFSET: X=15 Y=20 Z=80 -INTERPOLATE: DISRANCE=9 -SD=3

-OFFSET: X=71 Y=20 Z=80 -INTERPOLATE: DISTANCE=9 -SD=3 -CR=70 -R1OF ELLIPSE =30 R2= 40

-OF -INT -SD -U(S

1.6

1.7

1.8

-OFFSET: X=30 Y=20 Z=10 -U=15 V=15 -CR=20 -R OF FILLET=50 -ROTATE ANGLE=50

-OFFSET: X=30 Y=20 Z=10 -U=20 V=20 -CR=20 -R OF FILLET=30

-OFFS -U=20 -CR= -R1=1 -R OF

SERIES 1 INTERPOLATE + OFFSET

FFSET: X=71 Y=20 Z=80 TERPOLATE: DISTANCE=9 D=3 SD)=15 V(SD)=15

SET: X=30 Y=20 Z=10 0 V=20 =20 10 R2=50 F FILLET=30

1.4

1.5

-OFFSET: X=2 Y=20 Z=80 -U(SD)=15 V(SD)=15 -ROTATE ANGLE=40

-OFFSET: X=2 Y=20 Z=20 -U(SD)=15 V(SD)=15 -CR=20 -R1=30 R2=50 -Z(PT)=20

1.9

-OFFSET: X=80 Y=20 Z=20 -U=20 V=20 -CR=40 -R1=10 R2=50 -Z(PT)= 20

B. 4 CASE STUDY 2.0 3.2 ITERATION SERIES 2 OFFSET + MESH UV + WB CARPET+ CHANGE CIRCLE TO POLYGON

2.1

-OFFSET: X=20 Y=88 -NUMBER OF PFRAME=67

2.2

-OFFSET: X=50 Y=80 -NUMBER OF PFRAME: 80

-O -N

2.6

2.7

-OFFSET: X=80 Y=20 Z=30 -NUMBER OF PFRAME=20

-OFFSET: X=10 Y=10 Z=80 -SEGMENT OF POLYGON=6 -NUMBER OF PFRAME=60

-O -S -N

2.4

2.5

OFFSET: X=20 Y=88 NUMBER OF PFRAME: 30

-OFFSET: X=30 Y=20 Z=73 -NUMBER OF PFRAME: 20

-OFFSET: X=80 Y=20 Z=30 -NUMBER OF PFRAME: 20

2.9

2.10

OFFSET: X=10 Y=10 Z=10 SEGMENT OF POLYGON=6 NUMBER OF PFRAME=60

-OFFSET: X=10 Y=10 Z=80 -SEGMENT OF POLYGON=8 -NUMBER OF PFRAME=90

-OFFSET: X=50 Y=80 Z=80 -SEGMENT OF POLYGON=8 -NUMBER OF PFRAME=20

B. 4 CASE STUDY 2.0 3.2 ITERATION SERIES 3 WB FRAME + WB THICKEN + REDRAW THE PLOYGON

3.1

3.2

-THICKEN: D=71

-THICKEN: D=100 -FRAME: Y=94

-TH -FR

3.6

3.7

-THICKEN: X=1 Y=18 Z=0 -FRAME: X=7 Y=100 Z=61 -NUMBER OF PFRAME=2 -Z(PT)=-8 -ROTATE ANGLE=40

-THICKEN: X=0 Y=29 Z=24 -FRAME: X=5 Y=100 Z=1 -MESH: U=15 V=66 -CR=82 -NUMBER OF PFRAME: 6 -R1=100 R2=20

-TH -FR -M -C -N -R

3.4

3.5

HICKEN: D=16 RAME: Y=23 V=91

-THICKEN: D=16 -FRAME: X=25 Y=65 Z=79 -NUMBER OF PFRAME=8 -Z(PT)=-8 -ROTATE ANGLE=40

-THICKEN: Y=37 Z=34 -FRAME: Y=1 Z=100 -ROTATE ANGLE=40

3.9

3.10

HICKEN: X=0 Y=10 Z=16 RAME: X=15 Y=100 Z=20 MESH: U=20 V=20 CR=82 NUMBER OF PFRAME: 6 R1=100 R2=20

-THICKEN: X=0 Y=90 Z=0 -FRAME: X=31 Y=66 Z=81 -MESH: U=20 V=20 -CR=82 -NUMBER OF PFRAME: 8 -R1=100 R2=20

-THICKEN: X=0 Y=6 Z=0 -FRAME: X=80 Y=1 Z=2 -MESH: U=20 V=20 -CR=82 -NUMBER OF PFRAME: 7 -R1=100 R2=20 -ROTATE ANGLE=67

B. 4 CASE STUDY 2.0 3.2 ITERATION SERIES 4 WB WINDOW + TOGGLED

4.1

4.2

-WINDOW: Y=3 -POLYGON SEGMENT= 7

-WINDOW: X=14 Y=29 -POLYGON SEGMENT= 7

4.6

-WINDOW: X=67 Y=24 Z=66 -POLYGON SEGMENT= 5 -NUMBER OF PFRAME= 4 -ROTATE ANGLE=100 -Z OF COORDINATE= 89

4.3

4.4

4.5

-WINDOW: X=21 Y=0 Z=0 -POLYGON SEGMENT= 7 -NUMBER OF PFRAME= 7

-WINDOW: X=29 Y=12 Z=0 -POLYGON SEGMENT= 7 -NUMBER OF PFRAME= 7 -ROTATE ANGLE=100 -Z OF COORDINATE= 4

-WINDOW: X=26 Y=23 Z=0 -POLYGON SEGMENT= 5 -NUMBER OF PFRAME= 7 -ROTATE ANGLE=88 -Z OF COORDINATE= -40

B. 4 CASE STUDY 2.0 3.2 ITERATION 4.1

4.2

-DICISION: U=2 V=10 -T=5

-DICISION: U=2 V=10 -T=5 -R OF PIPE: 5

4.6

4.7

-DICISION: U=2 V=10 -T=2 -R OF PIPE: 5 -R OF CIRCLE: 30 -NUMBER OF PFRAME: 46

-DICISION: U=2 V=10 -T=2 -R OF PIPE: 5 -R OF CIRCLE: 30 -NUMBER OF PFRAME: 10

SERIES 5 HEX + PIPE

4.3

4.4

4.5

-DICISION: U=2 V=5 -T=2 -R OF PIPE: 5

-DICISION: U=2 V=10 -T=2 -R OF PIPE: 5

-DICISION: U=2 V=10 -T=2 -R OF PIPE: 5 -R OF CIRCLE: 30 -NUMBER OF PFRAME: 10

4.8

4.9

4.10

-DICISION: U=2 V=10 -T=2 -R OF PIPE: 5 -R OF CIRCLE: 30 -NUMBER OF PFRAME: 46 -R1=30 R2=50

-DICISION: U=2 V=10 -T=5 -R OF PIPE: 8 -R OF CIRCLE: 70 -NUMBER OF PFRAME: 46 -R1=30 R2=50

-DICISION: U=8 V=10 -T=5 -R OF PIPE: 6 -NUMBER OF PFRAME: 46 -R1=30 R2=50

B. 4 CASE STUDY 2.2 ITERATION SELECTI

In this interation, the technique which aims to offset the interpolate pieces are demonstrated. The multi-layer folding panel show the high complexity and transparency to create the light efforts. The gaps bewteen the strips enhance the sense the space in this design. ITERATIONS 1.5 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY: This interation is the one of the most obviously representation of strips and folding concept in my case study through the wb carpet command. The semi open space create strong contrast and the folding panel bring out the high dynamic feeling. ITERATIONS 2.6 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

IONS

Same as the interation 2.6, this one i try to alter the offset sliders and the segments of polygon. There have the significant transformation than the last one. Also, there have some folding moments in each curving panel to create the special kind of ‘patterning’. ITERATIONS 2.7 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

ITERATIONS 4.3 ADAPABILITY: AESTHETICS: FUNCTIONALITY: FABRICARABILITY: DYNAMICALLY:

This one i want to highlight the thicken material and surface patterning through the wb thicken and wb window frame. This kind of shape is more elegant and enhance the luxury feeling like a ‘crown’. The different position of each folding panel provide more possible space for functionality.

â&#x20AC;&#x2DC;WHEN FLEXIBILITY MEET RIGID...â&#x20AC;&#x2122;

B. 4 PROTOTYPING

It is often quite different when a design goes from digital to fabrication, and tha because our design intend to reflect the dynamic representaion in computatio techinical range in the architectural language and format which could be mo abstruct. In this part, we attempt to explore the possibilities to generate, constru and fabricate our design idea in reality through some prototypes.

at onal ore uct

B. 5 PROTOTYPING PROTOTYPE 1.0

The first prototype focused on using the special connection method to fabricate an piece in our design in a regular tesselation shape fromed by the rigid strips.Also, this is the representaion of the fabrication of the curved surfaces by some smaller fragments. From the rhino file, we first unrolled each piece of trigulation to the two dimentional layout and laser cut this set of geometries. Given the limitation of the chosen material (mirror perspex), which the shared edges are always perpendicular, we used a more flexible meterial--metal wires to produce rings to act as the connection to join the each triangle fragment. It allows the flexibility to fold the rigid panels along each edges. In other way, we attempt to use this prototype to test and show the specific quality of the surface treatment and space transparency. This kind of materilal will bring out better light reflection and the hollow out triangle provide the sense of transparency vert well.

B. 5 PROTOTYPING PROTOTYPE 2.0

FIG. 9. The Chinese Fingerlock: Traps of the mind and how to be released from anxiety. https://www.linkedin.com/pulse/chinese-fingerlocktraps-mind-how-released-from-anxiety-elaine-liu

B. 5 PROTOTYPING PROTOTYPE 2.0

STEP 1: -punching in each strips -fix all the strips in one end

STEP -fix th and od c shap we tr

Refer to the image which located of the prototype. If youâ&#x20AC;&#x2122;ve never se You place your index fingers in eith fingers. When you push your finger fingers outward, but this only tighte which enlarges the openings and force and reaction force throught achieve the stretch and elastic stru

5. Chinese Finger Traps: What a Novelty Item Can Teach Us a finger-traps-what-novelty-item-can-teach-us-about-accepta

2: he other end of the strips we find out that this methcannot produce the ideal pe and weaving pattern. so ry to change.

STEP3: -change the weaving method which let each panel interlaced many time before fixed. then we complete the ideal model.

at the first page of prototype 2.0, it shows that the finger trap is our inspiration een one, finger traps are woven bamboo tubes (check out the picture above). her end, and when you try 5to pull them out, the tube constricts, trapping your rs inward, it causes them to loosen. The initial reaction of the victim is to pull the ens the trap. The way to escape the trap is to push the ends toward the middle, frees the fingers. This produce designed based on the combination of applied t the special weaving method. This is really inspirative for our surface fabricate to ucure which special pattern also it is really siginificant in our future pitch design.

about Acceptance. http://portlandpsychotherapyclinic.com/2013/03/chineseance/

B. 6 DESIGN PROPOSAL

SITE STRATEGIES DIAGRAM KEY AMMENTITIES: -VICTORIA PARK -VICTORIA PARK TRAIN STATION (1520 MINS TO CBD) -EARLY LEARNING CENTER -COLLINGWOOD CHILDRENâ&#x20AC;&#x2122;S FARM -THE FARM CAFE -COLINGWOOD FARMERS MERKET -STUDLEY PARK BOATHOUSE -COMPUTER SHARE COPERATE OFFICE -YARRA BEND GOLF PARK -RESIDENTIAL BUILDING -RUNNING TOUTE -BIKE ROUTE KEY ACTIVITIES: -JOGGING -WALKING -CYCLING -NATURE APPRECIATION -FAMILY ACTIVITIES -EDUCATIONAL TRAINING

ABBOTSFORD

CLIFT

EASTERN FWY

TON HILL

AREA OF IMPLEMENTATION

KEW

SITE STRATEGIES DIAGRAM

LV x Supreme x

Boost midsole: 1. looks like foam 2. TPU(Thermal Receiver Unit) 3. Provide the extremely co r i a ce o u s re s i l i e n ce effect 4. Great cushioning effect 5. Strong cold-resistant and heat-resistant performance

CREDIT TO LU (GROUP MEMBER)

x Nmd Cs1

Primeknit shoe vamp: 1. Keep the air permeability 2. prevent the excessive the extension to protect the feet 3. integrated vamp to protect the feet 4. seamless connection to

Brand pattern: 1. classic LV monogram 2.Supremeâ&#x20AC;&#x2122;s Futura Bold 3.Gold and brown combination resembles the leather goods that LV is famously known for.

MATRIX OF ITERATIONS DEVELOPMENT SPRING FORCE GENERATED TENSILE STRUCTURE

VORONOI PATTERNED DIAMOND CHAMBERS

METABALLS

SELECTION OUTCOME

PARASITIC: FABRICATABILITY: PERMEABILITY: ENCAPSULABILITY: SMOTHNESS: ELASTICITY:

SELECTION OUTCOME

PARASITIC: FABRICATABILITY: PERMEABILITY: ENCAPSULABILITY: SMOTHNESS: ELASTICITY:

PROJECT BRIEF: To create a special pitch of the cabonon which owned by the people who wanna trap people in order to punish their curiosity. The structure of the pitch is parasitic and flexible which refer to our product and for the techinical aspects we take inspiration from the traditional finger trap which shown in prototype parts.

CREDIT TO MO LI (GROUP MEMBER)

SECTION

CREDIT TO MO LI (GROUP MEMBER)

B.7 LEARNING OUTCOMES

I think part b stand the log It is also impo everything w hopper as an All the things were both co tally. It is reall hace to enco complicated tion and pote matrix tasks la In addition, a tions mean w and try to ma to help us to also feel the to transfer the prototypes te desired comp

is really challenging yet rewarding if we are silling to devote our time to undergic behind the parametric design tools and the concept of paramatric design. ortant to keep an open mind towards new ideas and design methods because will be pointless if we have preconception in the first place. I thought using grassn inituitive tool to generate the usable idea was nonsense. s that we learned in the lectures and studios, research studies and matrix tasks onceptually and pratically to help us create and compare our design horizonly usful and constrctive to our design development and transformations. We ourage to use different grasshopper plug-in in order to achieve some ideal d iterations. These method help us to discover the professional spatial composiential form. These knowledges and skills that we learned in research studies and aid the foundation for our project and stimulated our creativity. an other difficult thing in part b is connections and fabrications. The connecwe need to analysis the key performance of one trendy product in our real life ake connection and reflection in our part b design. It is the practical method think about the core characters of our design and how to let our audience connections. Also, the fabrications part means we need to learn about how e digital design to the physical model through the grasshopper definitions and est. So the problem that i have to deal with is to find the balance between our plex design and its constructability in real life context.

B.7 ALGORITHMIC SKETCHEBOOK

COCOON DESIGN 1.0

COCOON DESIGN 2.0

COCOON DESIGN 3.0

BIBLIOGRAPHY 1. FOLDED STRUCTURES IN MODERN ARCHITECTURE. University of Belgrade, Faculty of Architecture, Serbia 2. ‘biothing’ – a transdisciplinary lobratory founded by Alisa Andrasek. http:// www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/ 3. Seroussi Pavilion |Biothing. http://www.arch2o.com/seroussi-pavilion-biothing/ 4. ICD/ITKE Research Pavilion 2010. http://www.achimmenges.net/?p=4443 5. Chinese Finger Traps: What a Novelty Item Can Teach Us about Acceptance. http://portlandpsychotherapyclinic.com/2013/03/chinese-finger-traps-whatnovelty-item-can-teach-us-about-acceptance/

PART C DETAILED DESIGN

C.1 D E S I G N CONCEPT

INTERM FE

The de me ano

Our cab to th

The g the f to ha char

EEDBACK:

e form dosenâ&#x20AC;&#x2122;t look like it has been represented for the our esign idea (the trap) using grasshopper. Try to avoid the etaball techinique in grasshopper then transfer them into other interesting form.

design should enhance the responses to the host--the bonon. Try to show how does people see it, does it relate he interior space and any relationship to the trap design.

geometry design needs to have a trap logic to achieve function of our pitch. Also the strips and folding needs ave the superficial qualities. Our deisgn should show the racters of our product and show the progression of trap.

C.1 D E S I G N CONCEPT

CLIENT: -Anchoretism -people who feel tired of being t -people who wanna use them to safe, espacially when they are p ble to prying eyes.

the â&#x20AC;&#x2DC;snopeesâ&#x20AC;&#x2122;. o keep themselves particularly suscepti-

CONCEPT GENERATION

In part c, we were put into groups of 3 to enable the collaboration of ideas and workflows between the studio members. This was a leap from the previous parts of the course as designed ideas were no longer controlled by the individual but shared amongst group members. Thus, compromise and communication was crucial in achieving a satisfied end goal. After analysing and doing background research on the client and program of the brief, we decided that our concept would revolve around the aspects of the journey circulations and comparison of narrow and bright, underground and above the ground. We progressed through the several ways in which we can bring out the concept through the trap design logic by drawing diagram or rendering the detail perspective view. After some feedback and discussion, we arrived at the final design concept of creating a unique experience of pitch tunnel to losting, exploring and looping. Precedents along with the opportunities and contraints found on site further helped to inform our design.

PRECEDENTS STUDY 1.0

Spide

As our prece ered. This pro design by na tance to dev house and th dialog with su ing. But desp It is a good fi lights a dicho of plants whic building as w This is the key in my opinion on the natura design and s tion and jour ence by prod

1. Water Buffalo-Pulled ment.org/waterbuffalo

er in the wood by Francois Roche

edent of the design concept, this is one of the first R&Sie project that we discovoject represent the transformation from purely archirecture to flexible landscape atural creating. What we enjoy most about the Spider in hte woods is its relucvelop a traditional sense of permanence. Screen walls move through both the he french woods outdoors. Over time these screen walls will develop a very clear urrounding landscape. It is a tree house of a different kind and utterly fascinatpite the initial intrigue the screen/netting dialog is exactly that, too dialogic for us. first step towards animal or architecture but perhaps more than anything high1 otomy rather than illicting a multiplicity. Also, this house functions as the principle 1 ch as a kind of environmental self-organizational. It aims at demonstrating that well as plants is capable of being changed in response to local or global stresses. y biological process which develop a natural material system. At the same time, n, this project will be the profect example of the parasitic design which highly rely al habitats (trees). It is so meanful to achieve the relationship bewteen our pitch sorrunding environment. Otherwise, this project also highlights the special circularney of this creative tunnel space, we will attempt to achieve this kind of experiducing multi-performance tensile mesh.

d Pavilion. JUNE 19, 2009 BY NED DONINGTON IN POSTS, TERRESTRIAL. RETRIEVED FROM http://www.expandedenvironopulledpavilion/

Ent

Conside entrence importan concept ly we ne substitud attract m entrance the typic like entra along Sw main civ es Bridge al Galler nod to th through foundati stair, is a pentago

2. RMIT STOREY

ering our design, the grand e design is one of the most nt part. Refer to our design t and statement, actualeed the grand entrance to de the original entrance and most visitors. Absolutely, the e design of RMIT storey hall is cal representation. The caveance references other arches wanston Street (Melbourne’s vic axis) including under Prince and the front of the Nationry of Victoria. There’s also a he iconic Luna Park gateway Mr Moon’s giant mouth. The ion stone, set by the lobby a small glass-fronted mirror onal box set into a green

concrete wall. It contains a solid resin cylinder about 250 mm long. In it, we have suspended two apples, one green one red, on either side of a floating key. There are several blood-red marbles in there too in a ÷ configuration.2 Storey Hall at RMIT is the product of an energetic creative spirit held by the architect and a courageous client. For its entrance, this is the forcefully signal to welcome the audiences whichever the form design or the construction detail elements.

Y HALL AND GREEN BRAIN. Retrieved from http://armarchitecture.com.au/projects/rmit-storey-hall-and-green-brain/

PRECEDENTS STUDY 2.0

trance Of Storey Hall In RMIT

SITE CONSIDERATIONS

Considering some site contexts, we finally decided our pirch located at the single the dights fall. As shown as the picture on the left hand side. This place contains h man circulation and two major vehicles pathways. Almost all of the circulation ar en place and generated by some major centre point. For the place choosen, we some â&#x20AC;&#x2DC;pop outâ&#x20AC;&#x2122; feeling and highly visual attrastion. Refer to the picture on the rig diagram clearly shows the visual attractions for visitors because the design locate ing location.

e corner wich near high density of hure around the choose attempt to create ght hand side, this ed at this kind of strik-

IDEAS TRANSFORMATION - FLOW TO T STAGE 1

Refer to our design from mid-sem presentation, the structure of the pitch is parasitic and flexible which refer to our product and for the techinical aspects we take inspiration from the traditional finger trap which shown in prototype parts. We use lots of metaball technique combine with weaving pattern to create the round space trying to catch the peopleâ&#x20AC;&#x2122;s attentions and trap them.

STAGE 3 According to the feedback from stage 2, we consider more about the people experience in this tunnel and think about how to design the concept logic to achieve the trap concept. We designed a tunnel with various kind of step and progression. We attempt to show the feeling the step by showing hierachy.

STUDIO FEEDBACK: STAGE 1: -CHANGE THE METABALL STRUCTURE -THINK MORE ABOUT THE TRAP CONCEPT LOGIC -HOW TO ACHIEVE THE ELASTIC AND PARASITIC DESIGN

STAGE 2 : -KEEP TRYING THE TENSI -KEEP THINKGING ABOU IC -TRY TO PRODUCE THE P TRAP DESIGN

THOUGHTS STAGE 2

According to the feedback from the midsem presentation, we change the metaball structure which connect with cabanon to the wrapped and spiral twisted tunnel around the cabonon. It is better to show the circulation and experience of the trap concept. Considering the patterning, we prefer to use the tensile mesh like elastic spider web.

STAGE 4 According to the feedback from stage 3, we transfered the vertical hierachy design to the more horizontal layout and try to make our tunnel switch to the cabonon a little then produced the ‘semi-invasive’ style space of out tunnel. For the circulation design, we enhanced the feeling of ‘looping’ and ‘confusing’.

ILE MESH STRUCTURE UT THE CONCEPT LOG-

PROGRASSION OF

STAGE 3 : -CHANGE THE VERTICAL TUNNEL TO HORIZONTAL -MAKE TUNNEL INSERT TO THE CABONON -THINK ABOUT THE MEANING FINAL DESTINATION OF THE TRAP.

CIRCULATION DEVELOPMENT - FLOW

Original circulation

Extend the original circulation at another place

Extend the o lation in large

TO THOUGHTS

original circuer circle.

Increase the branch which also toward to the circle of the cabanon. Enhance the complecity of tunnel circulation.

Final circulation:

Base on the branch line, design the loop circulation which let people turn back. This is the key performance of our trap design.

FORM FINDING PROCESS

make the tunnel with the spefic circulation design

emerged four round progression space with tunnel.

use the graph mapper to make tunnel contains various of size.

test the varonoi shape to in order to produce the tensile mesh space.

keep testing with graph mapper until we get the ideal shape.

finally, we use the kangeroo to set up the anchor points and set up the force and speed, then we got the perfect shape.

keep testing with graph mapper until we get the ideal shape.

CONCEPT REFINEMENT

Combined with the structure of the concept of our design project-- a u preciation by walking through the t

e site, we further strengthened the unique experience and exploring aptunnel.

FINAL CONCEPT IN SITE

FINAL CONCEPT LOGIC (DOCUMENTA STAGE 2 PATHWAY 1:DEAD END UNDERGROUND: one kind of trap and ‘get lost’ Looping STAGE 1: grand entrance with two different pathwat to underground Grand entrance ot our design which pretend the substitude of the actural entrance of the cabanon and attract people to get into the tunnel. The shape of entrance show the meaning of welcoming and attracting. Also, the grand entrance is a kind of transformation point to deliver two pathway underground (stage 2).

STAGE 2 PATHWAY 2:‘get lost’ in the underground tunnel Stage 2 included the pathway which directly point to the dead end and another underground progression tunnel. People will get lost and start exploring in this underground space. This underground space provides the sense of seclusion and a fake feeling of being in control of situation. It should be a slow transition condition of being trapped in a smaller space. But as people going forward and climbing up, this space will become brighter. The dead end and narrow tunnel attempt to enhance the complexity as it is a trap it shouldn’t be easily to access or go through.

ATION)

STAGE 3 (ABOVE THE GROUND):the progression space of the trap design which switch to the cabanon

STAGE 4: RESTART (BEGINING OF ANOTHER LOOP & BACK TO ANOTHER DEAD END)

Stage 3 is another important progression space which attempt to let the space switch to the window of the cabanon and absorbe the limited internal vision of the cabin to satisfy the paparazzi at some extents and seduce them for further exploration.

After stage 3, there also have two pathway generate from step 3 toward to stage 4. One of them directly down to the dead end again and one of them take people to the real destination of the tunnel--the real trap which take people to the starting point again (restart). People will envolve in the endless loop.

Actually, the main concept of our space arrangement is states that the exploration process which driven by the curisty is the process when people have been trapped. Sometimes people want to get a away from a trap, actually thay involve in another trap already.

FINAL CONCEPT LOGIC (FINAL RENDE STAGE 4: RESTART (BEGINING OF ANOTHER LOOP & BACK TO ANOTHER DEAD END)

STAGE 1: ATTRACTOR(GRAND ENTRANCE)

STAGE 2: DEAD END UNDERGROUND LEVEL

ERED PERSPECTIVE) ABOVEGROUND LEVEL

STAGE 3: INFILTRATOR (SWITCH TO THE WINDOW)

STAGE 2 PATHWAY 2 : EXPLORING IN THE UNDERGROUND TUNNEL

FINAL CONCEPT LOGIC (FINAL RENDER STAGE 1

RED INTERIOR EXPERIENCE)

FINAL CONCEPT LOGIC (FINAL RENDER STAGE 2 DEAD END

RED INTERIOR EXPERIENCE)

FINAL CONCEPT LOGIC (FINAL RENDER STAGE 2 EXPLORING SPACE

RED INTERIOR EXPERIENCE)

FINAL CONCEPT LOGIC (FINAL RENDER STAGE 3

RED INTERIOR EXPERIENCE)

FINAL CONCEPT LOGIC (FINAL RENDER STAGE 4

RED INTERIOR EXPERIENCE)

C.2 TECTONIC ELEMENTS & PROTOTYPES

WEAVING & PIN JOINTS

When we think about the best patterning of our design. We find out that the mesh surface is the suitable representation of our tensile tunnel. Also, the weaving method is the good way to achieve this kind of pattern. Refer to the prototype 2.0 in part B, we already try one tectonic method of weaving fabrication. In this chapter, we attempt to try another special way to fabricate the weaving pattern. Considering the joints, we just use some pins to fix the intersection sucessfully. For the color of the pattern, we attempt to make our design consist with the features of our product. This is the first prototype after part b was made of 5mm wide straws. At the time we were still unable to generate the form under our expectation because the straws assembly can not bring out the structrue. At the same time, this kind of weaving surface is hardly to create the round tunnel and curving space to let people fo through.

WEAVING & PIN JOINTS

W w in U se th a w su rie in is d st h

We take the drink straws as the weaving element, Firstly, we punch n each strips, fix all strips in one end. Use another piece of straw to interect with it then let the black pins as he joint element and install them at each intersection of straws. Then, we finish the mesh weaving surface ucessfully but through some expeenment, it is hard to take any strechng or apply any tensile force. So it s hard to achieve our concept of design. In otherwise, considering the tructure forming, these straws are hard to form a closed tunnel.

TENSILE MESH INSTALLATION

Reflecting from prototype 1, prototype 2 consisted of two materials, black soft tensile mesh and 3mm thick clear perspex. We were quite satisfied with the materiality of the acrylic and fabric which were used previously. In this case, only the outer frames were fabricated with acrylic. It would allow the installation of the tensile mesh with many anchor points.

For the construction process, firstly, we make the transparent cube with acrylic panel, then we punched some holes regularly. Thirdly, we stretched the tensile mesh to produce enough space. Finally fix them on the panel by suturing technique. For the reflection, the tensile mesh strength of this kind of metarial is suitable for streching to many fixed points. Furthermore, we need try to produce the whole tunnel strucutre instead of the single flat surface. Finally, we need to test more layer of the mesh space to achieve the progression of the trap tunnel concept.

ENDLESS LO PING

HE SN RE

TENSILE TUNNEL F

EXPLORI G

THE GAME IS NEVER OVER. STRUGGLING

FABRICATION

The prototype 3 is also the final experiment of our fabrication. The acrylic still used as the major strucutre component and the black tensile mesh still as the material to produce the trap tunnel. At this time, we produce the enclosed and more narrow tunnel instead of the single flat mesh since the last time. Firstly, we increased anchor points on the outer structrue in order to ehnhance the variety of the streching angle for the mesh.

TENSILE MESH FABRICATION

Refer to the feedback from the final presentation, we begin to think about if the clear perspex box could be the good outer structure in order to installation the anchor points. We realize that this option is not realistic and practical. People around the cabin can not access to the tunnel easily. For the further construction, we need to think about how to fix the anchor points of mesh without outer structure and satisfy the real situation.

After testing with various mateiral and fabrication techiniques, we finalised the strategies that we would use to produce the final presentation model. Since our deisgn within the site is realtively big (approximately 9m x 4m), we decided that we should make a 1: 40 scale model of the design as well as the site. Building the cabanon model is the important process because we need to fit our deisgn product in. Also, there have many column around our trap tunnel. This is also a part of our model fabrication. They contains the fix points for the tunnel and create the special experience when people try to go through the column and access to the tunnel.

C.3 FINAL DETAIL MODEL

FINAL MODEL-PROCESS

STAGE 1: -punch the holes in the acrylic sticks and panels -the location of the holes in panel depends on the points location which generated from the grasshopper script.

STAGE 2 : -make the arylic cube as -assemble six panels and in to the cabanon.

s cabanon d insert the acylic sticks

STAGE 3 : -insert sticks into holes in panel -test them is they are stable enough to support upper panel and sustain the tensile force.

FINAL MODEL-PROCESS

STAGE 4: -install the cabanon into the sticks group

STAGE 5: -install the tensile mesh a according to the circulat the grasshopper. -strech them to procude surface.

at the holes of the sticks tion generated from the tensile minimal STAGE 6: -keep streching the mesh to produce the volume of tunnel space. -according to the tunnel circulation, finish the tunnal around the cabanon.

FINAL MODEL-OVERVIEW

VIEW FROM GR feel the a

RAND ENTRANCE addiction

VIEW GROM CIRCULATION

feel the exploration

VARIETY-PERFORATION

NIGHT SCENE

C. 4 LEARNING OUTCOMES & OBJECTIVES

FINAL THOUGHTS & LEARNING OBJECTS: The past 12 weeks in studio air has been a whirlwhind of the thoughts , challenges and workflows, starting from me learning about basic grasshopper components to create a algorithmic script for the final design proposal. Looking at my final project outcomes and the knowledge i have gained over the semester, I feel that I have indeed been through a very steep learning curve where I was exposed to a whole new field of algorithmic and parametric design, as well as its processes and workflows my groupâ&#x20AC;&#x2122;s use of new digital fabrication techiniques in the final design was also an exploring experience as it exposed me to a whole new realm of digital fabrication which is now at the forefront of architecutral discourse. My learning outcome for this subject can be summaris according to the subject objectives as listed below. Objective 1: How is architecture affected by new social platform and ways information is disseminated ? The new social media is known to be the most advanced media mode in contemporary society, and it has made great contributions to the information dissemination of society. From personal blogs to next messaging, the impact of new media is growing. We as a new generation are growing with new social media platform. The change proposed in summer 2014 was recalled in June 2015 with the Frickâ&#x20AC;&#x2122;s promise to come up with a new plan, one that would spare the be3 loved garden and respond to public concern. The emerged social media method act as the accelerator of the architecture generation. Designer yearn for the public dialogue with the end users who will be using their spaces. Making the creative processes behind the design more visible can surface necessary critiques before a single brick should be solving but may not be in their current iterations. 3. Insta-Architecture: How Social Media Will Build Buildings. Retrieved from https://architizer.com/blog/insta-architecture/

Objective 2: Does the project transcend ‘style”? or juct talk about surperficial? In my opinion, the design project need to reflect the style even transcend them. This is the representation of the design spirit. We not only have to consider the social meaning and human functionality of our design. But also need to think about the subverted culture, refreshed priorities and transformed style. The superficial elements are the reasons for our design as a ‘building’. The insight styles are the reasons for our design become a ‘design’. Objective 3: Is there some inherent hope in the design (they are all really fun and humorous?) What is the value of fun and humour in architecture. Yes, in my opinion, the hedonistic sustainability design is the typical example of the fun and humorous architectural design method which also can achieve the environmental sustainable development. Also, there have another case which is Denmark pavilion in shanghai expo, His goal in designing the Danish World Expo Pavilion: to show that a sustainable lifestyle can be fun. He think that If sustainable designs are to become competitive, it can not be for purely moral or political reasons. They have to be more attractive and desirable than the non-sustainable alternative. In the Danish Pavilion, he attempt to show how a sustainable city, such as Copenhagen can, in fact, increase the quality of life. This kind of design encourage more sense of empathy, intense the sense of responsibility and belonging and let people attempt to keep the initiative in hands. Objective 4: developing the understanding of relationship between architecture and air through interrogation of design proposal as physical models in atmosphere. This is the most apparent in our final project where we intended our design to occupy the entire atmosphere of trap design within the dights fall. While designing the sections, it was crucial for us to take into account the visual connections and spatial circulation within our site and to optimise those aspects according to the main concept.

BIBLIOGRAPHY 1. Water Buffalo-Pulled Pavilion. JUNE 19, 2009 BY NED DONINGTON IN POSTS, TERRESTRIAL. RETRIEVED FROM http://www.expandedenvironment.org/waterbuffalopulledpavilion/ 2. RMIT STOREY HALL AND GREEN BRAIN. Retrieved from http://armarchitecture. com.au/projects/rmit-storey-hall-and-green-brain/ 3. Insta-Architecture: How Social Media Will Build Buildings. Retrieved from https://architizer.com/blog/insta-architecture/