Finaljournal air anniwei 743465

Studio air burnning architecture ‘Grow & glow’

Sem 1,2017 lindy hayter anni wei

Contents: 0.0 Introduction 0.1 About the journal 0.2 Biography

1.0 Part A: Conceptualisation A.1 Design Futuring

A.2 Design Computation

A.3 Composition/Generation

2.0 Part B: Criteria Design B.1 Research Field

B.2 Case Study 1.0 B.3 Case Study 2.0

B.4 Technique: Development B.5 Technique: Prototypes B.6 Technique: Proposal

3.0 Part C: Detailed Design C.1 Design Concept

C.2 Tectonic Elements & Prototypes C.3 Final Detail Model

4.0 Appendix

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0.0 Introduction

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0.1 About the journal The journal will demonstrate the learning progress, inspiration as well as exploration during the progressively understanding of digital design in architecture. In Studio air, the main focus of the digital tool would be Grassahopper, a plug-in in Rhinoceros.

Moreover, the critical thinking of computation would be illustrated in the journal that the advantage of computation is apparently revealed that industry is calling for those designers with higher digital design skill, while the critical side of it still being questioned and would be explored through the course.

My anticipation is that through studying studio air, not only my skill in digital design would be improved but also rethinking how we regard design critically , and which would hopefully affect my future career in a positive way.

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0.2 Biography

Anni Wei , 21 August, 1995, a typical Leo Born in Guangzhou, China.

A year-3 student pursuing my bachelor of environment, majoring in architecture.

Have been experienced in using the software including Rhino, Autocad, Photoshop, indesign for 1 year.

New to grasshopper and is really interested in how computing could change the way of thinking architecture.

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Water studio work: Learning from Alvaro Siza

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1.0 Part A: Conceptualisation

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1.0 Part A: Conceptualisation A.1 Design Futuring Case study 1 Case study 2

A.2 Design Computation Case study 3 Case study 4

A.3 Composition/Generation Case study 5 Case study 6

A.4 Conclusion

A.5 Learning outcome

A.6 Appendix-Algorithimic Sketches

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A.1 Design Futuring

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Background

Over the past years, the idea of anthropocentric in design has led to a critical condition that we human being facing.[1] The defuturing condition of unsustainability, including overuse of the resource, extremely increasing population as well as pollution has took the future away from us and other species.

What is meant by design?

Design determines the material world we are in by shaping its from, operation, appearance and perception. However, the design nowadays is more of shallow indication of aesthetic, function, rather than maintain a fundamental quality of design, referring to the design which aims for a help achieving a sustainable future. This condition is profoundly influencing among the whole group of designers that they do not put the ethics in priority during the design process.

[2]

Inspiring Studio air Therefore, in studio air, before we literally doing a project, we would have to rethink the idea of what a design is expected to be radically and how it will help secure the sustainable future, rather than simply develop a project merely according to the function or aesthetic perspectives.

Secondly, the design itself might not be solving a problem thoroughly, but it could act as a speculation and inspiration for other to perform further actions to better the design and secure the sustainable future

How?

Referring back to the question’ how can a future actually be secured by design?’, as Fry mentioned, this is not a question with direct answer like what we can do immediately, but more importantly, we as designers should not only the conventional design process and backdrops, but also the ideology and the whole value, ethics.[3] Furthermore, as mentioned by Dunne, facing the unfixable condition, we ought to shift the idea from that design is merely about problem solving to that it includes a whole new mindsets.[4] And the trend of using speculation as a critique in design is also indicated in Dunne’s idea that designers are encouraged to dream the future not by predicting it, but using the ideas of it as a tool to better understand the present, which also could explore what people really need indeed.

[1] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf [2] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf [3] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf [4] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-4

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Case Study 1: Bat tower Project : Bat Tower Architect: Joyce Hwang Date: 2010 Location: Griffis Sculpture Park, East Otto, NY : Ashford Hollow Foundation

Bat tower, locating next to a pond in the the Griffis Sculpture Park south of Buffalo, is a vertical structure to act as a housing for the conservation of the highly threatened species due to a diseaseThis design is intended to increase public awareness of bats as a critical component of our ecosystem, as a first built prototypes in a series of bat habitation projects.[5] It is a revolutionary project at the time, as it is not merely an anthropocentric design anymore, while its focus is on animal, other species that share the resources on the Earth even the future with us human being.

The reason why it is being appreciated until now is that it is not only serving as a bat tower which literally provides a functional housing to protect the bat, but it also has the speculation of how to protect animals and eventually illuminates others to rethink of the reality that we are not the only species that living on the earth and ultimately we need to achieve the sustain features with the presence of bio-diversity.

Its design features reveal its functionality as well as its innovation to the public especially other designers. Firstly, it is designed to be an outstanding sculpture, instead of

fading into the context around to offer the visibility to bats to serve its function, which also brings visibility to people entering the park and could potentially trigger their thinking. Secondly, it is located just next to a pond with large of mosquitoes as well as other insect, for providing food for bats and also attracting them to live at this particular space. Thirdly, to render the space more liveable for bats, the pattern of grooves on the surface make it easier for bats to crawl and the exterior of the design is covered in black to absorb heat for bats living inside it.[6] These features are all reveal to a large extent the architect consider the preference and living habit of bats to ensure the bat tower could function as a workable structure, instead of a meaningless project, which cannot call for the public to notice. According to Dunne, design could help people participate more actively as citizen-consumer,[7] and in this case, its systematic consideration of how it should be built and its outstanding visible appearance could indeed instigate change in people’s mind, especially designers.

Figure 1 : Bat Tower In Griffis Sculpture Park To Raise Awareness For Bats”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

Figure 2 : Bat Tower In Griffis Sculpture Park To Raise Awareness For Bats”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

[5] Bat Tower In Griffis Sculpture Park To Raise Awareness For Bats”.

Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

[6] ”Ants Of The Prairie › 10. Bat Tower”. Antsoftheprairie.com. N.p., 2017. Web. 17 Mar. 2017.

[7]:Dunne, pp. 1-9, 33-4

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Case Study 2: Wood Innovation Design Centre Project : Wood Innovation Design Centre Architect: Michael Green Architecture Date: 2014 Location: British Columbia, Canada

The Wood Innovation Design Centre (WIDC), is a gathering place for those who intends to generate ideas for using wood in an innovative way. It was the tallest modern all-timber office building among the world at the time and it played the role as a benchmark for the time to showcase the potential of using timber to construct higher storey buildings.[8]

Figure 3 : ”Wood Innovation Design Centre / Michael Green Architecture”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

Figure 4 : ”Wood Innovation Design Centre / Michael Green Architecture”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

[8]: ”Wood Innovation Design Centre / Michael Green Architecture”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017. {9]: Wood Innovation Design Centre / Michael Green Architecture”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

[10]: Dunne, pp. 1-9, 33-4 [11]: Construction Underway On World’S Tallest Timber Tower. 1st ed. 2017. Print.

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Regarding the usage of timber to construct high-rise buildings, it is considered as an innovative way to pursue a sustainable future. The reason why is that timber itself has the advantage: first, it is a renewable material; second, it needs less energy to be extracted for usage; third, it can be reused and recycled so that produces less waste; fourth, it can absorb carbon dioxide in the atmosphere, in comparison to other construction material, such as concrete and steel.[9] These advantage calls for a city with more wood-based designs including architecture undoubtedly.

Therefore, this building is radical at the time as there is no concrete used above the ground floor slab, which the design itself set a milestone at the time that there was not many mid-and high-rise all- timber building at the time. And more significantly, the design itself has been served as wood innovation design center to collect the ideas of how to make the best use of wood. Its design is not only about using a material that would help with pursuing a sustainable future,

, but also functioned as a inspiration for people who intend to use wood as the construction material due to the fact that it is a successfully built architecture and it performs well to its own function.

Also, the way using wood to act as the main construction material is conceived as critical, as its particular properties that it has a lower load bearing capacity and its poor durability due to moisture and fire. This indicated the idea presented by Dunne that design should be critical enough to questioned the limitation and drawback through the design product,[10] while in this case, more construction technique to improve the load bearing capacity and the durability of wood would be developed to achieve the ultimate goal of constructing a city with more timber buildings for a sustainable future.

Actually, more projects have been trigger and developed due to the presence of this particular all-timber buildings, for example , the Brock Common Student Residence at the University of British Columbia in Vancouver will be completed in 2017 , as a world’s tallest timber tower. [11]This indicates the speculative projects, Wood Innovation Design Centre, has not merely a architecture that using sustainable material, but also take the advantage of speculation to dream of the impossibility and encourage other people to achieve a better future.

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A.2 Design Computation

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Computation design in design process

Undoubtedly, computation could access the data easily and explore multiple design options by using those rules under a computational framework in a short time, in comparison to the time human will cost by doing such thing. Also those task human would has the inclination to make mistake such as bored repetitive tawsk could be tackled by computation easily. And it also could act as a tool to test what the design will be presented.

The past ten year has witness integration between architecture and computer, and this issue has render a set of complementary relations between developing technologies as well as the formulation of design process.[12] This is referring to the idea of computation, which aims to enhance the design process by ending design decision by using computer language.[13] Most importantly, the goal of using computer is not merely documenting the design, but rather the procedures to produce the result. This led to the difference between Computerization and computation. While Computerization is that ‘entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system’, while computation is more of utilizing computer as a designed tool and use it to create design.[14]

“Computational thinking is the thought processes involved in formulating problems and their solutions so that the solutions are represented in a form that can be effectively carried out by an information-processing agent.”

-Jan Cuny, Larry Snyder, and Jeannette M. Wing

[12]:Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 [13]: Oxman, Rivka and Robert Oxman, eds (2014). pp.1-10 [14]: Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi

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Case Study 3: Chanel mobile air pavilion Project: Chanel mobile air pavilion Architect: Zaha Hadid Architects Date: __ Location: Arab World Institute, Université Pierre et Marie Curie, 1 Rue des Fossés Saint-Bernard, 75005 Paris, France

Chanel mobile air pavilion, is designed to be travel around the world including cities like Tokyo, Hong Kong, and it finally stops at at L’Institut du Monde Arab in Paris. It is designed to embrace the famous brand, Chanel, which could be indicated in its appearance that it is presented as an elegant, cohesive architecture that linked back to the brand image of Chanel.[15] The pavilion is a fluid architecture constructing with a series of continuous arch shaped element. And the specific material with a property of offering a large span, fibre re-enforced plastic, has enable it to maximise the potential to reuse and rethink space, which is achieved by that the exterior develops into a rich variety of interior spaces.[16] Also, this total fluidity of its curvilinear geometries is an obvious style of Zaha Hadid that distinguish her as a unique architects among architects around the world.

Its particular design is not something can be easily achieved without the help of computation, as it allows more form development, for a better smooth layer shape. Moreover, this specific structure of the Pavilion must have been tested for its versatility during different stage of the design process to predict the condition will meet and the solution to deal with it, which has accelerated the process of design and help ensure a reasonable quality of architecture due to the facilitate of computation.

Figure 5: ”Chanel Mobile Art Pavilion / Zaha Hadid Architects”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

Figure 6 “Chanel Mobile Art Pavilion / Zaha Hadid Architects”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

[15]: “Chanel Mobile Art Pavilion / Zaha Hadid Architects”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

[16]: “Chanel Mobile Art Pavilion / Zaha Hadid Architects”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

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Case Study 4: Bionic Research Pavilion

Project: Chanel mobile air pavilion Architect: Zaha Hadid Architects Date: __ Location: Arab World Institute, Université Pierre et Marie Curie, 1 Rue des Fossés Saint-Bernard, 75005 Paris, France

The Bionic research Pavilion, which is a collaboration between the Institute for Computational Design (ICD), the Institute of Building Structures and Structural Design (ITKE), and students from the University of Stuttgart, which plays the role as an exploration to computation design.[17] Due to the integration between architecture and digital, it has developed a new relationship that the digital information can be used in fabrication and accelerate the production of prototype. [18]It can be indicated in this case that thin sheets of plywood were laser cut and pieced together into the polygonal plywood structure.

Furthermore, the pavilion is inspired by the sand dollar‘s Skelton and it uses really light material like plywood and then used finger joint to be constructed together. This also lays the emphasis on how computation facilitates the design process.

It essentially make it possible for people to fabricate the material easily, by using the language of computation so that design process and fabrication has been integrated to achieve a better quality of design at a faster speed. Also, the way how it could be joint should have been assess by computation that multiple design options should be occurred and the one showing now should be the optimised one. According to Kayla, the initial goal is not always the same as the ‘ satisfactory’ goal during the design process, while in this case computation help the designer to achieve the ‘ satisfactory’ goal during everything still remain unbuilt, to avoid a real failure occurred.

Figure 6: Meinhold, Bridgette and Bridgette Meinhold. “Amazing Bionic Research Pavilion Explores The Sand Dollar’s Skeleton Morphology”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

Figure 7: Meinhold, Bridgette and Bridgette Meinhold. “Amazing Bionic Research Pavilion Explores The Sand Dollar’s Skeleton Morphology”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

[17]: Meinhold, Bridgette and Bridgette Meinhold. “Amazing Bionic Research Pavilion Explores The Sand Dollar’s Skeleton Morphology”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017.

[18]: Oxman, Rivka and Robert Oxman, eds (2014).pp.1-10

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A.3 Composition / Generation

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‘When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something ,then computation can become a true method of design for architecture.’

Computation is influencing dramatically in the practice of architecture that a shift from composition to generation could be revealed in the design process. Significantly, it should be understood that digital is only act as a tool of form finding process, rather than a form making that the aim for generation is not to look for merely ‘cool’ and unusual shape, but still go through a process of rationalisation during the design process. Computation, now it is not simply to be used as documentation tool, but rather a design tool to extend designer’s capabilities to deal with complex situations, through an understood model which can be referring to algorithm.[18]

stage of the design process so that enable the architect to be capable of better their design.

Limitation still present in the com putation usage nowadays, neither the perception of computation is always confused with the idea of Computerization nor the algorithm system still not performs at a perfect degree. Therefore, as Peter suggests, we are moving to an era that designers creating their own design software,[19] instead of using it unconsciously. Only in this way, computation could be functioned as a simulation as well as a creation tool at the same time.

This leads to the discussion about what is algorithm thinking and to what extent it would help with the design process. It means a ability of complete understanding of the results of generating codes, knowing how to modify the code to explore more options and lastly speculating on further design potential. This indicates that algorithm thinking is not a algorithm based on the designers mindset, but in a reverse way. By using computation, it can accelerate the process of design and improve the effectiveness, as it could predict the outcome of the design at different

[18]: Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [19]: Peters, Brady. (2013), pp.08-15

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Case Study 5: Vaulted Wiilow Project: Vaulted Wiilow Architect: MARC FORNES & THEVERYMANY Date: 2014 Location: Borden Park, Edmonton, Canada

Conventionally, design process starts from some basic sketches and small components, then gradually developed into a feasible structure by composition. However, in such way of design, design of more complexity could not be produced without an exact algorithm system. While on the other hand, computation makes it possible to extend designer’s ability to solve problems of higher complexity. [20]

Figure 9: https://theverymany.com/public-art/11-edmonton/

Figure 10 : https://theverymany.com/public-art/11-edmonton/

For example, the way they use computation to assess what kind of load the structure will face and bear to its specific context, and how they would form their shape to incorporate with that. Another example is that, by using computation in architecture, it triggers the innovative form-finding process in architecture, the generation. It allows architect to generate a more complicated geometric shape that is almost so-called ‘crazy’ ‘unusual’ forms , undercover by algorithm thinking, which could not be achieved easily if without the help of computation and innovative generation approach.

Moreover, the computation protocols of morphology have been entirely custom developed without use of any existing plugins/component/or library. In no way this can been seen as a quality per se – other than a necessary step stone to identify failures or other inefficiencies to develop further and hopefully derivate other design.[21] [20]: Peters, Brady. (2013), pp.08-15 [21]: ”11 Edmonton”. MARC FORNES & THEVERYMANY™.

N.p., 2017. Web. 17 Mar. 2017.

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Figure 11: https://theverymany.com/public-art/11-edmonton/

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Case Study 6: Poly thread Project: Poly thread Architect: Jenny Sabin Date: 2016 Location: moveable

Designed by Jenny Sabin, who is absolutely interested in how mathematic or algorithm thinking would affect architectural design, the poly thread is intended to showcase its usage of computation and the approach of generation. ‘In architectural practice, computation not only works, but has become necessary, to build the largest projects in the world’, as suggested by Peter, which revealed the idea that computation is not only influence how people design but also how they build. [22] In this certain example, it is aiming for engaging a new material practise and assess to what extent digital fabrication would help with architecture through the production of models and prototypes.

From this perspective, generation indeed allows designers to use computation to produce more radical form that could never be produced by hand-drawing, indicated by the spectacular organic shape of this particular Poly thread.

However, the limitation of this design process could not be neglected still, designers sometimes might get lost during the form-finding process and misunderstand that as a form-making process. These will literally limit the imagination of the designers to some extent, even like Jenny Sabin, her designs are potentially similar to each other to lose the unique feature of each design.

Figure 12: http://www.jennysabin.com/new-page-1 [22}: Peters, Brady. (2013), pp.08-15

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A.4 Conclusion

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From the lectures, readings and exercise among these few weeks, it can be concluded that design should: 1.

Secure the future We designer have to radically rethink of the frame of design, in our particular fields, architecture. It is not anthropocentric or nature-centre, but to a large extent to help secure the future by using a sustainable way to design, to rationalise in architecture, including consideration of other species or using renewable material for construction as mentioned in the previous discussion.

2.

Utilise of computation The idea of computation has been introduced, which do profoundly apply into architecture design to augment architect’s capability to solve more complex problem with multiple options. Therefore, in this certain studio, a reasonable Grasshopper skill is essential to pursue the goal of taking advantage of computation.

Architecture, nowadays, is not just about problem solving, in other way, functioned as a shelter or other aesthetic issues, but rather it should be innovative enough to aim for a sustainable future and inspirational enough to act as a speculation to illuminate the future or triggers others thinking.

Therefore, it calls for the usage of computation, as it could help facilities the design by exploring multiple design options to create more possibility as well as doing repetitive tasks to accelerate and maintain the correctness during the design process. The idea of computation should be critically viewed so that the drawback could be avoided. Hence, my anticipation is that through Studio air, my grasshopper skill would develop to a good standard to be able to perform computation and apply it into my projects in my career.

3.

Form generatively Rather than using composition in design practice, generation is more encouraged by the enhancement of digital use in architecture. The process of form finding could be achieved more effectively by this technique, but it should be distinguished with the process of form making.

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A.5 Learning outcome

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Through the theory and practise of architectural computing within the past three weeks, my knowledge of computation has been enriched largely and a new understanding of it has emerge. Firstly, using the computation tool including Rhinoceros and Grasshopper enable me to have the possibilities to create those design which I never expected if sticking with hand draw, and more importantly, the particular unusual form could even be modified by merely changing the parametric in a certain way.

Secondly, unlike what I thought of computation at the beginning of the course, it is not something just help with your documentation or a drawing tool to produce what is already in you head but it indeed help during the process of design and is complementary with it to create more possibilities. However, my skill in using this software is still not well-developed and needs more practice, but I believe that through the process of the studio, progress would be seen and it will be absolutely revealed by my project in the future.

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A.6 Appendix -Algorithm Sketches

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Attracting points

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Attracting points

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Loft and curve

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Grid shell

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Reference list:

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Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-4 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf Jan Cuny, Larry Snyder, and Jeannette M. Wing, “Demystifying Computational Thinking for Non-Computer Scientists,” work in progress, 2010 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.

1–10 pdf Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi Bat Tower In Griffis Sculpture Park To Raise Awareness For Bats”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017. ”Ants Of The Prairie › 10. Bat Tower”. Antsoftheprairie.com. N.p., 2017. Web. 17 Mar. 2017. ”Wood Innovation Design Centre / Michael Green Architecture”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017.

Construction Underway On World’S Tallest Timber Tower. 1st ed. 2017. Print.

“Chanel Mobile Art Pavilion / Zaha Hadid Architects”. ArchDaily. N.p., 2017. Web. 17 Mar. 2017 Meinhold, Bridgette and Bridgette Meinhold. “Amazing Bionic Research Pavilion Explores The Sand Dollar’s Skeleton Morphology”. Inhabitat.com. N.p., 2017. Web. 17 Mar. 2017. ”11 Edmonton”. MARC FORNES & THEVERYMANY™. N.p., 2017. Web. 17 Mar. 2017.

“Polythread”. Jenny Sabin. N.p., 2017. Web. 17 Mar. 2017.

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2.0 Part B: Criteria design

2.0 Part B: Criteria design B.1 Research Field Strip/folding B.2 Case study 1.0 Biothing- Seroussi Pavilion B.3 Case study 2.0 Voussair Cloud B.4 Technique : Development B.5 Technique : Prototype B.6 Technique : Proposal B.7 Learning Objectives and outcomes B.8 Appendix - Algorithmic Sketches

B.1 Research Field

Strips/Floding Design Implication Strips/folding is a technique that would usually emerges for those structure using simple geometry , by repeating and bending the elements, to transfer a two dimensional component to a three dimensional volumetric structure.

Opportunities Strips/folding could be an advanced computer-based design method that help produced new possibilities on the performance of lightweight structure such as timber structure. Flexible, complex, various structure could be created by simply changing the basic variation, including the basic geometry and the spacing of each repeated component.

Also, the approach of constructing structure using this technique could indicate how to save material in supporting framework.

Fabrication concern By bending component to a pre-stress condition, a stiff structure without too many heavy structural members while in this case could result in a more lightweight structure. However, in terms of the bending, the elasticity is critical that people have to find out what radii the plywood sheeting could be bent, and what stresses this gave rise to. Moreover, a geometry that would allow the potential of the material to be exploited in an optimal manner should also be researched and tested.

Precedent Study RESEARCH PAVILION ICD/ITKE UNIVERSITY OF STUTTGART, 2010 By: The ICD and the ITKE of the Stuttgart University This pavilion is a temporary timber pavilion that act as a point of intersection between research and science. The intention of the design is to explore the architectural and structural possibilities based on the elastic properties of timber, by using the computer-based technique: strip, folding. [1]This technique is laying emphasis on how a structure could perform interactively. It can be revealed in this case that the gap between the folding strips is an interaction with air to ensure the pavilion is not a solid heavy structure but with interaction with the site itself.

[1]â&#x20AC;&#x153;Teaching By Doing: A Research Pavilion In Stuttgartâ&#x20AC;?, Detail.De, 2017 <http://www.detail-online.com/article/teaching-by-doing-a-research-pavilion-in-stuttgart-14263/> [accessed 1 May 2017].

[2]Fgure 1 : 2017 <(http://i.vimeocdn.com/video/406233481_1280x720.jpg> [accessed 1 May 2017].

[3]Figure 2: 2017 <(http://i.vimeocdn.com/video/406233481_1280x720.jpg> [accessed 1 May 2017].

B.2 Case Study 1.0 Seroussi Pavilion, Paris,2007 Grown out of self-modifying patterns of vectors, based on electro-magnetic fields, Seoussi Pavillion

by Biothing is the final act of computational design. The trajectories were computed in plan, via logics of attraction, further lifted through a series of structural micro-arching sections. Additional feature built into script allows for local adaptation to the site.[4] The unique profile of each cell that offering various view shading are generated by the sine-wave functions which drives parametric differentiation of angle, orientation and the size of the aperture, relationship of metal and glass components within each cell.[5]

Relate

TO

Parametric

design:

Imbedded algorithm and parametric in this design allows for a higher adaptivity to different site condition, as it allows for modified by simply adjusting the algorithm differentiation of component features. In this case, the Sine-wave function is used to generate various cell among the whole pavilion.

Technique can be further explored from the case study - Field - Graph map ( different function)

In terms of the internal fabric, it is generated by double charged trajectories and system of veils builds up continuous yet highly differentiated interlaced field[6]

[4] ”Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o.com/ seroussi-pavilion-biothing/> [accessed 1 May 2017].

[5] ”Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o.com/ seroussi-pavilion-biothing/> [accessed 1 May 2017].

[6] ”Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o.com/ seroussi-pavilion-biothing/> [accessed 1 May 2017].

[7]Figure:< http://www.biothing.org/?author=> [accessed 1 May 2017].

[8]Figure: < http://www.biothing.org/?author=> [accessed 1 May 2017].

Iteration

Basic parametrics

Point charge(Decay)

original (Top)

Decay 3-100

Divide curve 5-35

Decay 3-1

circle curve 25-35

Decay 3-0.5

circle curve 25-5

Decay 3-(-1)

Fline step 100 to 50

Decay 3-(-10)

Field exploring

Offset distance

Graph map curve profie

Spin Force

original (perspective)

Curve profile 1

Vector Force

Offset B = -0.5

Curve profile 2

Combine linecharge 1

Offset B = -10

Combine linecharge 2

Offset B=2

Linecharge

Offset B=6

Curve profile 3

Curve profile 4

Curve profile 5

Graph map (different type)

Graph map (different type)

Perlin

Cineor

Power

Conic

SinC

Parabola

SinE

Sin Summation

Square root

Selection Criteria Aesthetic

concerned with the study of the mind and emotions in relation to the sense of beauty

Adaptability:

able to adjust itself to different conditions, for example, it might be a temperate or permanent structure according to the condition. Therefore, GOOD adaptability referring to a design could suit into different context. Innovation

Constructability :

the extent to which the design of the building facilitates ease of construction, subject to the overall requirements for the completed building

Innovation:

Justify whether or not the design is new enough for the certain field

Best outcomes: Field exploring: Spin Force By using a spin force, the structure indeed spins and turned into a new form which is massively different with the original one. And its appearance is unique and has the intention to involve the user with the sense of beauty.

Aesthetic: Adaptability: Constructability : Innovation: Offset distance: B = 2 Change the offset distance to create a more dome-liked structure with a visible interior characteristic. This could be a pavilion with lightweight structural material such as timber, to create a sense of lively. Also it would be flexible to suit any context and could be constructed or removed easily.

Aesthetic: Adaptability: Constructability : Innovation:

Graph map: Sin C Exploring different types of graph map to change the profile of the dome-liked shape pavilion, in this case, I used a Sin C graph to create a geometry that more like a landscape context rather than an architectural building. It could be adjusted to any site and could be used in various ways , such as people sitting on it.

Aesthetic: Adaptability: Constructability : Innovation: Graph map: Cinear In this case, I keep exploring with different type of graph, Cinear creates many cone-liked structure and it could act as various small partition that each person would occupy one of them.

Aesthetic: Adaptability: Constructability : Innovation:

Case Study 2.0: Voussoir Cloud This project is designed for the Southern California Institute of Architecture gallery in Los Angeles in 2008.

Structural concept Inspired by the idea how wedge shape masonry block that make up an arch, the project is a vault system that fill in the gallery, which enable people to be experienced from within and from above.

Material Strategy The 3 dimensional petals are formed by folding thin wood laminate along curved seams. The curve produces an inflected and dished form that relies on the internal surface tension of the wood and folded geometry of the flange to hold its shape.

There are 4 types in Voussoir cloud with zero, one, two, or three curved edges.

Each cell behave a slightly different manner based on its size, edge conditions, and positions relative to the overall form.

Relate to Project: CERES

This project inspired me for the design of the pavilion in CERES, in terms of : 1.

A system of Vaults: enable users to experience both from within and from above.

2.

Materiality : lightweight material is used to create a certain atmosphere and sensorial effects 3.

Tessellation: incorporated light and air, in comparison to a solid sturcutre

Geometric and computational strategy A computational script was developed for the rhino model that managed the petal edge plan curvature as a function of tangent offset.

Voussoir cloud attempts to defamiliarise both structure and the wood material to create conflict reading of normative architectural typologies. It is a light, porous, surface made of compressive elements that create atmosphere with these luminous wood pieces, and uses this to gain sensorial effects.

[9] [9] ”VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2017 <http://www.iwamotoscott. com/VOUSSOIR-CLOUD> [accessed 1 May 2017].

[10]Figure: ”VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2017 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 1 May 2017].

[11]Figure: ”VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2017 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 1 May 2017].

Reverse -engineer

1.Voroni In this case, a voroni should be created at the firsr as a basic geometric of the pavilion, and intersection is achieved by 6 random points and a polyline.

2.Scale and move Use the voroni as the basic geometric shape, I scale it and move it uisng z vector to create the stand of the vault system, as the design is meant to be involve user within and above.

The size of scale and how much it moves in terms of z unit would in result influence the geometric of the pavilion

3.Graft and loft Use graft tree before lofting to avoid the mess.

Lofting process create surface around the bottom to the top

Equitation could not be used here, as there might be a tolerance. Instead, a command for negotiating points is relatively closest to the curve is used, in this case, ‘ the smaller than’ command

4.Mesh refine and find the point While kangaroo runs for simulation, there should not be any duplication , otherwise it won’t work.

Also, the anchor point are needed for running the kangaroo physic. Using the technique of closest point curve and cull patternto find thouse points.

5.Kangaroo works Spring force is used to tension the mesh being created in the previous steps, and U Force could be act as a gravity to indicate the direction of the force.

The setting of Kangaroo , inckuding ness, rest length could be adjusted create different forms

The value of Z could impact on the U force and eventually affects the geometry.

6.Triangulation Before this step, the mesh is composed of quadrangle, which does not have as interesting impact a tessellation.

Therefore, I used triangulation to transform the quadrangle to triangle.

g stiffd to

7.offset Offset the frame and it will get extra space to join each pieces, which is intended to achieve its constructability.

Similarities: My reverse model shares the similar vaulted system as the Voussoir cloud, and they also perform similarly in structural system.

Difference: However, the tessellation pattern in the Voussoir cloud is quite complex that there are 4 type in total, with zero, one, two, or three curved edges. In this way, each cell would behave different and should be placed in different positon to perform. While in my model, I am only able to simplify the step and did triangulation to the mesh, which in result would achieve a pattern that is composed of merely triangle.

During the reverse process, what could be changed to achieve different variation ( which could be used in the next practice of 50 iterations)?

1. The geometry of the Voroni 2. Change where would the structure pinned to, (in the case study, is the wall), in terms of algorithm, I used cull pattern. (Then cull pattern could be changed in this way) 3. The resolution of the Vault ( by changing kangaroo variation )

B.4 Technique : Development

Basic parametrics

Original

scale-5

Cull pattern

Cull patt T-F

Stifness=200

Stifness=

RL = 2

RL = 5

Fix upper points

Fix botto points

Mesh relax 1

Mesh rela 2

Cull Pattern

Kangaroo (stiffness/Uforce)

Rest length

Anchor Points

Mesh edit (Relax, tangent,contour)

tern

=100

om

ax

Unit z = -1

Unit z = -5

Cull pattern F-T

Cull pattern F-T-T

UForce=-20

RL = Lenth x 1.1

connect to anchor pt in different order

Reciprocal (Kangaroo)

UForce=80

RL = Lenth x 0.2

disconnect anchor point

Tangent

Cull pattern T-F-F

UForce=20

RL = 0.8

Rl change with last step

Contour

Post edit mesh

contourpipe

stripper-box

Weaver bird: Stellate( S) Mesh window(MW) S: distance=0.5

S: distance=2

P: distance=2

P: distance=5

Sc (default)

MT: Distance = 2

Weaver bird: picture fram(P) Offset(O)

Weaver bird: sierpinski carpet(sc) Mesh Thicken(MT)

WB-Verticles-20

WB-Verticles-50

WB-Verticles-100

MW:distance=2

MW:distance=5

MW:distance=10

P: distance=50

P: distance=100

offset

MT: Distance = 10

MT: Distance = 1

MT: Distance =5

B.5 Technique : Prototype

Design intention & how prototype respond to it

Our design is meant to be a sturcutre with a rigid steel frame and then attached with a tensile membrane. This is why we pick steel bar to act as the frame and use the fabric to represnt the membrane in an abstract way.

Connection system: As we are not familiar with membrane structure, we tend to research on the internet about how a membrane would be attached to the framework. We negotiated 4 types of connection and we test 2 of it in our prototype.

Tube in cable pocket Used for PVC- coated fabric. Forces travel perpendicularly to the tube and movement prevented along the length of the tube (hard to achieve by hand-made model)

Moment resisting mast base plate The lowest cost method, but all converging forces must be absolutely accurate and fabrication must meet high tolerances, ultimately a trade-off in cost.

Fabric pocket with cable Used with PVC â&#x20AC;&#x201C;coated polyester fabric or PTFE-coated fiberglass fabric( must be restricted by the length of the fabric stream) (More seamless in this case, and achieve what we want)

Edge cable with clamps Used mainly for PTFE- coated fiberglass fabric, but also for PVC-coated polyester fabric when edge spans are longer than 20m

Re-consideration of prototype Instead of focusing on how to attach membrane to framework, I tend to rethink of the case study 2.0( Voussoir cloud) that there are fragments and then joint together to support themselves, which in a result create a more seamless of the structural system. And it would be less imposing on our site, in comparison to a heavy steel framework.

To achieve this, firstly, I took one of the pattern plane and deconstruct it into small fragments

Secondly, laying the small pieces from a 3-dimensional to a 2-dimensional feature, which would help us to achieve the fabrication.

However, I found that it is really hard to flat such complicated 3-dimesnional shape to a grid system then fabricate it. Therefore, I simplify it and merely abstractly show the idea of how could we achieve a better result, by fabricating in the way I showed in following photos.

B.6 Technique : Proposal

Clients: CERES Community

CERES is a unique, non-profit center for education and research in environmental strategies.

We are a not-for-loss community business.[12] Through activities including extensive environmental education programs, urban agriculture projects, green technology demonstrations are running in the community, it creates a place that engage people to live in a sustainable way. It is indicated that there are over 400,000 visitors per year in CERES, which enable CERES to raise awareness of public for sustainability.

[12]â&#x20AC;&#x153;Homeâ&#x20AC;?, CERES Community Environment Park, 2017 <http://ceres.org.au/> [accessed 1 May 2017].

Interpretation of the brief

Our interpretation of the brief is to create a pavilion to host events and gatherings at the CERES Environmental Park, whilst incorporating David Mainwaringâ&#x20AC;&#x2122;s glo-material.

We wanted to cooperate with the values of the site, thus we took inspiration from nature in the design of our pavilion.

Site Analysis

The site of our proposed pavilion is in the playspace of the Village Precinct. It is the space visitors will come to explore the site and stay for a rest or something to eat. There is a lot of movement in this space, with children running around and playing in the area.

With these factors in mind, we wanted to create something the patrons could engage with, as well as providing a resting space in the shade. With a high number of visitors every year, we wanted to expand the space’s usability and functionality, providing an extra space of shelter without affecting the traffic of the site.

We wanted to provide users of CERES access to a shaded area that gives people somewhere to rest without inhibiting the circulation of the space, as well as providing visitors with a new perspective on how something can draw from the natural environment even though it is not a natural form or natural materials.

This is something most would not have seen or thought of before.

Parametric modelling is a good way to show this because it provides a new way of thinking; most people who frequent the site probably don’t know what it is; we can build something that doesn’t look completely out of place in the site and still be in tune with the CERES’s values.

Circulation

Before

After

Activities( Distribution of people at sie)

Before

After This image shows the current distribution of people on the site according to our site visits. Thus, we decided to put an interactive structure that provides shading and an interactive play space for children.After we have a pavilion on the site, the nagative space is being activated

Sunpath diagram (Previous)

9am

12pm

3pm These images show what the resulting shade is during different times of the day from the existing buildings and vegetation. This affects the circulation of people on the site and where they tend to gather and stay.

Sunpath diagram (After pavilion is built)

9am

12pm

3pm According to the site analysis, we found that the shading indeed as a result affects the circulation and activity of the users, for example, less people are gathering on our chosen spot, as there is no vegetation or other infrastructure to provide shading there.

Design process

Firstly, created this curve that doesnâ&#x20AC;&#x2122;t touch vegetation and rocks

used Anemone to generate the sequence of lines of where the glow material will be. Surprisingly, the lines generated by the computer look almost the same as the leave veins

Use the point ch study 1 Varying heights date children a

Cell iteration trate through t rather than a b on the site. used cull patte

harge from case

s to accommoand adults

We want dappled sunlight to penethe pavilion to create a softer effect, block structure to be less imposing

ern to randomise the pattern.

Loft curves to create surface

Used Kangaroo Physics to smoothen the mesh to look more organic

Day use & form finding the design itself it has the intention of asking people to experience within it and above it . Which means users could use the space in an intereacitve way within it while other users at the site ,especially those at higher level due to the topography can also has sensor the unique atmosphere created by this design

Night use & form finding

Beautiful darkenss It could be used as a space for holding night event including night market, gig show, or it could be act as a camp site for star observation. Moreover, there are some glow sculptures that would be great to show at night, therefore itâ&#x20AC;&#x2122;s good to hold a glow sculptures exhibition at site, with an open outdoor natural context, to have a unique atmosphere to see these masterpieces.

B.7 Learning Objectives and Outcomes

Before touching on Part B, I was still confused how computer could indeed generate a design, while sometimes we still keep regarding it as a documentation tool, rather than a form-generating tool. After doing the research of case study and precedent, I noticed that how computer-based design work in reality and to a large extent how it enhances the development of architecture. Taking the research pavilion by ICD/ITKE UNIVERSITY OF STUTTGART as an example, it is a design that driven by a computer script whilst the script help improved the constructability and adaptability of the design. Also, by using algorithm such as Sine function to generate particular shape, it could create extra unique, innovative geometric that could never achieve by hand-drawn.

Another advantage of parametric design is that exploring and progressing is happening at the same time. What I intend to lay emphasis on is that when I am asked to do the iteration, I am not only exploring the algorithm behind the design but also progress in my design process. There are serval outcomes that could be selected as better outcomes to act as my precedent or trigger for my final design.

Regarding the reverse engineering, I understand that the logic of the original design should be far more complicated than what I did for mine. And this reminds of the complexity of design could be much easier to achieved through parametric design.

However, I am still confronting with a critical condition that it is still a challenge for me to produce a design with adequate complexity by using parametric design, as I havenâ&#x20AC;&#x2122;t understood how the logic would work and achieve deeply.

Yet I believed that throughout the whole semester, the issue could be overcome and I could progress more complex design by using algorithm in the coming future

B.8 Appendix - Algorithm Sketches

Reference

“Home”, CERES Community Environment Park, 2017 <http://ceres.org.au/> [accessed 1 May 2017].

“Seroussi Pavilion |Biothing - Arch2o.Com”, Arch2o.Com, 2017 <http://www.arch2o. com/seroussi-pavilion-biothing/> [accessed 1 May 2017] “Teaching By Doing: A Research Pavilion In Stuttgart”, Detail.De, 2017 <http://www. detail-online.com/article/teaching-by-doing-a-research-pavilion-in-stuttgart-14263/> [accessed 1 May 2017] “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.Com, 2017 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 1 May 2017]

3.0 Part C: Detailed design

3.0 Part C : Detailed design C.1 Design concept C.2 Tectonic Elements & Prototypes C.3 Final detailed model C.4 Learning objectives and outcomes

C.1 Design concept

Interim feedback There is serval helpful feedback from the interim presentation.

1. Our design form, especially the prototype does not show that it is a parametric design, until the technique is being explained.

2. The structure system is critical that if it must be a rigid frame with attached component, or it could be developed to a self-supported structure, like Voussir Cloud?

3. In terms of fabrication, is it legible to measure accurately the size of the membrane or the dimension of steel frame.

AND We were informed after the interims presentation that we were regrouping and would push Joseph and Natalieâ&#x20AC;&#x2122;s ideas further to develop an umbrella shape structure that would provide a sufficient shading for the organic groceries store in CERES.

Finalise the concept Cooperate with the values of site By learning the clientâ&#x20AC;&#x2122;s favor that a more organic, resembling natural objects project is preferable. Hence, we decided to come up with idea that structure with an inclination that it seems to grow from the ground and suit to the value of CERES. CERES is a not-for-profit, community organization which focuses on providing environmental education programs, agriculture projects and green technology demonstrations. To accommodate its own value, CERES itself has many environmental friendly design applying in architecture, the most obvious one is the green roof at our site, the organic grocery store.

This triggers me to have an idea to co-operate the parametric design of ours with plants, which could respond to the CEREâ&#x20AC;&#x2122;S value as well as the preference of the clients. Therefore, our form would be a structure that are more like a trunk to work with the climbers so that providing a sufficient shading.

TECHNIQUE : STRIP & FOLDING The technique I explored in PART B is strip folding that indicated in Biothing pavilion as well as tessellation in the study of voussiour Cloud.

This two examples are both worth exploring using the logic while biothing is focus more on Point charge while Cloud is more on Kangaroo physics. To achieve what the client want, an umbrella-like shading structure, I would use the technique of point charge, which would make the line like rooting in the ground and gradually grown out from the particular point.

This also suits to the context of the site that it should be more organic and natural. The other reason for choosing point charge is that the spot we choose among the site is not providing shading at all and less people are entering that particular space. With such a reference, a shade system would grow merely at the spot that are unpopular, which activate the use of negative space.

TECHNIQUE :

C.2 Tectonic Elements & Prototype

Prototype 1: Connection of each steel( connector)

Y shape

X shape

DAY

NIGHT

How the stacking steel are connected is the 1st issue I ever thought of , the usage of 3d connector is more visible but looks good with glow spray at night.

Prototype 2: self weaving of steel

Another way I thought of is weaving, the interesting bit of it that is really engaging when seeing different way of doing it, also there is also workshop in CERES that focus on weaving . Night impact differ to those connectors.

Prototype 3: Conection between tube and steel

Our design is mainly serval tubes and with steel going through them. The location where the steel wires are going through is hard to find without parametric. While in this case, it is easy to use a trip command in grasshopper to get those holes, and then the tube is sent to 3d print.

In this prototype, weaving seems quite successful and aesthetically good.

Prototype 4: testing flexibility of MDF( 3MM)

After the final presentation, tutor, clients and critics has asked us to add rigid supporting member to the tube to act as frame then with weavingaround which would be easier and more legible. Therefore, we tested the flexibility of a thin MDF to see the blending characteristic of it to fit our sprial design.

And indeed it work out quite well with this size of MDF.( 3MM THICK, 2M WIDE)

Prototype 5: Rigid structure member ( bending moment)

This flatten member is much more vulnerable than my expectation, during the bending test, it just broke, which make this prototype fail as well.

Prototype 5: Rigid structure member ( bending moment)

This is showing the process How the rigid member being unrolled. ( from 3-dimensional to flat(2d), which could be laser cut, that is much cheaper than 3d print.

Prototype 6: Connection between â&#x20AC;&#x2DC;tube and steelâ&#x20AC;&#x2122;(screw)

This is how the rigid member connecting to the tube, using screw. This way is working one times during our 5 test, which is not preferaable connection.

Prototype 7: Connection betweemâ&#x20AC;&#x2122; tube and steelâ&#x20AC;&#x2122;(Norching)

This is how the rigid member connecting to the tube, using norching.

There are one issue that cannot be work quite well is that the rigid member is not always perpendicular to the tube, which makes the norching works worse with a laterl face

Prototype 8: Glowing pattern

This is how the glow in the design could be achieved by using pre-pattern paper and then spray among it .

C.3 Final Detail Model

Failure of the final detail model Our design experience a severe failure during the fabricating process on a scale of 1 :5, which could be a reflection for my future journey by using computation design. During the idea forming process, Lindy has talked about whether our model could be fabricated in real life, rather than digitally, which also being pointed out by the client. While we were doing prototype, the weaving is just a small part and there are only four to five of them weaving together while there are 40 wires weaving around each other that become a huge mess and could not be done.

After the final presentation, tutor, clients and critics has asked us to add rigid supporting member to the tube to act as frame then with weaving around which would be easier and more legible.

Therefore, we offset some of the curve and to make it as a rigid member to support the whole frame. Indeed, it works good as a supporting system, however, due to the new added rigid member are in spiral form, they could not be notched perfectly to the tube and some of them just ran away from the main structure

BEFORE CRIT

AFTER CRIT( ADDING RIGID MEMBER)

However, I thought we should do more testing on the bending moment of the MDF before we print out all the spiral member then in the end we found that they are not working at all. There is a way I have thought of is etching the rigid spiral member with multiple close line, which could make the MDF has more tolerance during bending.

This design should be working and could be built , while our exploring is to some extent a failure in terms of construction that we lack of time of exploring more and more prototype are needed before we decide on one fabrication method.

C.4 Learning Objectives and Outcome

Objective 1 ‘Interrogating a Brief ‘ Design agenda is always changing when I re-read the brief, or re-visiting the place.

This is helping us to get the best suited to site design that it would be harmonious with the site, rather than regarded as unsuitable to the site even with great visual performance.

Objective 2 ‘ability to generate a variety’ Understand of how computational design is helping designer to generate a variety of design is gained during our design process. Grasshopper allows us to generate a series of iteration by changing some variety such as force or basic parametric feature, which also applies to our design.

Objective 3 ‘ Various three- dimensional skills’ This skill is of significance especially to our group that we are still lacking of it. We should understand that computational geometry always looks fancy and easy to generate in the digital form, while the priority of a project is that it should be built physically to prove the practicality of the design.

Objective 4 ‘ Understanding relationship between architecture and air’ Air is not literally air but the atmosphere within the context, in part C, we changed the site and I revisited the site to feel to see if there is a particular atmosphere that my design could compliment with it.

Objective 5 ‘ability to make a proposal’ During the interim presentation, the proposal is allocated to 5 people in our group, which I never know if my ability is improving. While for this final presentation , there are only 2 members in total in our group to test if we are able to make a case for proposal .During this process, I found that I was more good at photomontage and the verbal expression that there are many technical skills is still lacking.

Objective 6’ Ability to analyses projects’ In this session, I performing not as good as the previous period, namely PART A and B, as we were asked to do such work and I am unconsciously improving the ability of it while in Part C, I had to admit that I haven’t done much research so that my ability to analyses projects is not improving.

Objective 7 ‘ understanding of computation ‘ In part C, I finally understand the idea of that computation design is not the same as computerized tool, it is not a tool for me to document but to generate idea as well as helping fabrication using parametric. However, I also found that computation deign is sometimes make me crazy that the form it generated could never been built, at least not in an easy way, which might be labor cost and time cost.

Objective 8’ Personalized Repertories’ During the whole semester I found various understanding of computation design, especially in Grasshooper. It is really difficult for me that I can’t even follow the class tutorial but I found it more engaging and interesting after more involving in it . Even though I am still not good at using it but it already changed my way of thinking form finding and surprisingly I have used the tool only in grasshopper to help those who are in year 1.