Chester wong 618157 part b journal

DESIGN STUDIO AIR CHESTER WONG 618157 Jack Mansfield Hung

-CONTENTS-

4

INTRO

6

PART A

A.1 DESIGN FUTURING

8-11

13

14-17

A.1 PRECEDENTS

A.2 DESIGN COMPUTATION

7

A2.PRECEDENTS

19 20-23 24

A.3 COMPOSITION/ GENERATION

25

A.5 LEARNING OUTCOMES

A.3 PRECEDENTS

26

A.6 APPENDIX

CONCLUSION

27

A.7 REFERENCES

INTRODUCTION

My name is Chester Wong.

I come from Singapore.

I am majoring in Architecture and am in my First semester of my third year. While I have experience with Rhino and AutoCad, I have not touched Grasshopper at all so this would be my first experience with the program. I am also familiar with digital fabrication due to a previous subject I took and it is something I look forward to using more of. I have always had an interest in design ever since i was young even though I did not think of going into architecture back then. Despite the small size of the architectural community back home and the small amount of projects available, I hope to be able to practice in SIngapore to becloser to friends and family.

Design Studio Earth Final Model

DDF Final Model

PART A CONCEPTUALISATION

7

A.1 DESIGN FUTURING It is becoming more evident as time goes on that our current practices

whether it be industrial or design related are growing increasingly unsustainable. The standards of the industry can be seen as an outdated model and need to be rectified if we are to solve this crisis. Thus, we need to adopt new strategies and practices in order for us to fix this 1 growing issue and move towards a more sustainable future . There might be a need for us as designers to step out of our comfort zones and challenge certain ‘taboos’. Can architecture become a mainstream commodity sold like a expendable product? Can it be purposefully 2 bad or negative to incite a certain response . At the very least, one has to acknowledge that advance tools such as computerization practices have to be utilised in order to assist us for the uncertain future.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

8 CASE STUDY 1

-WANJING SOHOZAHA HADID 2014

Commercial buildings in major metropolitan cities generally don’t have a very good reputation when it comes to being eco-friendly or sustainable but that hasn’t designers from trying. Zaha Hadid’s Wanjing SOHO in Beijing is building consisting of three high-rise structures and has achieved the US building LEED gold certification for sustainability. Perhaps its most distinct feature is the curved shape of the building which is said to be inspired by the natural elements like the sun and wind. Their unusual shape allows the people to have an ‘everchanging’ view of the building when seen from different angles and it is said that this also helps as a guide, orientating 1 people towards transport hubs and links . This is the type of parametric design which Zaha Hadid is famous for. The fluidity of the design and the seamless blend of materials have awed others to seek her out to design projects. It boasts high sustainability ratings and has redefined high rise typology in terms of sustainability. It has an excellent water filtration system said to have the same standards astronauts use. It also houses other common strategies such as an efficient curtain wall, 2 high efficiency fans and etc . All of this achieved despite its peculiar design. This urban garden work space has astounded many due to its design and because of the contrast to the backdrop of other, more standardised looking buildings. Zaha Hadid’s building shows a clear shift which is happening. Digitally designed, parametric architecture can be created and still be a very sustainable building perhaps even better than most. Its exploration and experimentation in redefining commercial building typology could help us to achieve a sustainable future for design.

1.Design build network. Wanjing Soho, Beijing. http://www.designbuild-network.com/projects/wangjing-sohobeijing/. (accessed 5 August 2017) 2. DesignBoom. Zaha Hadid opens Wanjing Soho in Beijing, China. 2014. https://www.designboom.com/architecture/zaha-hadid-wangjing-soho-beijing-09-20-2014/. (accessed 5 August 2017)

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10 CASE STUDY 2

-THE INTERLACEOLE SCHEEREN 2013

Nothing feels more uncomfortable that being ripped out of familiar surroundings.

This is what makes the Interlace by Ole Scheeren such a revered building. This residential housing apartment complex in Singapore won the Building of the year award in 2015 and is an interesting look into how the accepted norms of residential housing can be flipped on its head. The interlace consists of six blocks.

However, instead of rising vertically, they are instead stacked on top of one another 1 in other to create a hexagonal arrangement which encompasses 6 courtyards .

According to Ole Schreeren, this building serves not just as an antithesis to tower buildings but also serves as way to explore how architecture could be related more closely with nature, especially on a tropical island like Singapore. The aim was to create ‘an expansive interconnected network of living and communal spaces integrated with the natural environment.’ The hexagonal arrangement created from the interlocking blocks would come together to create a sort of ‘vertical village’ which boasts lush sky gardens with both private and public areas, creating a space for community interaction. The sheer size and the surrounding vegetation are taken advantage of to enhance the experience and also helps with sustainability. According to Ole Scheeren himself, “The design addresses concerns of shared space and social needs in a contemporary society and simultaneously responds to issues of shared living and individuality by offering a 2 multiplicity of indoor/outdoor spaces specific to the tropical context . This shows that architecture conventions are not set in stone and can also be literally flipped sideways to provide a new way of thinking about societal norms and new ways to address growing societal needs while still catering to essential components like sustainability. Singapore is a strong promoter of cultural and racial diversity, so it seems to me that this a step in the right direction in moving that agenda forward.

1. ArchDaily, The Interlace / OMA / Ole Scheeren. 2015. http://www.archdaily.com/627887/the-interlaceoma-2. (accessed 5 August 2017) 2. Dezeen, Ole Scheeren’s “vertical village” named World Building of the Year 2015. 2015.https://www.dezeen. com/2015/11/06/ole-scheeren-the-interlace-vertical-village-singapore-building-of-the-year-2015-world-architecture-festival-2015/. (accessed 5 August 2017)

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13

A.2 DESIGN COMPUTATION

Overtime, computing technologies have become more advanced and have allowed designers to create designers previously thought impossible. Through the use of algorithms and sophisticated computer logic, we as designers are given the tools needed in order to 1 create elaborate design solutions . We are constrained by older methods as we just simply do not possess the same problem-solving ability a computer has and it also saves time. There is also a good chance that computers will take over such jobs in the future so it would be beneficial to expand our work skills.

Given that fact that there is also a drive to try to completely rethink how we design, design computation is probably a step forward in the right direction.

1.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

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15 CASE STUDY 1

-ARUMZAHA HADID ARCHITECTS 2012

Arum by Zaha Hadid architects, is a unique structure which is the result coming from the combination of technology based on “RoboFold’s robotically folded curved origami, custom digital design technologies developed by ZHACODE and engineering by BuroHappold.” The structure had many stages to go through and consisted of 500 panels. Shayjay Boochan who was the head of computation and design ZHACODE group talks about how digital practices will become more common in the coming years and also elaborates on the different factors available which help them improve their design. According to him computation 1 increases interdisciplinary collaboration . The rise of free software online like Sketchup allows designers to try their hand at computing and others to try their hand in design. This encourages collaboration which promotes to discoveries of new interesting ideas and problems to be solved. Fields which were once dominated by other professions now have architects trying their hand and contributing to the ongoing discussion. Computation also allows for people to look back into the past an unearth old secrets. For example, the geometric marvels of Antoni Gaudi were able to processed analysed and made easier to access thanks to computation. Computation also allows for designers to become more specialised and look at design in a much more scientific manner as opposed to old concerns about socio-economic factors, thus allowing the profession to advance to something new.

1. Patrik Schumacher, Special Issue: Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century March/ April 2016 Voume 86, Issue 2 Pages 1–144

16

17 CASE STUDY 2

-MUMBAI EXPANSIONURSULA FRICK AND THOMAS GABNER Design computation can also be adopted at an urban scale. It is argued that parametric design can be efficiently used to create urban environments and will be able to respond to dynamic changing nature of the world. One conceivable future which is brought up is that urban planning will become a privatized affair. In such a market, urban planning is assumed to be free of outside influences and parametric design can take advantage of a system which goes back to its natural order. In such a system filled with strict rules such as the laws of nature, computational design can unbiasedly process all of the information available and create and urban design which functions like a natural environment and can thus be sustainable.

One work which can be seen is the proposed Mumbai expansion 1

by Ursula Frick and Thomas Grabner . They have created an urban design based on the use of scripts which balances all the different complex systems needed to create an environment which is as information rich and easy to navigate as an urban environment.

Parametric design gives a new freedom which can be also used to create order at the same time, something which is normally deemed a negative combination. Like other design movements, it is rule-based. However, it possesses a scope which none other is able to match and can be used to transform the built environment.

1. Architectural DesignŠ John Wiley & Sons Ltd Vol. 85 Issue 4 Special Issue: 2050: Designing Our Tomorrow July/August 2015. Pages 1–13

19

A.3 COMPOSITION/ GENERATION We have already explored how the use of computers can assist designers to solve complex problems. The usage of such tools has allowed such designers to focus on creating generative elements and compositions to help them to create an efficient design and optimise it. As said before, the computer is a powerful tool that can use its systems to understand the logic behind complex structures 1 and at the same time help to achieve such a design . There are certain projects which have the services blended into its fluid structure, achieved by generative design. There are also systems available which can help architects achieve an efficient and sustainable design. It employs evolution and a base model to 2 create solutions . We can see that the world is shifting towards the usage of generative design. to be utilised in order to assist us for the uncertain future.

1. Architizer, How Generative Design Will Change Architecture Forever, 2016. https://architizer.com/blog/how-generative-design-will-change-architecture-forever/. (accessed 5 August 2017) 2. Caldas, Luisa. “Generation of energy-efficient architecture solutions applying GENE_ARCH: An evolution-based generative design system.� Advanced Engineering Informatics 22.1 (2008): 59-70.

20 CASE STUDY 1

-BEIJING WATER CUBEPTW ARCHITECTS 2007

The Water Cube in China is a good example of such systems being used. In a quest to find a shape which could fit into a three-dimensional space uniformly, the solution they came upon was soap bubbles.

When the structure is looked at from the outside, 1 it seems that the patterns are random . In reality, there is a lot of regularity in how the elements are connected. With such an unusual shape, computer tools had to be used. The design was optimised by analysing numerous configurations on how the steel structural members were best connected. In this case a system had to be designed and used in order 2 to achieve the design of the building . This example shows that algorithms had to be used in order to efficiently create an effective structural system.

1. ArchitectureAU, Engineering the water cube. 2006. http://architectureau.com/articles/practice-23/. (accessed 5 August 2017) 2. Stephanie Norton, Construction & Generative Design, https://www.caddetails.com/articles/January2010. (accessed 5 August 2017).

21

22

CASE STUDY 2

-EVENT INSTALLATIONROJKIND ARQUITECTOS AND THINKPARAMETRIC This project was designed as a space which would act as a lounge to serve 400 people. Some of the difficulties faced was that the installation had to be completed within a relatively short time frame and had to be taken down easily. The solution which was implemented to use computational tools create a constructive system which could then be used to generate ‘geometrically interesting spaces. One of the patterns in place was that “If two elements are connected with wires and those two elements are alternatingly rotated, they create a seemingly vaulted 1 space .Computational tools were also utilised to automate the creation of key elements of the structure such as custom structural nodes and a full set of construction drawings. This allowed the team to complete the design stage relatively quickly and move on to its fabrication and installation. It also allowed the team to be flexible, as certain elements such as the wireframe could be easily adjusted within the system. This shows that generative design allows designers to produce designers much faster than traditional methods and can assist them when time is tight.

1. Design Playgrounds, Designing an installation using computational design tools. http://designplaygrounds. com/projects/designing-an-installation-using-computational-design-tools/. (accessed 5 August 2017)

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24

A.4 CONCLUSION As time moves on, pressing global issues and crisis move closer to us and threaten to bring harm upon the world. Outdated design techniques need to be rethought or thrown away before their unsustainable practices lead us to a bleak future. One new method which can be adopted is the use of computational design tools. They bring forth incredible benefits to the design field. It can help us save time and be flexible with our designs. At the same time, the computer is able to understand the logic and complexity of a structure much better than humans and can thus be able to create or optimise designs in a way in which we are not capable of. As a result, computational algorithms can also be used to simulate or create designs which were once thought as unachievable or not even conceived of previously.

They can do this by using sustainable systems such as nature as a basis. It seems that computational design is a way for us to advance design techniques and create a better future.

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A.5 LEARNING OUTCOMES The past three weeks have been an interesting journey. While I have always been supportive and interested in parametric design, I was not aware of the grand scope the field actually had. It opened a new door for me to see the complexity of parametric design and the amount of computation logic needed to achieve these feats. Perhaps the most surprising to me was how a lot of parametric designs start from a simple idea despite its complex design. The algorithmic sketchbooks provided a way for me to try this out for myself and while I have had some initial difficulties, I can say that it is an enriching experience. Most of my work in the has all been computerisation work and finally being able to make use of software which could advance my design and techniques is exciting. Despite my inexperience, I look forward to what else I can learn from the grasshopper program.

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A.6 APPENDIX

EXPLORATION OF LOFTED SURFACES AND TRIANGULATION

A.7 REFERENCES Architizer, How Generative Design Will Change Architecture Forever, 2016. https://architizer.com/blog/ how-generative-design-will-change-architecture-forever/. (accessed 5 August 2017) ArchitectureAU, Engineering the water cube. 2006. http://architectureau.com/articles/practice-23/. (accessed 5 August 2017) Chris Luebkeman, Architectural Design© John Wiley & Sons Ltd Vol. 85 Issue 4 Special Issue: 2050: Designing Our Tomorrow July/August 2015. Pages 1–13 ArchDaily, The Interlace / OMA / Ole Scheeren. 2015. http://www.archdaily.com/627887/the-interlaceoma-2. (accessed 5 August 2017) Caldas, Luisa. “Generation of energy-efficient architecture solutions applying GENE_ARCH: An evolutionbased generative design system.” Advanced Engineering Informatics 22.1 (2008): 59-70.

Design Playgrounds, Designing an installation using computational design tools. http://designplay grounds.com/projects/designing-an-installation-using-computational-design-tools/. (accessed 5 August 2017) Design build network. Wanjing Soho, Beijing. http://www.designbuild-network.com/projects/wangjingsoho-beijing/. (accessed 5 August 2017) DesignBoom. Zaha Hadid opens Wanjing Soho in Beijing, China. 2014. https://www.designboom.com/architecture/zaha-hadid-wangjing-soho-beijing-09-20-2014/. (accessed 5 August 2017) Dezeen, Ole Scheeren’s “vertical village” named World Building of the Year 2015. 2015.https://www. dezeen.com/2015/11/06/ole-scheeren-the-interlace-vertical-village-singapore-building-of-the-year2015-world-architecture-festival-2015/. (accessed 5 August 2017) Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf Patrik Schumacher, Special Issue: Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Century March/April 2016 Voume 86, Issue 2 Pages 1–144 Stephanie Norton, Construction & Generative Design, https://www.caddetails.com/articles/January2010. (accessed 5 August 2017).

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PAR

CRITERIA

RT B

A DESIGN

-CONTENTS-

32-33 34-35 B.1 RESEARCH FIELD

B.2 CASE STUDY 1

42-43 46-49 B.3 CASE STUDY 2

B.4 TECHNIQUE DEVELOPMENT

50-55 56-69 B.5 PROTOTYPING

B.6 PROPOSAL

71 72-74 75

B.7 LEARNING OUTCOMES

B.8 APPENDIX

B.9 REFERENCES

32

33

B.1 RESEARCH FIELD Strips and Folding is my chosen research field and this technique involves strips which can fold together on in on themselves to form a 3D shape.

This technique allows the form to grow in complexity in terms of its shape and composition as more elements are added. The technique can also be descirbed as ‘experimental’. The design is open and dynamic as different elements are added as it can transform the funtion of the form dramatically. It is however a structured process as it is able to form different generative sequences as the repetitive use of the technique can create 1 elements like triangulation, splines and etc . A strip and folding structure can be self supporting and requires not as much materials to fabricate which is an important aspect of the design process. The Double Agent structure

by Marc Fornes is one such structure which consists of intersecting curved surfaces which connect together to form a structure which can support itself due to its ‘structural continuity’ . It is also able to be an effiecient structure 2 too as it makes use of the minimal amount of materials necessarry .

1. Vyzoviti, Sophia. 2003. Folding architecture: spatial, structural and organizational diagrams. Amsterdam: BIS. 2. Escobedo, Jessica. 2012. Double Agent White in Series of Prototypical Architectures / Theverymany. http://www. evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/. (accessed 10 September 2017)

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B.2 CASE STUDY 1.0 SEROUSSI PAVILLION BIOTHING

The Seroussi Pavilion by Biothing is descirbed by the designers as a “structure grown from self-modifying patterns of vectors based on 1 Electromagnetic Fields . The initial computations were done in plan then lifted via microarching sections through frequencies of the sine function.”

The project is said to be an exploration of algorithims and ‘deep ecology’ due to the dynamic nature of the structure which has been likened to a piece of music. It was created with a generative script and is also used as a way to explore how art and humans can cohabit and co-exist.

1. Seroussi Pavilion |Biothing. 2007. http://www.arch2o.com/seroussi-pavilion-biothing/. (accessed 10 September 2017).

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TABLE OF MATRIXES

36

SPECIES 1 DIVIDE CURVE/CIRCLE

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILIT

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILIT

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVIT

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILIT

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILIT

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVIT

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILIT

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILIT

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVIT

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILIT

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILIT

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVIT

SPECIES 2 FLINES/F-STEPS

SPECIES 3 MOVE/PREVOUS WORK

SPECIES 4 GRAPH MAPPER

TY

37

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILITY

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

TY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

TY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

TY

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILITY

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

TY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

TY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

TY

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILITY

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

TY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

TY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

TY

FABRICABILITY

FABRICABILITY

FABRICABILITY

FABRICABILITY

AESTHETIC

AESTHETIC

AESTHETIC

AESTHETIC

TY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

ADAPTABILITY

TY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

INTERACTIVITY

39

B.2.2 SELECTION CRITERIA FABRICABILITY

How easy would it be to fabricate this structure?

Would the construction be easy and efficient?

AESTHETIC

Can this structure provide some sort of pleasure in the viewer from an aesthetic standpoint?

ADAPTABILITY

How easy would it be to place the structure on any sort of terrain or environment. Could it fit the context without changing the shape too much?

INTERACTIVITY

How much can visitors interact with the structure. Is there enough interesting elements to explore or provide area for other functions?

B.2.3 SELECTED ITERATIONS

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SPECIES 4.8

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by using graph mapping together with changing the parameters for other components. This form can be used as a pavillion which allows for interesting shadows to be formed within due to its shape.

SPECIES 4.6

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by using graph mapping together with changing the parameters for other components. This form as some form of nature space due to its tree-like design or some form of sitting space if a surface was lofted over.

41

SPECIES 3.8

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by mainly changing the movement parameters and other components. This form provides an interesting enclosure which can be used as a kind of stage for performances.

SPECIES 1.8

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by mainly changing the parameters of the curve and circle radius. This form provides an interesting space in the form of a membrane like structure. Its interesting roof structure could provide a space for artistic pursuits.

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B.3 CASE STUDY 2.0 LOOP_3 BY CODE-IT

Loop_3 was designed by a group of students form Architectural Design 3 course at the Faculty of Engineering, Università di Bologna for an exhibition.

According to the designers, mathematics is the primary component of the design and it provides the designers a way to explore how computation 1 to explore ‘reality’s inner complexities’. It explores ways to improve ‘research and expression, elegantly and seamlessly linking science, art, economy, philosophy and other disciplines, merging them into force fields of a unified yet topographically differentiated territory’. This is their chosen path as they feel that this exploration will allow architects to advance their craft. The structure is self-supporting and makes use of mathematical trigonometric functions as a way to create a nice aesthetic and explore rationality in the design and methods of spatial expression and interaction.

1. Code-IT. 2012. LOOP_3. http://www.co-de-it.com/wordpress/loop_3.html. (accessed 10 September 2017).

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CREATING THE FORM

44

Create the initial circle curve shape Pull the curve to the shape of the loop using vectors and interpolate curve

Scale and copy the curve into seperate variations

Move the seperate curves above and below

Move and bend the curve by dividing curve and pulling points.

Loft the curves

45

B.4 TECHNIQUE DEVELOPEMNT 46 SPECIES 1 MESH ATTRACTION AND CURVE

SPECIES 2 TRIANGULATION

SPECIES 3 WEAVERBIRD/ STELLATE

SPECIES 4 MESH MANIPULATION/ WEAVER/ TWISTED BOX/ OTHERS

SPECIES 5 BIOTHING SCRIPT COMBINATION

47

B.4.2 SELECTED ITERATIONS

48

SPECIES 3.2

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by using the weaver bird function stellate and the resulting form can be used as an interesting structure not unlike the Esplanade in Singaproe.

It provides an interesting aesthetic from the outside.

SPECIES 2.6

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by using the octree component on the lofted curve and then moving elements of the resulting form. The geometric nature of the form could allow for the fabrication of individual parts to be simple. This form could be used as an sort of playground for children due to the negative spaces in the form for them to hide and it will be exhilarating to traverse. .

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SPECIES 3.9

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by mainly using previous explorations to the line form and then using weaverbird to form the pictureframe component. The resulting form could be a structure which also has a balcony for an added funtion. It could be used as a treehouse or structures of a similar function

SPECIES 4.10

FABRICABILITY AESTHETIC ADAPTABILITY INTERACTIVITY

This form was made by mainly by transforming a voronoied surface component onto the surface of the structure. The resulting form could be a pavillion where differrent activities could be held. The disparate shapes of the surface creates an interesting environment and can cast interesting shadows within the structure.

B.5 PROT

TOTYPING

52

53

COCOON MODEL The cocoon structure was our first attempt as a group to fabricate a structure which had been stripped with a grasshopper algorithm. The structure strips were made with tabs so they could be glued together.

When putting it together, some of the strips were mixed and matched in order to try out how the form could be changed but problems arose due to the strict shape of the form. On hindsight, we should have used zipped tabs to connect them together without the use of glue. The aim of the exercise was also to make a structure to act as a parasite to the Cabanon.

The structure would serve as an external sleeping pod for homeless people and the string on the model represents vines encroaching the building. This makes the cocoon less conspicuous and look more natural.

54

BOX MODEL The box model was made as a way to create a packaging box for the product we would be designing. The box was made mainly with voronoi to be related to our product design which also makes use of the voronoi design. We tried to create tabs in this design where the separate elements to make a system where it can be put together by locking the different elements together instead of gluing it together. However, due to a miscalculation, the tabs were not able to be connected. Thus, we had to glue them together again. These lessons will be learnt and fixed so that we might be able to efficiently connect our strips together for future designs. Something else which was attempted was to see how one of our design methods would look like when fabricated. One of our designs in our proposal was disparate voronoi elements along a surface and this was what we were attempting to emulate in the design.

55

B.6 PRO

OPOSAL

58

59

SECTION/EXPERIENCE

60

61

PROJECT BRIEF.

Create an accessory for the Cabanon which serves as a way to create a realtionship between the user and the Cabanon. We ae exploring and taking advatage of the desires of the user and at the same time taking advantage of the dark side aspects of their desires. Taking a precedent product as a starting point, we will use it as our initial inspiration to make the structure.

INSPIRATION AND DESIGN PROPOSA

RAAAD-GOLA is a garden pergola ornamented with elements which are designed to invoke a sense of nostalgia for the 80s in the viewer. Using the Versace Sofa as the initial inspiration, we used two main elements of the product. The first was the heavy use of ornamentation to an overpowering degree. The second was the concept of the idolisation of a past period. The product is based on the Baroque style but we will be using the period of the 80s as our framework to idolise and garner inspiration for the design as it invokes a better sense of dopeness. Using techniques of Strips and Folding we emulated the shapes of jagged polygonal elements and disparate shapes along a surface, aesthetic elements which are commonplace in 80s.

63

AL

Our choice to make the function of the structure a garden pergola is a call back to the initial Baroque design and to allow for a nostalgic place for the customer. The excessive ornamentation of our structures serves as a way to bombard the customer with these images and constantly remind them of the period. For the customer, they will always have something to look at and reflect on. In this space, our customers can hang out, appreciate nature, the aesthetic qualities of the structure and discuss the prevalence of mediocre mainstream culture which they want to escape from.

CLIENT PROFILE

Our target audience will be rich millennials who seek this sort of historical escapism. People who feel that they were born in the wrong generation ‘man’ and seek to experience nostalgia from a past they never lived through. They seek invigoration thorugh nostalgia and attempt to try and become more connected to the past, no matter how shallow the experience may be or how they would feel.

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66

RAADXPERIENCE ALPHA

RAADXPERIENCE CHARLIE

67

RAADXPERIENCE BRAVO

RAADXPERIENCE OMEGA

68

SITE CHOICE/CIRCULATION DIAGRAM

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We have chosen the most central location of the Merri Creek site which is also close to vegetation for our garden pergola. It is placed along a major circulation route and can thus garner the attention of many people walking along the path. It is also located near the cliff geology and the waterfall in order to facillate that connection to nature better.

SO WHAT DOES THIS ALL LEAD TO?

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B.7 LEARNING OUTCOMES Overall, I think Part B is one the most challenging aspects of the studio yet. The explorations into the algorithms and the attempts to push them was probably one of the hardest but interesting things I have done in the studio. Due to the fact that I was not able to see what kind of shape I wanted or even want kind of shape would be achieved, it made the process a long affair. Thus, it is probably important to note that one should not go into parametric design with a preconception of the type of design you might want to achieve. Many ideas and forms were created from the experimentation and some could possibly be used for actual designs. For me, this is just more verification that parametric design could be used as a way to design structures in a generative and experimental way.

Multiple plugins and external definitions were used throughout the exercise in order to create the different forms produced. This was a necessary action to take due to the amount of experimentation needed. While I had not been thinking of using external plugins to create designs due to the fact that I am still shaky in my Grasshopper skills, I am thankful that I discovered all these additional ways to create forms. The Weaverbird and Kangaroo plugin have been especially helpful in the design process of our proposal designs. The matrix exercise was also made more interesting by our tutor’s unique way of approaching it. Due to our design brief, we approached products in a way to recognise the hidden desire and dark elements of a structure or product. We were also pushed to see these aspects in the form of some aesthetic element which helped tremendously in our proposal process.

That being said, the most difficult aspect of the process so far for me was trying to accurately recreate an element in a parametric design. Our project was based on nostalgia however, we were not entirely successful in recreating the nostalgic experience and elements in our design. It was challenging to recreate them and obey the limitations of the research field at the same time. A feedback which we were given and would follow was to emulate structural aspects from the time period instead of artistic elements instead as that would be clearer in the way the elements could be emulated. The next challenge we would have to overcome would be the construction process to make it simple or efficient.

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B.8 APPENDIX

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B.9 REFERENCES Vyzoviti, Sophia. 2003. Folding architecture: spatial, structural and organizational diagrams. Amsterdam: BIS. Escobedo, Jessica. 2012. Double Agent White in Series of Prototypical Architectures / Theverymany. http://www.evolo.us/architecture/doubleagent-white-in-series-of-prototypical-architectures-theverymany/. (accessed 10 September 2017) Seroussi Pavilion |Biothing. 2007. http://www.arch2o.com/seroussi-pavilionbiothing/. (accessed 10 September 2017).

Code-IT. 2012. LOOP_3. http://www.co-de-it.com/wordpress/loop_3.html. (accessed 10 September 2017).