Chan Sarah 641728 Final Journal by Sarah

AIR

JOURNAL

SEMESTER TWO 2015

SARAH CHAN

SARAH CHAN # 641728 STUDIO: # 6 TUTOR: SONYA 2

CONTENTS Part A ........... p.4 Part B .......... p.29 Part C .......... p.73

SARAH CHAN I have lived in Melbourne my whole life, but because I have been living in the suburbs, I rarely had the opportunity to go exploring our beautiful city till I started my tertiary studies at the University of Melbourne. Due to the convenience of studying close to the CBD, I have been able to look out for more new and exciting architecture surrounding me.

and has become an ongoing trend. It exists to change the future by integrating new elements to our current designs. To me, digital architecture is only the beginning of extending our knowledge of architecture to another level through the use of technology. The world we live in is constantly changing and so is our technology as we start evolving into the generation of The reason why I decided to technology. With newly invented major in architecture a couple of technology, architecture is able years ago has changed as I have to surpass any limitations it once learnt more and more throughhad in the past. Digital archiout this degree. It has definitely tecture allows us to use a differchanged my perspective about ent method of creating designs architecture. I have come to rethrough a method that is faster alise that it’s not all about design- and more efficient. ing something ‘funky’ or ‘cool’ looking, but there is a more pro- I am still developing and buildfound process of steps to coming up my current skills with usplete and abide by. For example, ing digital architecture to portray in this generation, sustainability my designs. In the past I have has become a large issue that is used Rhinoceros and through recognised everywhere. I have this subject, I hope I will be able gradually become more interto work in conjunction with ested in new technology that are Grasshopper. Other than Rhidesigned by man and are enginoceros, I have not really introneered to prevent further damduced myself to other programs age to nature. because I feel like there’s so much How I describe digital architecmore to learn on Rhino first. ture is that it is a form of architecture that is always evolving

PREVIOUS WORK Design Studio: Virtual The theme of the project reflected on personal space and how every individually may perceive it differently. My partner, Kevin and I, thought of a concept that represented personal space in relation to our sight or our vision. We found that without our sense of sight, it is hard to imagine things and we become less aware of our surroundings. In this design, we created a helmet-like structure that creates our own personal space. It shuns the others that are nearby, whilst living inside your own created space. Design Studio: Virtual The theme of the project reflected on personal space and how every individually may perceive it differently. My partner, Kevin and I, thought of a concept that represented personal space in relation to our sight or our vision. We found that without our sense of sight, it is hard to imagine things and we become less aware of our surroundings. In this design, we created a helmet-like structure that creates our own personal space. It shuns the others that are nearby, whilst living inside your own created space.

My design was inspired by Le Corbusierâ&#x20AC;&#x2122;s later works, which focused on sculptural elements and its organic forms. The combination of functionalism with sculptural expressionism is portrayed in the boathouse design. The design is influenced by his design themes as well as his inspirations of simplicity.

Each floor is split to cater a different purpose. Where some spaces are perceived private, and others more public. The journey into the building is an experience itself, where the path is windy and where the individualâ&#x20AC;&#x2122;s views are limited at times where there are no windows or frame cut out sections.

The ground floor starts with storage for the boats and the workshop. The first floor includes of a dining and lounging area, also containing a kitchen. The second floor is a small cafeteria that consists of more windows for a more peaceful atmosphere. Finally on top is a roof garden with a sculptural centrepiece, also used as a stack ventilator.

DESIGN FUTURING ICD/ITKE Research Pavilion 2010 The computational project was constructed in 2010 at Stuttgart University. It was designed to be a temporary research pavilion that pursued its main focus on the computation of material. At the time, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), portrayed their design in a way that demonstrated the latest research in material-oriented computational design. The pavilion showcases how its physical form is determined by the pressure of forces, the physical behaviour of the material, as well as its characteristics. The pavilion is made from birch plywood strips that have an elastic bending behaviour. The strips are robotically manufactured and are combined using connection points. The force stored in each bent region works with the corresponding tensioned region of the neighbouring strip that increases the structural capacity of the pavilion. The bent arch induces tensile stress into the straight arch, which then increases the lateral stiffness of the straight arch; therefore forming a geometrical stiffness of the whole system. (Fleischmann & Menges, 2012) 8

“The computational design model is based on embedding the relevant material behaviour features in parametric principles” (Menges, 2010). This was looking at how there is an integral relationship between the worlds of a material and its form. I believe that this pavilion was able to capture what digital design processes rarely displayed in architecture; the reflection of intricate relations. The form in this design was driven by the behaviour of the material’s characteristics and its constraints which essentially as the bending of the plywood. This changed how designers looked at computational tools, which are generally used to create design schemes through a range of design criteria; leaving characteristics of material systems to be rarely considered (Fleischmann & Menges, 2012)

Fig. 1) Constructi

The pavilion serves as a place for people to relax as it can be seen defining the urban edge of a large public square. The design touches the ground, which provides seating opportunities for the public. It creates a space where one enters and feel like they’re in a completely different environment, slightly hidden from everything outside the pavilion. Fig. 3) Inside the pavilion

ion stage

Fig. 2) End result of the pavilion

Fig. 4) Algorithmic sketches

NANJING INTERNATIONAL YOUTH CULTURAL CENTRE Zaha Hadid Architects

Fig. 5) Final design

As technology improves and design works become larger and more complicated, the computation process is broadened and is used in more permanent ways. Unlike the project ICD/ITKE Research Pavilion 2010, the Nanjing International Youth Cultural Centre is a centre master plan that expresses the continuity, fluidity and connectivity between the surrounding environments. This project is built along the Yangtze river which includes a pedestrian bridge that links the other side of the river to the plaza (Zaha Hadid Architects, 2014).

There are various multipurpose rooms, meeting rooms, exhibi-

tion areas, a VIP zone and some retail areas. Inside these rooms portray different computational designs. Looking back at the first precedent, the discovery of materials and how the physical form is determined by the behaviour of the material and its parameters.

exploring becomes endless. Design is projected into the future through this use of technology as it can be seen in the rooms of Nanjingâ&#x20AC;&#x2122;s International Youth Cultural Centre. It showcases parametric modelling that instigates change to the future of our architecture.

Zaha Hadid has many designs that are great examples of design futuring. The architectural style is unique where they stand out aesthetically. The design is changing the future in ways of how our designers are thinking and exploiting the use of new technology. Design is no longer constrained by limitations and

There is a dynamic transition from the verticality of the urban buildings from the CBD to the strong horizontality of the river. The towers designed by Zaha help enforce the dynamism throughout the streetscape. The composition of everything including the design itself, juxtaposes the vertical and horizontal (Zaha Hadid Architects, 2014).

Fig. 6) Inside the theatre room

Fig. 7) Inside the dining room

“CAD might conspire against creative thought…by encouraging ‘fake’ creativity.” (Lawson, 1999)

DESIGN COMPUTATION Computation has enabled us, as designers, to create things that were once too tedious and complicated to produce. Computation permits broader opportunities in the design world as we are able to perform complex geometry through fabrication and construction (Peters, 2013). In this case, it allows designers to showcase a dynamic form of creativity, and solutions that are both visual and structural.

â&#x20AC;&#x153;The digital in architecture has begun to enable a set of symbiotic relationships between formulation of design processes and developing technologies.â&#x20AC;? (Oxman, 2014) Currently there is an exponential growth in the use of technology as it improves and advances in our society. Computation is looking to be the future of design as the architecture community slowly shifts into this method of design processing. Design computation has been a breakthrough and has changed the architectural approach to be more mathematically and scientifically driven with understanding algorithms and generating codes. Structural, material and sustainability has become fundamental in the computation process,

which allows designers to achieve efficiency and effectively. Although, the ability to design and construct buildings that are original and inconceivable, is an exciting and stimulating experience. New innovations can now be created beyond what manual designing could do. There are infinite possibilities with computational designs that can be explored and transformed to accommodate the relationship of architectural space and the interactions with humans.

this method, it increases productivity for testing and allows us to find the most positively responsive to a site; therefore computation allows performanceoriented design. We are also able to help sustain the future using design computation that will allow us with generating changes to the architectural world.

Computation unlocks the potential in our future designs. Using the assistance of a computer extends the boundaries we once had, as concepts, which were once impossible, has now become a reality. It is debatable to some individuals that the freedom of design is restrictive, however, with computational methods, this freedom is infinite. New geometries and methods are constructed using just that. Organics shapes can be computed, creating spaces that respond well to the surrounding environment. We are now able to generate a form on a computer; including various factors of the site, weather condition and etcetera. This can then be generated in a model of a smaller scale, which can then be tested. With 13

SOUMAYA MUSEUM Fernando Romero Architects

The Soumaya Museum plays a key role in the reconversion of the area as it acts as an initiating building transformation of the urban perception. It is a unique and contemporary building, which acquires a strong urban presence that activates the public space. “Its avant-garde morphology and typology define a new paradigm in the history of Mexican and international architecture” (Designboom, 2010).

It is evident that there is a relationship between design computation and the performance of the structure. In this example, the Soumaya Museum was also designed to focus on the way sound worked throughout the building and how soundwaves and noises flowed within the building. The envelope and form of the building played part in the acoustics within the museum; using parametrics.

It demonstrates the ability of computerised based digital design, where it allows for the organic and asymmetrical shape. We are able to see the complexity of the museum with its intricate building façade. The shell of the building is constructed with 28 steel curved columns, each with its own geometry and shape. The façade is made of 16,000 mirrored-steel hexagonal aluminium modules that optimise the preservation and durability of the entire building (Designboom, 2010). By having this, the aesthetics of the building can also be interpreted as a protected shelter. Due to the asymmetry of the building, the is a diverse appearance of the museum, depending on the weather and the viewpoint perspective of the viewer.

We can see how computation design has affected our ways of thinking especially through construction to enhance the building’s performance. Organic forms are becoming more popular, and we can see this in Walt Disney Concert Hall.

Fig. 8) Structural diagram (top left) Fig. 9) Algorithmic sketch (top right) Fig. 10) Algorithmic sketch (bottom left) FIg. 11) Final project (bottom right)

WALT DISNEY CONCERT HALL Frank Gehry

Fig. 12) Exterior

Frank Gehryâ&#x20AC;&#x2122;s Walt Disney Concert Hall is an example that uses computation to create an unique and what would have been considered an unlikely structure. Although, thanks to new technology we are able to design forms and shapes that are structurally possible. This building is comprised of both computation and computerisation methods to assist with both the design and construction aspects of it. The Walt Disney Concert Hall demonstrates how computation plays a vital part in the design and refinement phase. 16

Frank Gehryâ&#x20AC;&#x2122;s initial concept came through paper scrunching, in which he was late able to process his innovative concept through the power of computation. The use of computerisation was also used in order to create plans that could convey information to the construction team (Yehuda, 2004). We are able to communicate the idea through computerisation to clients and contractors which have now been the most common way to portray ideas and concepts. On the other hand, computation allows architects

to test for limitations before it is constructed; using smaller models. Using computation, Frank Gehry was able to test the concept of acoustics in his design. The geometry of the building allowed it to be acoustically defined; one of the main features of the concert hall. Ultimately, computerisation and computation gives the opportunity to designers to produce what could not analysed by a human, through the involvement of complex mathematics (Terizidis, 2006).

Fig. 13) Original sketch (top) Fig. 14) Algorithmic sketch (middle) Fig. 15) Advanced algorithmic sketch (bottom)

COMOPOSITION/GENERATION As the world spins and time passes, there are changes occurring around the world. One of them being technology, especially the kind that affects our future human spaces.

modelling is a more complicated concept than just using your computer instead of the traditional drawing board. It follows specific operations that are monotone and repetitive which are algorithms (Jaraslow CeborIn the past, architecture was deski, 2010). “Parametric modelsigned using drawings by hand, ling has also made its way into but now, the use of computers projects through the scripting and digital tools overcome the interfaces of software packages” difficulties of precision. Comput- which allows designers to write erisation became popular provid- codes that automate parts of the ed the transition from transfersoftware (Daniel Davis, 2013). ring pen and paper to data on the computer. It increased productiv- There have been countless ity and efficiency and soon after amounts of positive news around that came computation. architectural computing, such as its efficiency and its level Now designers are equipped with of control, but there are also a tool that has changed the way some downfalls to it too. Startof designing to a level that exing with its aesthetics, it may be presses architecture through not hard for the public to admire only the visual design, but the a design as its very subjective. inclusion of algorithm. CompuArchitects may find it difficult to tational architecture has the abil- justify what may be considered ity to describe various disciplines an architectural “blob” to othsuch as functionality, organisaers (Meyer, 2010). Also, another tion and the implementation of down side is that there is a lack computer systems (Cory Janssen, of knowledge of architectural 2010). computation to the broader community that needs to be commuLike any other technology such nicated by the experts. Even so, as electronic devices, we have there are many more advantages followed through and evolved that overrides the drawbacks. with them, just like what designers have done; accepting a new method of designing. Parametric

SMITHSONIAN INSTITUTION WASHINGTON DC, Foster + Partners The Smithsonian Institution in Washington DC was established in 1846 and is now considered to be one of the largest museum complex, with 20 museums. In 2008, Foster + Partners worked on a project for the National Portrait Gallery and the Smithsonian American Art Museum, which was built between 1836 and 1867 (Foster and Partners, 2007). The team was prompted to “transform the public’s experience” within the building’s grand central courtyard in which they designed “one of the largest event spaces in Washington (Foster and Partners, 2007). The courtyard of the museum is designed to be the centrepiece and within it, there are many facilities that create the space as a unique area for the community to come together. This includes contemporary interactive displays, a conservation laboratory, an auditorium and an exhibition place. The space hosts social events as well as concerts or public performances. The roof over the courtyard has a “fluid form” which is structurally composed of three interconnected vaults; flowing into one another through softly curved valleys (Foster and Partners, 2007). 20

This fluid like structure is formed using geometry from square shapes that have implications for the glazing. This has allowed using material, such as glass, to form a unique shape, unlike flat glass panels that would never have me the four structural members (Hunter, 2008). This is why using the method of generation through computation is so beneficial. How the glass works with the structural members is that the mid point of the glass touches the mid-point of the geometric surface, with straight edges meeting the structural beam which has been calculated as “best fit” (Hunter, 2008). Foster +Partners were able to create renders that allowd them to explore the different outcomes. An example of this were the glazing panels used. They found that fritted glass was best as it kept the light natural as it passes through the roof; softening the light. This strategy was also used to define more intimate moments in the space. They also looked into acoustic factors as the existing walls were stone; therefore the roof became an “acoustically transformative device” (Hunter, 2008).

Fig. 16) Close up of roof (top) FIg. 17) Final project (bottom)

EUREKA PAVILION NEX NEX architecture worked on a project that reflected the Eureka Garden, where specific plant species were picked to reflect their benefits to the society as well as their medicinal, commercial and industrial purposes (Lomholt, 2011). This project was to emphasise the fact that we as humans do not dominate the environment, as we could not survive without them. NEX was able to come up with a design that reflected the same theme as The main branches of the pavilthe garden; calling it the Eureka ion are made of wooden spruce Pavilion. panels that are interconnected to create a central support system. They researched and looked Whereas the smaller wooden into the cellular structure of the cells are placed into the spaces; plants and their growing promimicking the ‘Epidermal cellucesses that was also portrayed lar’ structure of the leaf (Michler, through their design develop2011). There are also plastic ment. This is an example of bio-mimicry architecture, where strips that represent the internal cells of the leaf which are coiled the pavilion was focused on a into round forms, in which design development based on also diffuses any daylight that a leaf. The final structure had may enter through the pavilion; been designed using computer giving off the sense of intimacy algorithms that “mimic natural growth” (Lomholt, 2011). Before (Michler, 2011). One of the main features is the covered glass the final, there had been the use of 3D modelling that were made roof has a role in which it channels rainwater through to the in order to test its architectural and structural needs. While spe- pavilion’s veins into the ground. NEX was able to design this cialist fabricators analysed the digital manufacturing of the leaf pavilion with a purpose for visitors to experience the pattern of structure. a biological structure at a larger and unfamiliar scale.

Incorporating multiple aspects of computation, generation, sustainability and bio-mimicry, NEX was able to design something innovative and soon change the architecture for the better.

Fig. 18) Final (top left) Fig. 19) Algorithmic sketch (top right) Fig. 20) Inside the pavilion (bottom)

A4.

CONCLUSION In the past few weeks I have already learnt so much about a side of architecture that I wasnâ&#x20AC;&#x2122;t familiar with. I came to realise that computation in architecture is a design tool that has progressively taken over our traditional methods of architectural designing. Some may think negatively of this, but I see it as a leap and learning curve to improve on our designs that have a positive effect to our world in architecture. Although it may not be completely approved by all designers, it is evident that computation provides our future with great benefits such as efficiency and specificity. My intended design approach has been influenced by all the ideas and concepts that I have gathered thus far. I have gained the foundation knowledge of computation designing and how it has become such a powerful tool in the design world. I can see how I will be able to control my design at various scales in order to produce my ideas concept and ideas at its best. Studio Air will greatly challenge me this semester. Innovative ideas and designs will be able to appear and produced through the use of technology. It is exciting to discover what more and how much further computation in architecture can be stretched to.

A5.

LEARNING OUTCOMES

Analysing and learning about the theory of architectural computing has brought much more knowledge to my understanding of what it really is. It allowed me to explore the concepts and later apply it to various architectural precedents. I was able to see through the difficulties but was also engaged with how it can be applied to my own work and the way I am able to express my concepts using it as a method for my creativity and innovations. In my previous work, I was only really thought of simplicity;

following the idea of “Less is more” from Mies van der Rohe, but I can see now that complicated designs does not necessarily have to be as difficult as I had imagined it to be. I can see now how involving architectural computing could have enhanced or aided in the construction of it. I am now excited to discover more in Studio Air and experiment with Grasshopper to learn more about computation that will be introduced in my future designs.

“Less is a bore” Robert Venturi

A6.

APPENDIX

These are the few examples that I enjoyed exploring. Not only did I use our tutorial videos for help, but I was also able to research using resource such as the grasshopper 3D forum and watching various YouTube videos. I included the first image because this was my first time using grasshopper. I was able to create this without knowing the outcome and what I was about to create. It turned out very random yet interesting at the same time. All the surfaces were rotated at various angles and look unplanned. In contrast to the second image, it was more tamed and by this time, I had a better understanding of grasshopper. The way I was able to have so much control over the form of the surface was incredible. I now have the foundation knowledge of grasshopper that will help me create a design for the brief. I would want to take advantage of creating wave-like forms in order to mimic the flow of the creek.

References Ceborski, J. (2015). Introduction: Parametric design. Rethinking Architecture. Retrieved 8 August 2015, from http://www.rethinking-architecture.com/introduction-parametric-design,354/ Davis, D. (2013). A History of Parametric – Daniel Davis. Danieldavis.com. Retrieved 10 August 2015, from http://www.danieldavis.com/a-history-of-parametric/ Designboom,. (2010). soumaya museum by fernando romero architects. Retrieved 12 August 2015, from http:// www.designboom.com/architecture/soumaya-museum-by-fernando-romero-architects/ Fleischmann, M., & Menges, A. (2011). ICD/ITKE Research Pavilion: A Case Study of Multi-disciplinary Collaborative Computational Design. Computational Design Modelling, 239-248. doi:10.1007/978-3-642-23435-4_27 Foster and Partners,. (2007). Smithsonian Institution | Projects | Foster + Partners. Retrieved 12 August 2015, from http://www.fosterandpartners.com/projects/smithsonian-institution/ Hunter, W. (2008). Foster & Partners solves a roofing condundrum at Washington DC’s Smithsonian. Building Design. Retrieved 12 August 2015, from http://www.bdonline.co.uk/foster-and-partners-solves-a-roofing-condundrum-at-washington-dc%E2%80%99s-smithsonian/3110742.article Janssen, C. (2010). What is Computer Architecture? - Definition from Techopedia. Techopedia.com. Retrieved 7 August 2015, from http://www.techopedia.com/definition/26757/computer-architecture Kalay, Y. (2004). Architecture's new media. Cambridge, Mass.: MIT Press. Lawson, B. (1999). ’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger (3rd ed., pp. 174-179). New York: ACM Press. Lomholt, I. (2011). Eureka Pavilion, Chelsea Flower Show Building - e-architect. e-architect. Retrieved 12 August 2015, from http://www.e-architect.co.uk/london/eureka-pavilion Menges, A. (2010). achimmenges.net - Achim Menges Design Research Architecture Product Design. Achimmenges.net. Retrieved 3 August 2015, from http://www.achimmenges.net/?p=4443 Meyer, A. (2010). Style and the Pretense of ‘Parametric’ Architecture’. Adam Nathaniel Meyer. Retrieved 10 August 2015, from http://adamnathanielmayer.blogspot.com/2010/06/styleandpretenseof-parametric.html Michler, A. (2015). Beautiful Times Eureka Pavilion Mimics the Structure of a Leaf. Inhabitat. Retrieved 12 August 2015, from http://inhabitat.com/beautiful-times-eureka-pavilion-mimics-the-cellular-structure-of-plants/2/ Oxman, R., & Oxman, R. (2014). heories of the Digital in Architecture (pp. 1-10). London: New York: Routledge. Peters, B., & De Kestelier, X. Computation works. Terzidis, K. (2006). Algorithmic architecture. Oxford: Architectural Press. Zaha Hadid Architects,. (2014). Nanjing International Youth Cultural Centre - Architecture - Zaha Hadid Architects. Retrieved 3 August 2015, from http://www.zaha-hadid.com/architecture/nanjing-culture-conferencecentre/

â&#x20AC;&#x153;Working digitally enables movement from one representational format to another.â&#x20AC;? (Iwamoto, 2009)

Part B.

B.1. RESEARCH FIELD

TESSELLATION There are many algorithmic methods that create the various forms of design, one of which is tessellation. Tessellation is a “collection of shapes that fit together without gaps or overlaps to cover the mathematical plane” (Fathauer, 2004). Historically, tessellation was discovered as art for many around the world such as the Egyptians, Greeks, Japanese and more, although the kinds of shapes and colours differ in each culture (Bareiss, 2010). Tessellation has been around for centuries and is still very prevalent till today. It has been used differently from the traditional twodimensional artworks that were used for decoration (Fathauer, 2004). It has been quite recent that the study of tessellation in mathematics has been of interest, with the contribution of M.C. Escher. M.C. Escher was a Dutch artist who respected and appreciated mathematicians, scientist and crystallographers (Bareiss, 2010). His art is admired by millions of people all around the world. One of his most impressive works is his so-called “impossible constructions” Ascending and Descending. Another one of his

famous artworks was ‘Metmorphosis’. The concept of this was to morph one image into a tessellated pattern that gradually alters the outlines of the pattern to become a completely different image. It is a woodcut print that begins with a coastal town on the left and later morphs into a tessellated pattern of three dimensional blocks to a cartoon-like figure. In relation to tessellation and computational designing, it is possible to generate a new form with the surface of tessellated geometry that can be changed for the concern of architectural design. Using the idea of tessellation, I have come up with a brief that will incorporate not only the environment but also have the ability to unite a social aspect as well. The idea is to enhance the current fish ladder of Coburg Lake and to create an interactive culture with the environment and the users of the park which will form better engagement. The concern that I have for the fabrication is how I can produce the tessellated pattern into an extruded form. Iwamoto (2009) discuss how

digital technologies have revitalised the design’s interest in tessellation and patterning as they provide greater variation and modulation through nonstandard manufacturing. “Working digitally enables movement from one representational format to another” (Iwamoto, 2009). It enables fluid fabrication processes, while reducing the labour of taking a type of design medium and turning it to another.

Fig. 1) Ascending and Descending (above) Fig. 2) Metamorphosis (top. next pg.) Fig. 3) Fish tessellation (mid-left, next pg.) Fig. 4) Birds tessellation (mid-right, next pg.) Fig. 5) Triangle tessellations (bottom, next pg.)

VOLTADOM - SKYLAR TIBBIT

VOLTADOM Skylar Tibbits The Voltadom was ceated for the celebration of the 150th Anniversary of MIT, the Massachusetts Institute of Technology and the FAST Arts Festival. The Voltadom is installed in the space of a hallway betwen buildings 56 and 66 of MIT campus (Lopes, 2008). The vaults are reminiscent of more characteristic constructive way of historical cathedrals, The project features apertures that become a boundary which filters light entering the space and also gives some sort of view of the exterior. There is a â&#x20AC;&#x153;panel surface that increases the depth of a doubly curved vaulted surrface, while maintaining the relative ease of manufacture and assemblyâ&#x20AC;? (Lopes, 2008). Installations demonstrate how the tools of technology, invention and fantasy can transform the physical environment in outstanding ways. The installations also resembles a cell group that multiplies and expands into a relationship between cells to build the solid border Minner, 2011).

B.2. CASE STUDY 1.0 - VoltaDom

P = 10 S=3

Vmax = 1.0 U no. = 10 V no. = 10 36

P = 22 S=3

P = 10 S=9 Vmin = 0.0

P = 35 S = 10 CR = 0.41

P=6 U no. = 4 V no. = 10

P = 19 CR = 1.0 Vmax = 0.4

P=6 U no. = 4 V no. = 10

Here I kept the grasshopper d’efinition the same, and changed what I could vary in the current definition.

P=9 Vmax = 0.4 Vmin = 0.8

P = 14 U no. = 10 V no. = 1

P=7 S=5 Vmax = 0.8 Vmin = 0.6

P=6 U no. = 8 V no. = 2

P = Points S = Seed CR = Cone Radius Vmax Vmin U no. = U Number V no. = V Number

To the surface I used the component “surface domain number” and used “panel connections. This created triangular panels that formed an positive and negative pattern; where every second triangular panel was missing.

A=3 P = 10 S=7

R = 0.18 L = 0.34 U co. = 5 V co. = 6 38

A = 3.6 P=5 S=7

R = 0.18 L = 0.34 U co. = 5 V co. = 6

A = 4.5 P = 13 S=9

A = 0.36 P = 28 S=9

R = 0.6 L = 0.3 P=5

R = 0.2 U co. = 17 V co. = 6 P=4

Using the “rotate axis” and changing the current variables. The rotation made another copy of the other one.

A = 5.2 Vmin = 0.0 HR = 2

A = 5.2 RA = changed direction

R = 0.5 L = 0.5 U co. = 17 V co. = 6

A = Angle S = Seed P = Points CR = Cone Radius Vmin HR = Height Ratio RA = Rotation Axis R = Radius U co. = U Count V co. = V Count L = Length R = Radius

I used “boundary curve” and “divide surface”. I was able to place small cones on the surface of the origianl definition. I oriented the cones so that they looked like they were coming out of the object. 39

SELECTION CRITERIA

CRITERIA Resting areas Organic forms

Allow fish to swim ar

Allow water to run th

I chose these outcomes becasue they represented the best outcomes for my brief. The four designs allow fish to travel between each component which will later allow them to tavel upstream which is the purpose of the design. All four of these has their own pros and cons but can also be further developed to maximise its design potential for not only the benefit for the fish, but also the community. 40

Allows fish to migrat Rounded edges

Gradual increase in h

round

hrough

te upstream

height

* * ** ** * * *

* * * ** *

*** ** * * ** ** **

*** ** * * ** ** ***

Good (*)

Very good (**)

Excellent (***)

HOLOCAUST MEMORIAL - BERLIN Peter Eisenman

This is a memorial in Berlin to the Jewish victims of the Holocaust, designed by Peter Eisenman, was finished in December 2004. It consists of a site covered with 2.711 concrete slabs, varying in heights. Based on Eisenmanâ&#x20AC;&#x2122;s intent, the stelae are designed to produce uneasiness and creates an uneasy atmosphere (Craven, 2011). The whole sculpture aims to represent a supposedly ordered system that lost touch with human reason. Although it has been criticized for not including names of victims or the number of people killed, architecture critic, Nicolai Ouroussoff thinks differently, claiming the memorial is able to convey the Holocaustâ&#x20AC;&#x2122;s horrors without going too in-depth with sentimentality (Brody, 2012).

B.3. Case Study 2.0 Reverse Engineering - Holocaust Memoria

Step 1:

Step 2:

Ste

Firstly, I started off with using ‘series’ to create the grid and have better control.

I included 14 points on the x and y axis and cross referenced the points and added the rectangle component to the center of the points.

Id wo the

Step 5:

Step 6:

Ste

Using ‘extrude’, the rectangles are formed into prisms.

I then referenced the curve to the ‘curve closest point’ which affects the height of the rectangular prisms.

The diff wil of t

ep 3:

Step 4:

drew a curve onto the plane that ould later affect the heights of e prisms.

The curve on Rhino was referenced as a curve component on grasshopper.

ep 7:

e curve can be changed to fferent lengths and shapes that ll change the height variations the prisms.

“Showing how abstraction can be the most powerful too complexities of human emotion.”

The differences between the Holocaust Memorial and the reverse engineered is that I was not able to control each row or column with varying heights. I used a curve that would affect the height levels of each prism, but this was only one curve. The reverse engineered image shows a gradual increase or decrease in heights, whereas Peter Eisenman’s show a some that are higher and lower next to one another. If I could change the shape of the curve or use another funtion, then maybe it could be more randomised.

ol for conveying the

B.4. Technique: Development SERIES 1: Using the original reversed engineered rectangular prisms, I changed the curve that shape that was connected to the component “curve closest point”. The length and shape of curve was changed, also the height of the prisms. SERIES 2: Instead of using the rectangular base shape, I used a circle. I changed the radius each time and also changed the shape of the curve afffecting its varied heights.

SERIES 3: I then included the component “cull” in which gave it various patterns. Changing the patter to Trues and Falses gave me a range of different layout options, combining the “curve closest point” component to give it more diversity.

SERIES 4: I used the component “random” this time in order to get the various circle sizes. The height, domain start and domain end was all varied.

SERIES 5: Following through with the previous series, I added a curve to manipulate the heights with the different sized circles.

SERIES 6: By manipulating the circles’ radius, it was able to form a topographical form that can be seen in the third iteration.

SERIES 7: I kept the top shape as a circle and made the bottom shape a rectangle. This ceated a twisted loft.

SERIES 8: I drew up an organic shape to replace the circle; creating various twists. I also played around with rotation that gave the fifth iteration a different top shape orientation.

SERIES 9: Using random again so that the sizes of the prisms arenâ&#x20AC;&#x2122;t similar throughout.

SELECTION CRITERIA

Using this idea of randomising the layout of the extruded forrms. they will eventually portray what will become of the stepping stones and act as a step ladder for the fish at merri creek. I like the idea of having these different sized forms that also vary in height too. This is the diversity that youâ&#x20AC;&#x2122;d get with natural formed rocks as well.

Changing the extruded forms into a rounded shape gives it more of a organic and friendlier expression. This can be relevant to the fish environment rounded forms would be moe ideal for the fish .

The rounded edges create a friendly fish environment and becasue of the layering patterning that is occurring, this forms an ideal step like recreation of steps that the fish would be able to use to swim upstream. It is very similar to a topographical model.

The iterations serves as a basis of architecture and design, however some are not ideal to the project. Creating so many iterations allowed me to explore the variances and a method of how I could be working with it. I am able to take out small propotion of ideas from each iteration and apply it to the knowledge of my brief. Although there may seem to be some restiction or qualities that I must apply to and consider for the fish ladder, I will be able to reproduce a concept that comes through the initial explorations of case study 1 and 2.

B.5. Technique: Prototypes PROTOTYPE 1

From tessellation, I have slowly morphed the idea with patterning, which can be seen in this prototype. Laser cutting semi circular pieces of MDF that were 3mm thick and a spine for them to be slotted into, allowed me to create a three dimensional effect at the same time. The small and large pieces creates a stepping effect for the purpose of the fish ladder which is required in the brief. Each platform fit directly into a tooth of the spine that holds it securely too. This is also a reminder of thetopography within the site. The spine gradually decreases its length according to the size of the platform. Using this idea, I want to be able to create multiple extruded forms that will enhance the fish ladder and attract a social aspect to the river too. The assembly sequence can be changed, according to the pattern form desired. As each semicircle is either slighty larger or smaller than the other.

PROTOTYPE 2

Similar to the first prototype, this one has a spine with a platforms too. The platforms create a pattern and can easily be changed. It is still an extrusion with different platforms of all the same sizes. In relation to the brief, there are gradual steps that are created using the rectangular shaped platforms. The rectangles overlap each other so that none af the platforms can be placed next to one another. This is just one example of pattterning that can be persformed using the rectangular pieces. I can further develop this by creating more patterns; inserting them in different positions. Becasue this is a temporary joining method, I am able to slot the platforms to create a another pattern facade. The very base platform is the largest with three thin slots that fit the bottom of the spine perfectly. This prevents the whole model from colapsing. 59

PROTOTYPE 3

My third prototype was using perspex. I laser cut square pieces that had eight holes through it on the edge. Using bolts and nuts, I was able to join the perspexes together, creating an extrusion. The nuts were used to vary the pieces of perspex at different levels as it had the ability to restrict movement. As seen on the bottom level, I stacked a couple of them together, whereas the top level had gaps in between all of them. The gaps would allow water and fish to pass through between them too. The structure is fairly rigid as it has all the nuts and bots attached on each platform to stop it from collapsing. 60

TECHNIQUE PROPOSAL Site Analysis

Site map, Coburg Lake and Fish Ladder

When I arrived at Merri Creek which was right next to Coburg Lake, I discovered an area of interest which was the existing fish ladder. Next to the fish ladder was a weir and after further investigating about fish ladders, I found its purpose for being there was due to the weir and to improve on the ecosystem of Merri Creek. The fish ladder resembled a gently sloping stream with a series of rocky ponds which is designed to help the fish migrate up and downstream along the Merri Creek.

Over the lake, on the other side of the fish ladder, there is a social area where there is a playground for families to relax at. I realised that this was unfortunate as the fish ladder is not very obvious. This is why my design brief is to enhance the existing fish ladder, in order to draw the attention of the users and bring a social aspect to the lake area. In conjunction, creating an interactive environment with the purpose of educating people about the fish ladder.

Bridge and Fish Ladder Layout Merri Creek /Coburg Lake

KEY: Playground/Social area

42 43 44

Fish ladder

45 46

Area of interest

47 48

Artificial Island Current Weir

49 0

I saw an opportunity to design something that could link a social area, to the other side of the river that curently does not receive as many users to notice the fish ladder. Due to the weir at Coburg Lake, it creates a physical barrier that may block the activity of the fish to swim upstream due to their slow swim speeds or behavioural characteristics. Although, a positive is that hydrologists and enginees engage wit hthe weir to collect data of flow rate from the river. Weir at Coburg Lake

30 m

Natural Bypasses or Fish Ladders This design looks much like a natural stream and has the ability to move all species when designed properly. A stream channel using natural materials is designed to bypass a barrier. It can replace lost stream rapids areas from impoundment, can provide replacement stream habitat, and can be used on any sized river but does require the most space to properly site it (Michigan.gov, 2015).

This is a photograph of the current fish ladder at Coburg Lake.

Need for Fish Ladders: It is found that 70% of native fish to Victoria needs to migrate between freshwater and marine environments (Cadwaller, 1983). The reason for fish ladders are due to their reproduction cycle, spawning migration, colonisation, avoiding predation, search for food and more. There are also chemical barriers such Short finned eel 1.1 m as water quality that affect the fish, as well as the flow conditions from physical barriers like dams and weirs (Finger, 1998). There are many fish species that inhabit the Merri Creek at the moment and all have to be considered when designing a piece of the fish ladder. Common Galaxias 40-120 mm

NAME

STATUS

Short-finned eel

Common

Broad-finned galaxias

Potentially threatened

Common galaxias

Common

Pouched lamprey

Potentially threatened

Short-headed lamprey

Common

Tupong

Common

Australian smelt

Common

Table of inhabitants of Merri Creek

COBURG RIVER FLOW The highest flow rate last year waas 1100 ml/day. (Melbourne Water, 2015)

COBURG RIVER LEVEL Max - 1.27 m Min - 0.45 m Mean - 0.78 m (Melbourne Water, 2015)

Center of Coburg Lake

TECHNIQUE PROPOSAL In my design proposal, I want to create froms that will compliment the existing fish ladder to enhance it in a way where users of the area will notice it more. I also want to design an area in the middle of the lake, like a pier, where users ae able to see the fish ladder and find a relaxing moment to rest or meditate. Using the this idea of layering and creating this extruded form, it will give height to my design which is require as it will go into the water. Looking both techniques, they are fairly similar with its layered technique with a centre point that can become a peep hole to look down into the lake.

PRECEDENT - LAKE HARKORT

Aerial view of Lake Harkort

Lake Harkort begins in the tailwater of the weir at Stiftsm端hle in Germany. The weir has four openings with roller gates and is located underneath the Ruhr bridge. A hydropower plant and a lock are situated approximately 800 metres downstream, fed by an outlet channel. In 2004, a natural fish ladder was put into operation near the power plant, enabling fish to pass from the River Ruhr into Lake Harkort (Ruhrverband, 2012). The type of fish ladder that is being used at Lake Harkorrt, is called the dispersed/ cascaded construction (boulder bar construction). This is where the slopes are broken by boulder bars forming basins which can be left to their own dynamics to form pools that becomes a great structural variety. Another positive is that the construction has low costs to it (Beach, 2002).

Lake Harkort fish ladder

Boulder bar construction style

Looking at this fish ladder asa precedent, gives me ideas to achieve my design brief to enhance the existing fish ladder at Merri Creek. Forming basins in relationship to the form of my design would be useful as it can act as a resting area for the fish.

LEARNING OBJECTIVE AND OUTCOMES The work produced in Part B allowed me to experiment with a variety of ways to generate mass amount of design possibilities from one given grasshopper definition. The first case study of the Voltadom was very useful as I was able to generate a wide range of iterations that looked very different from one another. This gave me an initial experience of how many variances could be changed in order for a new created product. Additionally, case study two was the reverse engineering activity that allowed me to change the existing form using a point or points connected to a curve. In doing so, I change the length and shape of the curve to extract a variance in the layout of the blocks. I further changed the extruded forms and gave them a different shape for more species to explore with. The prototypes further explores the idea of my extruded forms. I laser cut separate platforms with different shapes with the material of MDF and perspex. This enabled me to seek out variances joints that could be used. My first two prototypes were using the joinery idea of slotting pieces into a spine like piece. Whereas my third prototype uses bolts and nuts. These techniques aided my grasshopper creations of layering and extrusion. Initially my idea was to enhance the fish ladder and create a bridge that would link both ends of the lake. After the interim presentation, I was given feedback and found that instead of a bridge, I could design a platform that would be placed in the centre of Coburg lake, right by the opening of the lake. This have the attention of the users and also draw attention to the fish ladder. This module as a whole has been a wide exploration including algorithmic sketches to demonstrate the ability to create and manipulate a design in grasshopper.

EVALUATING FIELDS With fractal patterning, it was easy to manipulate and change the shape of it becasue it was simply producing ones with different sides. They looked different at various angles and in some situations it was just deleting the unwanted sections. Below I was able to play with multiple things. Such as the radius of the circle and the number of points. This would affect the density of the circles. The more points meant the more dense it became.

B.8. APPENDIX ALGORITHMIC SKETCHES These past few exercises of the algorithmic sketches have been useful in developing my skills in grasshopper. It really helped me out when it came to creating the various species and iterations.

The bottome image was a recreation of a chair like figure with patterns cut through it. I was then able to place a pattern of circles that also made a copy og the same form.

The top few images were created using two bubble images over laying each other. I was able to control the sizes of the circles to create those patterns. The middle image was a bit of a three dimensional image where the tope layer have smaller circles that are lofted together with the bottom larger circles.

References Bareiss, S. (2010). Tessellations - The Beginnings. Tessellations.org. Retrieved 2 September 2015, from http:// www.tessellations.org/tess-beginnings.shtml

Beach, M. (2002). Fish pass design. Lowenstoft: Ministry of Agriculture, Fisheries and Food, Directorate of Fisheries Research. Brody, Richard. ‘The Inadequacy Of Berlin’S “Memorial To The Murdered Jews Of Europe’. The New Yorker 2012. Web. 18 Sept. 2015. Cadwaller, P.L. & G.N. Backhouse. (1983). A guide to the freshwater fish of Victoria. Fisheries & Wildlife Division. Victorian Government Printer: Melbourne. Craven, Jackie. ‘Peter Eisenman’s Controversial Holocaust Memorial’. About.com Home. N.p., 2011. Web. 18 Sept. 2015. Fathauer, R. (2004). Tessellation Art. Retrieved 15 September 2015, from http://mathartfun.com/shopsite_sc/ store/html/Art/TessellationArt.html Finger, L. (1998). Coburg Lake Fish Ladder Feasibility. Iwamoto, L. (2009). Digital fabrications. New York: Princeton Architectural Press. Lopes, L. (2013). Voltadom by Skylar Tibbits. Retrieved 4 September 2015, from http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/ Michigan.gov,. (2015). DNR - What is a Fish Ladder and Weir?. Retrieved 23 September 2015, from http://www. michigan.gov/dnr/0,4570,7-153-10364_52259_19092-46291--,00.html Minner, K. (2011). FAST Light at MIT. ArchDaily. Retrieved 15 September 2015, from http://www.archdaily. com/121276/fast-light-at-mit Ruhrverband,. (2012). Ruhrverband: Lake Harkort. Retrieved 23 September 2015, from http://www.ruhrverband. de/en/fluesse-seen/stauseen/harkortsee/

DETAILED DESIGN

Part C. 73

h Ladder Layout FINAL SITE ANALYSIS oburg Lake I have decided to enhance the fish ladder by creating

a design that will help the inhabitants of Merri Creek to travel upper stream and also incorporate a social aspect by having it interactive friendly with users. This is due to the current situation, where the playground is on the opposite end of the river and the current fish ladder is neglected, therefore I want the new design to bring the users to both sides of the park.

THE CONCEPT

I want the design to create a lively atmoshpere on the 42 other end of the river. Majority of the users donâ&#x20AC;&#x2122;t ever 43 notice the fish ladder as they only stay on the 44one end 45 of the park where the playground is. With an interac46 tive design, I hope that people are more47 aware of the area, and can also become educational at the same 48 time. The users will have both ends of the park to play and explore.

KEY: Playground/Social area Fish ladder

LEGEND

Area of interest

Fish Ladder implementtationArtificial Island Playground

Current Weir

Area of interest

Artificial Island 49

Weir

GRASSHOPPER TECHNIQUE

Creating a grid and replacing them with circles. I then manilpulated the circles by using the component â&#x20AC;&#x153;randomâ&#x20AC;? this time in order to get the various circle sizes. The height, domain start and domain end was all varied. I later added a curve to manipulate the heights with the different sized circles.

Grasshopper definition 77

CLUSTER MEASUREMENTS CLUSTER MEASUREMENTS Cluster Cluster 2 2

Cluster 11 Cluster 5m 5m

Cluster 33 Cluster

3m 3m

1m 1m

1m 1m 2m 2m

2m 2m

0.5m 0.5m

1m 1m 2m 2m

0.5m 1m 1m

3m 3m

From the grid of circles created on Grasshopper, I have extracted specic areas to create the clusters. Each cluster has its own purpose. Cluster 1: - Made wide enough for people to walk along and tall enough so that the water level is unable to reach Cluster 2: - Smaller than Cluster 1 and users are only able to go on top if water level doesnâ&#x20AC;&#x2122;t reach their height. Some of Cluster 2 will reveal their rock pools when the water level is low enough Cluster 3: - These are the smallest clusters that have rock pools and are rarely seen, unless the water level is very low.

CLUSTER MEASUREMENTS The height of the thress cluster is important in the design because of their purpose. The range of height determines what it can or canâ&#x20AC;&#x2122;t do. All the clusters have the same funtion of slowing down the water flow and is used for the purpose of a fish ladder, although because of what I wanted to achieve through the design, to create something interactive for both humans and the inhabitants of Merri Creek, their heights can be determined due to their functions.

top of them and also allow enouh room to walk along it. For Cluster 2, we can see that it is shorter than the first cluster and does not have much surface areasto act as a platform for the users as the other cluster. This will deter the users from using it as a platform only if the watr level gets too high. For Cluster 3, it becomes too short to be a platform for users to use, therefore it only acts as a fish ladder; slowing the water down, and creating resting areas for the fish.

As seen in the diagrams to the left and right that display their dimensions, it is possible to CLUSTER HEIGHT MEASUREMENTS see that Clusters 1 will allow peole to stand on

Cluster 1 1 Cluster 1.5m 1.5m

1.2m 1.2m

Cluster 2 2 Cluster

0.8m 0.8m

0.6m 0.6m

Cluster Cluster 3 3

0.5m 0.5m

0.4m 0.4m

0.9m 0.9m

LAYOUT OF MERRI CREEK FISH LADDER LAYOUT OFMERRI MERRI CREEK LADDDER LAYOUT OF CREEK FISHFISH LADDER CLUSTER 2

CLUSTER 1

FISH LADDER KEY FISH LADDER KEY Cluster 1

5m gradient of 1:20 3m - It is a fish friendly CLUSTER 2 CLUSTER 1 - The fishway occupies 60 metres downstr 5m 3m - Consistent gap of 5 metres 2m 2m

Cluster 1 Cluster 2 2m

Cluster 2 Cluster 3 80

Cluster 3

2m 3m

1m 1m

N 1

Using the precedent in Part B of Lake Harkort, CLUSTER 3 I was able to derive a couple of rules to follow 1mdesigning the fish ladder. An obvious when rule was its consitency after each cluster which I also embedded 1m within my design layout.

ream 2m

It also used the large boulders as resting areas on the other end, so that the fish would have a place to rest before the swim up to the next cluster. 0.5m

0.5m

SITE SECTIONS

Section A

Section B

8m 83

HOW DOES THE FISH LADDER WORK?

All the clusters are made so that they have a gap in between each layer. This allows the water to run through it and slows down the processs of the river flow. It is not big enough to allow the fish to swim through it though.

Because the gaps donâ&#x20AC;&#x2122;t allow for the fish to swim through, nels through them that allow throguh when the flow of the heavy.

The layers eventully build up to be a platform for users of the park, especially the ones of Cluster 1 and 2, otherwise Cluster 3 have rock pools on top.

This allows the fish to be mor ming upstream, instead of ha around it when it isnâ&#x20AC;&#x2122;t require

enough room there are tunw the fish to swim e water is not too

re efficient; swimaving to swim ed to.

As the fish swim upwards, the clusters also act like a barrier in order for the fish to rest at each cluster before the continue swimming upstream to rest at another cluster. The highlighted red ovals show the resting areas that the fish would stay after their journey, travelling upstream.

Top Left: Short finned eel: 1.1m Top Right: Common galaxias: 40 â&#x20AC;&#x201C; 120mm Bottom Left: Tupong Bottom Right: Pouched lamprey

FISH INTERACTION There are many different kinds of fish living in the Merri Creek. The lagerst being the Short finned eel whih can come to 1.1 metres long, to the smallest, being the Common galaxias, coming to 40 to 120 millimetres short. All of these various fish can use the fish ladder as a resting area or take advantage of the different sized tunnels, depending on the water flow. All have the ability to swim through it.

WATER LEVELS

(Melbourne Water, 2014)

Maximum water level – 1.27 m

Mean water level – 0.78 m

Minimum water level – 1.27 m 88

THE REVEAL When the water levels fall below 0.8 metres, the revealing of the rock pools beign. This is designed in a way to attract the users and give them something to look and and maybe learn from. If the water falls below 0.5 metres. then Cluster 3 is revealed too.

FABRICATION - LASER CUT

Cluster 1

Cluster 2 and Cluster 3

Joining pieces 91

JOINERY

The joining of the design requires not only the platforms but also the joining component which is displayed on the diagram on the right. Each of the platform is inserted into the joinery bar, between each. The joinery bar acts as a spine that holds each platform together, sandwiching between each platfrom. The platforms rand in shapes and are cut uniquely due to the tunnels that run through them.

Initially, I thought of making the material of the fish ladder timber, because it is a natural material and will have a natural look to it. ALthough, after the final presentation, I received feedback about thinking of choosing another material that would last longer and is more durable. 95

5 Years

10 Years

15 Years

MATERIALITY Moss and algae will eventually grow on both the timber and concrete, but due to the durability of concrete, i have decided to use it for the design. As depicted in the diagrams on the left, the timeline shows that the timber will tend to grow more algae and moss throughout the years compared to the concrete fish ladder. It is also a safer opetion to pick concrete becasue the timber can become a safety hazard if users may slip easily due to the slippery surface. Even though there will be algae and moss growing on the concrete, the concrete may act similar to a boulder and eventually become a large rock; blending in with the enviornment.

100

INTERACTIVE FISH LADDER

101

MODEL MAKING

I layed each U shape on top of the platform that was cut from MDF material that would represent the second material of concrete.

Using the laser cut machine, I submitted my pieces for the spinal joininery bar. This used the black perspex to represent the stainless steel.

102

Some layers donâ&#x20AC;&#x2122;t require any black U pieces becasue as each layer is stuck on top, it forms the rock pool, not needing the gap in between.

Each layer is numbered, making it easier to know which goes on top of each other. a small sqaure cut out is placed within each empty square from the MDF.

103

FINAL MODELS

SCALE 1:200

104

105

SCALE 1:10

106

107

SCALE 1:10

108

109

110

LEARNING OBJECTIVE AND OUTCOMES Throughout this semester, I have learnt a lot about paramtric modelling. Although, if I had more time, I would have been able to further develop my design and possibly create a more intricate form. The algorithmic tasks were a huge help to continue developing my skills as each video would teahc me something new. Both the interim and final presentation was very useful becasue I was able to gain more ideas and receive constructie criticism that helped me with improving my design. During this studio I did a lot of research regarding to fish ladders and took a lot of that research into my design. The design turned out to be a pretty simple form, but was able to work appropriately with the fish and users of Merri Creek. I have gained much more knowledge of how to make slight or large manipulations using parametric modelling which has helped me understand this new way of designing. It is not your traditional way of designing but will become the future of it. My objectives this semester was to form a better understanding about parametric modelling. Although it has been a quick semester, I believe I hve learnt quite a lot and canâ&#x20AC;&#x2122;t wait to see what more I can do with Grasshopper. it has definitely been very difficult, managing my designs that I have attempted on grasshopper, but there is one important thing I found during this time - there are many pathways or options you can take to reach the desired outcome.

111