STUDIO AIR: PART B DESIGN CRITERIA

AIR

JOURNAL B NURUL SYAHIRAH MUHAMAD STUDIO 10 ISABELLE JOOSTE 2018

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TABLE OF CONTENT

PART B: CRITERIA DESIGN B.1 RESEARCH FIELD

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B.2 CASE STUDY 1.0

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B.3 CASE STUDY 2.0

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B.4 TECHNIQUE: DEVELOPMENT

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B.5 TECHNIQUE: PROTOTYPE

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B.6 TECHNIQUE: PROPOSAL

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B.7 LEARNING OBJECTIVES AND OUTCOMES 78 B.8 APPENDIX - ALGORITHMIC SKETCHES REFERENCES

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CRITERIA DESIGN

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B.1 RESEARCH FIELD

STRIPS / FOLDING

GEOMETRY

SECTIONING

BIOMICMCRY

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• • •

• • • •

• • •

• • • •

CURVES FROM PLANAR SURFACE LONG AND LENGTHTY MIX MATERIALS

MINIMAL SURFACE RELAXATION STRECHING AND TENSIONING MATERIAL INFORMING DENSITY

• • • • •

CONTOURING SLICING STRUCTURE INTO PLANES ILLUSTRATE MOVEMENT

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MIMIC NATURE FRACTALS GROWING PATTERNS PRINCIPLES FROM NATURE 7

CREATE CURVILINEAR SURFACES ILLUSION OF GROWING OR MOVING CREATING PARTS TO CREATE THE WHOLE STRUCTURE WIDE RANGE OF MATERIAL SELECTION WEARABILITY, STRUCTURAL INTEGRITY, TEXTURE POSSIBILITIES TO COMBINE THE TECHNIQUES IN ONE STRUCTURE (EX. STRIPS AND SECTIONING)

STRIPS / FOLDING

Strips and folding is a technique in constructing a parametric designed structure. A common theme in parametric design is it looks complicated yet easy to assemble. Strips and folding is able to materialise a dynamic form while providing a possible solution using planes (curves or flat).

Moreover, the strips can be bendable or not, depends in the material use. A flexible material will have more opportunities in creating a longer strips, while a rigid material is better used with folding method. Thus, thinking with CNC routers in my design consideration, most of the materials are solid, hard and rigid. Strips and folding will give opportunities to create a sinuous form by using subtractive construction methods.

The hollow nest that I imagined will have a textured surface and is not necessarily planar. The nest will be connected to the tree in an organic look as if it is growing from the tree.

Therefore, a textured strips is the my initial idea to be used for the hollow nest.

Connections in strips and folding varies to the material and characteristic of the whole structure. Fixed and pinned joints can be used where in need, between two elements.

If there is any multiple connections at the node, there is a need of an element that able to withstand the multiple forces in directions. There might be a need to use additive construction method (i.e. 3D print) in creating the joints, if we need to use customised joint.

Strips and folding are developable by using flat panels or curved surfaces. This technique gives me freedom during concept development of my project. I can begin to create a form with angular or smooth edges or it might be a combination of both.

I also able to explore volumes in multiple ways. The solid can be opaque from one view and see-through from another view. The closeness of strips arrangement will inform the overall pattern of a solid. This can create an illusion of movement and provide selective thresholds on my structure.

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a. SHoP Architects - Botswana Innovation Hub b. Marc Fornes/TheVeryMany Double Agent White c. EPFL - Curved Folding Pavilion (In Silico Building) d. Office dA - Casa La Roca e. ICD/ITKE Research Pavilion 2010. f. Chalmers Uni Tech - Archipelago Pavilion

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B.2 CASE STUDY 1.0 SEROUSSI PAVILLION ALISA ANDRASEK A “grown� out of self-modifying patterns of vectors based on electro-magnetic fields (EMF). Strips generated that enables the object to have a 3 dimensional form. As a vector or 2 dimension, the patterns are fascinating, similar to looking down to earth surface from the sky. The vector can be still or moving. Static or dynamic. Creating the iterations will create an illusion of these vectors growing, as if it is alive. What if height and depth are given to the lines, what will happened?

How will it varies? What surface will it create?

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ITERATION 1

ITERATION 2

ITERATIONS SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

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ITERATION 3

ITERATION 5

ITERATION 4

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ITERATION 6

ITERATION 7

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ITERATION 8

ITERATION 10

ITERATION 9

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Interesting definitive shapes.

Extruding the shapes, creating steps and platforms. Climbing sitting. Put the platforms into a body of water, look like a large floating leaves, alineated leaves

Engraving the lines. Darker means deeper, creating cracks on surface. If not, using strings, strechning in tension. Coloured strings.

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Chaotic middle causing it to explode. Burning in the centre, leading it to run away through the openings (where it is densest)

A topography? A bark texture? A knot? Amphitheater? Centrality.

Orderly?

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B.3 CASE STUDY 2.0 EPFL - Curved Folding Pavilion (In Silico Building)

Surfaces from sheets of material. How am I supposed to turn these limitation into an opportunity if our brief is demanding for CNC milled solid object. Make it as a negative form. Surface turns into solid, inverted it, and force it onto a solid. How? Engraving? Subtracting? Booleaning?

Cut where it matches, and take it out. Make it like a moulding object. Mould? Can a bird nest made up from concrete/plaster poured into a timber mould?

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REVERSE ENGINEERING

Two lines repeated to make a pattern

Lines turn into planes. 8 Different angle. Angle rationalisation

Divided into 8 parts

Tesselation of the patterns

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Curves plane

After these two case study, i found that strip and folding might not be suitable for a solid based design. This technique uses strips to create a volume. Cnc milling is a subtraction process of mass into voids .

I choose this project because I am attracted to the dynamic surface product from the project. Can be use in 3 axis cnc milling. If use a strtuctural wood (layered wood on top another). The outcome might present a complicated surface texture.

Trying to boolean the surface onto a solid. Try in next development stage.

Ttranslated into positions. Intersecting planes

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PROCESS OF REVERSE ENGINEERING CREATING THE SURFACES WITH DIFFERENT ANGLE

CURVE

DIVIDE

REPEAT EIGHT TIMES - BECAUSE THERE ARE 8 DIFFERENT ANGLES BETWEEN THE TWO LOFTS

MOVE

PREP FRAME

EXPRESSION

ARC

LOFT

END

PATTERNING THE SURFACE

INTERPOLATE CURVE JOIN

CURVE

DIVIDE

MOVE

PREP FRAME

EXPRESSION

ARC

UNION BOX

LOFT END

BREP

INTERPOLATE CURVE SWEEP RAIL 2

EXPRESSION IS USED TO CALCULATE THE ANGLE OF THE SURFACES DOMAIN2

ANGLES IN DEGREE join 1 join 2 join 3 join 4 join 5 join 6 join 7 join 8

DIVIDE

CULL

160 150 140 120 100 90 70 60

VALUE

SDIVIDE SWEEP RAIL TO CREATE THE SURFACE WHERE TO PUT THE PATTERNS

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ES INTO A SYSTEM

MORPH

DISPATCH

8 ITEMS

SURFACE BOX

L

FLIP

CULL

FLIP

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B.4 TECHNIQUE: DEVELOPMENT Revisit the brief. I need to think of carving, cutting, subtracting. I am more interested to use 3axis cnc machine instead of 2axis. This is because, I want to take advantage of the 3axis router instead of reating something similar to a laser cut machine (ie 2axis cnc). 3 axis router able to give depth in a solid, creating a smoother surface and give me a chance to explore other ways of connection system (similar to furniture making)

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I dicided to learn Anemone technique, to create an effect that is similar to the Kokkugia by Robert Stuart-Smith. (next page) The reason is because I think that I can manipulate vector curve projected by anemone to create a textured surface. As of now, I might be albe tot do that using case study 2 techniques. However, there are lots of unforseen problems that I encounter when trying to make surfaces from lines. Those are: 1. Anemone curves are three dimensional. I need to find ways creating planes perpendicular or parallel to the curves.

2. Case study 2 is generating surfaces, not solid, hence Stuck for a while to boolean the surface.

3. After able to boolean, the void formed might be not poss ible to be cnc milled (3Axis) 4. I was testing using a couple of lines, what is there are hundreds of lines? What will happened? How can I use grasshopper to solve the problems in one go? What if it goes out of hand?

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DIGITAL EXPLORATION OF ANEMONE TECHNIQUE One thing to note is I must start with a mesh, a solid. A deformed solid will create a more complicated outcome.

Variables that I can play with anemone are similar to my case study 1 iteration exercise.

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Getting back with the group makes things a little bit interesting because each one of us are exploring different techniques.

Memishi: Kangaroo Haifz: Sectioning Doohon: Biomimicry Nurul: Anemone In addition to lots of other random things, either we understand how to use or does not.

After discussing, we agree to continue with my anemone to create the curve system and kangaroo for form finding.

Memishi, Hafiz and me will be focussing on the digital exploration, Doohon will be covering other things (material, fabrication, documentation) while the three of us try to find the possible form to fabricate. Fortunately, we manage to fabricate the prototype with help from outside fabricator (the queue in fab lab is too long).

The diagram to the right is our first plan on the process from digital modelling to fabrication and assembly. As the time goes, we developed a proper design approach, mainly topdown, to arrive at our final model.

My thought is, we know that we should exploit the grasshopper that approach a desgin bottom-up. There are instances that we can do that during the iteration process.

However, it is dependent on us, either we want to take the opportunities or not.

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DESIGN PROCESS PRELIMENARY DESIGN BRIEF

ANALYSIS

TECHNIQUES

PLANNING

Brief requirements, Client research, Site analysis, Learning computational design individually.

Looking for precedents (digital techniques, materiality, fabrication method, finishing)

FABRICATING

DIGITAL EXPLORATION

FORM FINDING

SURFACE TEXTURE

Criteria is limited to client preferences and analysis done on their nests.

Criteria is mimicking the eucalyptus plant grains and possibility to be CNC milled.

Technique:

Technique: We have curves. Finding ways to create surfaces from curves.

1. Conventional form finding - and distoring the shape with mesh geometry 2. Kangaroo - because the load path consideration accounted in the design. Fixed opening size and largest internal volume.

Testing: 1. Position of openings 2. Distance of opening to internal space 3. Thickness of nest 3. Surface system - Anemone The goal is to find the system that are dynamic and mimicking the natural nest surface texture system (based on images on site).

Testing: 1. Field strength 2. Attractor points 3. System density 4. Number of spin

Pla we [P Ma tea Re

Successful technique: Creating a negative form by sweep and Boolean Difference to the solid nest Testing: 1. Curve shapes 2. Curve sizes 3. Curve’s plane density 4. Rail shape (flat or straight) Other rejected techniques 1. Manipulating the vector arc: too messy, we dont know what to do next. Unable to relate the technique to next step 2. Lofting: did not find the way to orient loft a 3d rail 3. Make a wavy surface: failed to manipulate the points on anemone curves to make a continuous surface.

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FABRICATION

Criteria taking advantage of C process and knowing the stren limitation. Efficiency in materia and finishing.

Process: 1. Understand how CNC work limitations, different drills, abili surfaces at once 2. Consultation with the fabric 3. Looking at material thicknes properties 4. Looking how to cut solid int assembly in regards to mater 4. Researching on the possibl system 5. Submit for fabrication

Planning for Part C. 1. When to have final deisgn (feedback, review, consultation) 2. When to fabricate (time, cost, where)

anning for the next couple of eeks. Dividing tasks Project manager, Rhino team, aterial search, Fabrication am, Documentation team, ender, Printing, Transport]

CNC milling ngth and al usage, joints

ks, strength and ity to mill both

cator ss and

to sections for rial thickness le connection

PLANNING

CONTINUE

YES

TESTING

ASSEMBLAGE Criteria easy to assemble, strong connection and able to take it’s own load and external load Techniques : 1. Notches 2. Anchors 3. Non toxic glue 4. Dowels 5. Dominos

PROTOTYPE

REVIEW

1. Size 2. Texture 3. Look at how CNC influence the finish object 4. Feasibility of connection systems 5. Analyse the prototype, what can we do, what we cant do in regard to changes in rhino and fabrication 6. Other possibilities, opportunities

NO

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CLIENT STUDY Sacred Kingfisher Todiramphus sanctus

WING SPAN 180-230mm

LENGTH 180-230mm

HABITAT Woodland with grassy groundstorey in which to hunt

THREATS Degradation of streamside and wetland habitat.

Loss of hunting perches, including standing dead trees in open areas. Dense vegetation. Larger animals.

NEST Hollows of rotting limbs of willow trees and the trunks of Palms but the eucalypt hollows provide more durable homes. Other possible nests are a hole on river bank and termite nest. Bird use beak and claws to dig holes

SEOSANAL BIRD A migratory species. It arrives in the catchment around October and leaves in March-April. It winters in northern Australia and Indonesia

FOOD Wetlands and creeksides may provide fish, yabbies and aquatic insects. It commonly hunts from perches, using its keen eyesight to spot prey.

BREEDING A solitary bird, pair for breeding only. Lay clutch of 3-7 eggs Twice brooding. Incubated by both sexes for 16-21 days Feeding of younguns for 1 month

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NEST OF SACRED KINGFISHER HOLLOW TREE

TERMITE MOUND

NEST SHAPE

INTERNAL VOLUME

THICKNESS 30-100mm

ENTRANCE 60-100mm

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RIVER BANK HOLE

SITE ANALYSIS MERRI PARK WETLAND

WETLAND AREA

It is a woodland with open understorey.

It is a habitat for aquatic insects, yabbies and fishes for the kingfisher’s food.

There are suitable eucalyptus trees around the area A complete ecosystem that includes the kingfisher.

There are dead tress for kingfisher to perch during hunt.

The kingfisher able to protect its nest while hunting.

PATHWAY RIVER

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1

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3

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FOOD SOURCE 50m

NEST HEIGHT 1-3m

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TREE STUDY EUCALYPTUS PLANT

River Red Gum Eucalyptus camaldulensis Tree height: 30 - 46 m Trunk diameter: 1 - 1.5 m OBSERVATION Fibrous texture Damp Lightweight Small hidden entrance Light foliage m ass Larger density of hollow for older trees Thickness of hollow greatly varies Small hidden entrance Long tunnel Sandy Textures observed 1. The tree bark 2. The endgrain 3. Microscopic image of tree 4. Diagram of tree cells

These textures will be useful to us in deciding the surface texture. Either we mimicking the textures as it is or else. What do we understand is the holes as shown in the endgrain is acting like airpockets for insulation and transporting water in the tree. However, we will not creating these continuous holes as it might be difficult to do, unless as a texture effects on the surface?

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River Red Gum (endgrain 10x)

Scanning Electron Microscopy image of large open ‘pores’ in a Eucalyptus

A study on lignocellulose, the cellular system of plant

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PRECEDENT EUCALYPTUS PLANT

ROBERTSTUART /SMITH KOKKUGIA

GREG LYNN - DIE PINAKOTHEK DER MODERNE MUNICH, GERMANY

This Helsinki Public Library competition entry won a thirdplace vote by the Finnish public within a public exhibition of over 544 entries. The form is derived from people circulation and rainwater flow.

Large scale wall placed in the permanent collection of the München Pinokothek der Moderne that was CNC manufactured in foam and plastered with colour.

Manipulating the cnc tool path to create depth of the mass.

We need to understand how a 3 axis CNC machine works, so that we know what we can do and don’t. One thing that we all agree is, it is difficult to make an undercut using CNC. Both the Fablab team and the external fabricator informed us early during the consultation.

We decided to use the anemone technique to create the random textures as of the tree bark. We try to blend in our artificial nest to the tree so that the bird might mistake the nest and occupy it.

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BERNARD CACHE, PATRICK BEAUCÉ OBJECTILE, SANS TITRE, 1998

INTERLAM - DREAMWALL EXHIBITION 2012

Objectile developed these wood panels in 1998, their forms having first been calculated by computer programs. The surfaces are used as acoustical tiles, cladding for walls, and coverings for floors and ceilings, as well as furnishings and cabinetry. Composed of plywood or fiberboard are irregularly perforated, pierced or scraped with wave patterns, and they are are painted or varnished.

The Dreamwall exhibition shows key trends in 3D approach to surfaces, tactile, liner and asymmetrical combination of textures.

The image is one of the closest texture effects that we want to achieve. How to do that? How they change the shapes?

Rotating did not work because we get undercuts.

How to turn anemone lines into that form? Do we need to mill the wood surface twice to get that?

Note after digital exploration: Is there any ways to make sure that there is no undercuts?

Can we slice the textured solid at each point where undercut starts to form?

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FORM FINDING TECHNIQUE: KANGAROO Memishi help our team to get the general form of our nest.

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We choose iteration one as the final form of our nest. We smooth-en the surface to give a more natural aesthetic of the nest, similar to the termite mound shape.

For out first shape, we try to create a uniform thickness to the nest. Unforeseen to us, this will create both problem and opportunities for us later in the design development.

Generative design using grasshopper is demanding us, the designer to try and develop again and again. For example, when we are at stage 3 of digital exploration, there are issues with the form. Thus, we need to go back and alter something, and redo the process. Try and error is how we know what can happened, and where we can go from there. Being patient and calculative in digital design is essential for us.

The third image is might be a better option for our next digital development.

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SURFACE SYSTEM TECHNIQUE: ANEMONE ITERATION 1

This technique gives us an outcome that we only partially can control. The surface system formed might be simple and straightforward or complex, depending to the parameters that we explore during iteration process.

Parameters: 1. Field strength 2. Attractor points 3. System density 4. Number of spin

ITERATION 4

Iteration 9 is choosen because the system has dynamic movemen, not too dense nor too sparse and mimicking the natural nest surface texture system, that is the tree bark

ITERATION 7

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ITERATION 2

ITERATION 3

ITERATION 5

ITERATION 6

ITERATION 8

ITERATION 9

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After selecting iteration 9 from anemone outcome, we continue with ways to make the negative form.

The mesh

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Selected an

nemone outcome

Orienting planes onto curves

Referencing rails for sweeping

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For the purpose of clarity and time limitation, we decided to sample a part of the curves for testing the surface effect.

Sampling the lines because it takes longer tim to create a form using all curves.

The computer lags and this will reduce our time to do multiple iterations.

Iterations on the surface texture. The parameters: 1. Number of planes (density) 2. Shape of curves to sweep 3. Size of curves to sweep

We ask ourselves, what will happened if the rails are horizontal? What will happened if the rails are sinuous?

What if the section cut is flat?

Changing the rail will not distort anything, unless we change rail starting point.

Anyway, we ignore these, and continue with a simpler parameter.

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me

Experimenting the different density of planes. [Above 5 planes, below 8 planes]

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TEXTURISATION TECHNIQUE: SWEEP AND BOOLEAN We work together in texturisation process

We test the sweep and boolean onto a slightly slanted surface to see how will the texture look like.

A wide closed curve with little hard edges is the most suitable shape to use. This is because the plane from anemone curve are oriented at 3dimension space, therefore some of the resulted negative form will twisted in an awkward position.

We lose some control over this process.

We need to try finding ways to keep things a bit managable so that ther textures are able to be milled by 3axis cnc.

ITERATION 1

ITERATION 4

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ITERATION 2

ITERATION 3

ITERATION 5

ITERATION 6

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These are the best three of the textures that we tried.

At first we thought of only using one type of curve.

Then, why not use two?

Or why not mixing the density of planes so that we can give the texture more character?

Anyway, we need to create these curves onto the nest solid to see what will happened. Then, we decide what to do next.

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COLLAGING TEXTURE WHAT WE INTENDED TO GET Hafiz help out in rendering.

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DIGITAL EXPLORATION OUTCOME WHAT WE GET 1. Normal piping

2. Piping on surface

4. Creating negative form for all curves

5. Sampling of the curve texture

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3. Square negative forns

6. The resulted form

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B.5 TECHNIQUE: PROTOTYPE

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MATERIAL RESEARCH Doohon help out in understanding materials and fabrication process

IT WAS FOUND TO BE CHEAPER BY PURCHASING FROM EXTERNAL SOURCES E.G. MAXI PLY BIRCH PLYWOOD (2400 X 1200MM) 15.0MM ($218.00 / $150.00) 18.0MM ($250.00 / $180.00) FILE TYPE REQUIRED FOR JOB: DEFAULT FONT: MACHINE TOOL SANSERIF PROGRAM: 3D PROGRAM (E.G. RHINO) OR CAD PROGRAM

MDF BOARD (2400 X 1200MM) - 6.0MM - 12.0MM - 25.0MM

EXPECTED LEAD TIME: 3-5 DAYS (MAY DIFFER BY PERIOD AND QUEUE) FACTORS TO CONSIDER BEFORE DECIDING ON MATERIAL - SIZE OF NEST - THICKNESS OF MATERIAL - LENGTH AND DIAMETER OF END MILL OR DRILL - DURABILITY OF NEST (WEATHER RESISTANT) - INSULATION OF NEST (20 - 30 DEGREES) GRADES TO CONSIDER IF CHOOSING PLYWOOD - A GRADE - VENEER FREE OF DEFECTS - B GRADE - VENEER WITH A FEW KNOTS OR DISCOLOURATION - C GRADE - VENEER WITH OPEN KNOT HOLES - D GRADE - VENEER WITH LARGE KNOTS & SPLITS

MAXI PLY BIRCH PLYWOOD (2400 X 1200MM - 12.0MM - 15.0MM - 18.0MM

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M)

CD STRUCTURAL PLYWOOD (2400 X 1200MM) - 12.0MM

FILM FACED PLYWOOD (2400 X 1200MM) - 12.0MM - 18.0MM - 24.0MM

FURNITURE GRADE PLYWOOD (2400 X 1200MM) - 12.0MM - 18.0MM - 24.0MM

JELUTONG WOOD

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FABRICATING Memishi help in axonometric drawings

PARTING THE PROTOTYPE ACCORDING TO MATERIAL THICKNESS

SIDE A: INTERNAL

SIDE B: EXTERNAL

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JOINT DETAIL BETWEEN PARTS

DOWEL /GLUE UP Nest hollow sections are then glued together using non-toxic glue.

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CNC MILLING Memishi and Doohon took the photos Side A Horizontal Roughing

Side A Parallel Finishing

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Side B Horizontal Roughing

Side B Parallel Finishing

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NOTES ON THE FABRICATION PROCESS

1. HORIZONTAL ROUGHING

2. PARALLEL FINISHING

6.35mm downcut endmill router bit used to roughly remove bulk from material before Parallel Finishing

Done with 6.35mm ball nose cutter to create smooth scalloped effect (visible in nest hollow interior) [We can manipulate the tool path/drill size?]

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3. BAND SAW

4. SANDING

Trimmed individual pieces from timber sheet with Bandsaw

The exterior was sanded due to the bandsaw cut edges looking messy/ causing scalloped pattern to not line up.

[How will the bandsaw influence the external texture?]

[If we sand it up, what will happend to the textures?]

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TREE CONNECTION Hafiz help out in these process

T NOTCH SYSTEM CNC the parts, glues and bolted together.

Bolted the back plate onto the tree.

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ANCHORING SYSTEM Principles behind the mechanism are borrowed from concrete expansion anchor in builidng construction and cloth hanger clips.

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B.6 TECHNIQUE: PROPOSAL KINGFISHER’S HAVEN

Our proposal is creating a hollow nest that is suitable for Sacred Kingfisher to breed. The nest is blend in with the tree it is attached and has harmony with the external environment. This is so that the kingfisher might mistake the artificial nest as a natural hollow tree. The nest take into account the danger that kingfisher faced, that is larger animals and it will be hung on eucalyptus tree, around 2 meters above the ground.

Our technical development, starting with form finding using kangaroo take into consideration the load path of the nest.

Anemone, sweep and boolean create a random and natural looking surface system, which fullfill our criteria for the nest.

Connection to the tree still need to be developed and tested out to analyse the strength and durability of the nest. The connection to tree is very important to avoid the nest falling down from the tree.

Weathering from sun and rain will change the nest over time. The birds or animals that live inside the will change the internal condition of the nest. They might create holes and scratch the surfaces with thier beak and claws.

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We only manage to develop until here. There are opportunities that we can extract from this final digital form.

1. Thicken the nest to manipulate the position of holes/ openings instead of restricting the entrance for the nest.

(Giving more natural growth to the nest) 2. Give hierarchy to the textured surface. (Differentiation of texture sizes and density) 3. Aggregating the nest into multiple system and not only a singular nest. (How will this effect the client)

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The diagram to the below is initially an idea of the fabrication process, taken into account that it is difficult to mill both surfaces. Externally, we plan to mill 6 faces of a box and put it together, to act as an enclosure for the internal volume. this allow two different type of surfaces to be generated and the enclosure will give the nest a more stable temperature for nest insulation.

We did not incorporate this into our proposal because we choose to do through the other fabrication method.

Nevertheless, this will act as additional idea, and we might use the idea according to circumstances.

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B.7 LEARNING OBJECTIVES AND OUTCOMES Initially, I analysed the project brief as I had always done for other projects. Researching on clients and site gives me rough imagination on the final outcome from the design process. I believe, this is the conventional process where a designer will unconsciously pictured the end goal without thinking the in between process.

Computational design also taught me about different way to approach ornaments. The textured surface that we tried to achieve in our proposal changed my view of ornaments as decoration to ornaments as performative. According to Kolarevis and Klinger, decorations is increasingly seen as performative and to emphasize the quality of the object the surface to which it is applied.

Next, during the case study and reverse engineering, these two exercises help me to understand the data flow inside grasshopper. Understanding of the design tool, in this instance is Grasshopper, will help me in the manipulating techniques during digital design development. The case study exercises gave me the chance to develop my skills in computational modelling, but these exercises gave me little insight about the fabrication process.

At present stage of our design process, I notice that computational design allow me to generate variety design possibilities given the situation. The iterations and explorations in creating surfaces from curves indicates how much I understand which, what and when a particular component in grasshopper should I use. I believe that this is a continuous learning process. Therefore, the more I engage computational design techniques, the more understanding that I get in controlling the definition.

Furthermore, as me and my group moves fabrication process, we looked more into precedents to understand how can 3axis CNC machine works. Understanding the strength and limitation of the machine forced us to think back how we will developed the prototype.

Computational design repeatedly surprised me with the form it generated. This is especially true with our final design proposal where the unintended form turns into an opportunities in design development. As long as the opportunities are a part of our brief and achieve our design selection criteria, we will take it as an option to be develop further.

While we are working on digital development, we consult with the fabricator to add more knowledge on fabrication process. I agree with Peter Brady in the reading, where the designer need to approach the fabricator early in designing process so that we can design more efficiently and more build-able into a physical object.

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B.8 APPENDIX case study 2, first attempt

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giving a depth to the lines. however, i have dificulty in creating a surface from these lines

one exploration to create surface form line. tubing.

another experimentation to create a surface from line. loftting. then try to booleean difference with a solid

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randomly choose line. (i should based my selection in grasshopper.. how?) and use definition from casestudy 2.

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Attempts on creating surfaces from curves.

All are rejected but the

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REFERENCES 1. Biothing Pavillion. https://scriptedbypurpose.wordpress. com/participants/biothing/ 2. Birdlife Australia. (2017)Sacred Kingfisher. http://www. birdsinbackyards.net/species/Todiramphus-sanctus 3. Eric Meier (2018) Red River Gum. http://www.wooddatabase.com/river-red-gum/ 4. FabLab Melbourne School of Design (2018).

Introduction to CNC. https://edsc.unimelb.edu.au/ maker-spaces/training-centre/introduction-to-cnc 5. Greg Lynn. http://glform.com/ 6. In Silico Building. https://insilicobuilding.wordpress. com/ 7. Dreamwall, (2012) Key Trends from Surface Design: 3D Approach, tactile, liner, asymmetrical combination of textures. https://dreamwall1.wordpress. com/2012/02/15/key-trends-from-surface-design-3dapproach-tactile-liner-asymmetrical-combination-oftextures/ 8. Kolarevic, Branko and Kevin R. Klinger, eds (2008).

Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 pdf 9. Merri Park Wetland - Merri Creek Management Committee. https://www.mcmc.org.au/images/file/.../ MCMC-Merri-Park-Wetland-web-version.pdf 10. Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 pdf 11. SuckerPunchDaily. Helsinki Public Library. http://www. suckerpunchdaily.com/2014/02/05/helsinki-publiclibrary/

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