By looking at the precedent projects, we found out that simply playing with geometries could come out with different approaches of the structures that form it, the materials used and decide on how the spatial relationship to be emphasized. It seems to be served as the very first conceptual idea for designers in order to further proceed their designing ideas. In our concern about the parametric modelling, experiments in regrading to the relationships between the very basic inputs such as curves, lines and points could result in many interesting geometrical outcomes. With the preferred form, we could later decide on the choice of materials used, whether we want it to be flexible, responsive or rigid. Structure always to be the concern for designers when it comes to the decision-making phase of what material to be used. Rigid materials such as brick can act as the structure itself but if flexible and soft materials like fabric, an additional structure is needed to support them. However, with the existing form, it would restrict the exploration of materials and structures since they have to be designed in such a way that to form the geometry we want. Fabrication would be a hard task when it comes to irregular forms. Nevertheless, none a design can perform best of all the aspects, it just depends on which aspect you would like to emphasize on and enhance them with the other aspects. For our group, we would like to highlight the spatial experience of the users in our sculpture and hence, geometry is the research stream that we want to focus on. Geometry provides a fundamental form for architecture. From a single line til the pattern of wall allocation, all are relating to the geometries. The spatial quality that can be derived from the use of dynamic geometrical form of the sculpture. This could not only produce a sensational effect to the users but also allow a control of wind flow throughout the sculpture. The design site is locating at a happening place, which surrounded by buildings such as theatre, music recording studio and etc. In addition, the Copenhagen Opera House is made up of simple rigid geometrical form with light coloured façade. Thus, in order to allow the sculpture to be outstanding whilst standing next to this massive attention catcher, it has to show a contrast to it, with its dynamic form covered up by unique façade.
Daily, GreenVoid-LAVA/ Chris Bosses, Tobias Wallisser & Alexander Rieck (2013), p://www.archdaily.com/10233/green-void-lava/> [accessed 28 APRIL2014]
Unlike conventional technology which we have to do heaps of copy and paste command in order to edit a small part of our design, with the use of parametric tool likes Grasshopper, it enables us to do a lot of testing and changes that are not permanent, so that we can easily retrieve back the original form by the algorithmic process. In addition, with some plug-ins such as Weaverbird and Kangaroo, it further enhances the geometrical form such as the use of relaxing command in Kangaroo. This applied in the LAVA-Green Void design, which performs a dynamic outcome that is eye-catching.
LAVA-Green Void: This sculpture is inspired by the relationship between MAN, NATURE and TECHNOLOGY. The key visions of the design are focusing on sensual, green and digital. With the intelligent digital thinking, LAVA-Green Void managed to be produced with the fabricated 2D surfaces, which later being connected to form a whole sculpture. This concept of detail as a whole allows a transformation from an emphasis of a single unit to a ‘whole’ pattern of geometrical form that we want by multiplying the single unit. This simple green sculpture mainly focuses on its geometry. With the idea of MORE IS LESS, this sculpture uses the minimal surface to occupy the large area of the atrium of Sydney Customs House, which spanning across the five levels of the building. There is no attractive patterning on the surface, but only the lightweight fabric design that follows the natural lines and surface tension of the fabric. Similar to my previous precedence of the Mythread Pavilion, they both are considered as sustainable sculpture with the least use of structural components by mostly relying on the tensional forces of the fabrics. Not only that, they are portable and could be dismantled in order to relocate at other places. In term of visualisation effect, LAVA-Green Void shows the contrast to the Sydney Customs House, from the historical features of the building to a digital component; from a building locating at the heart centre of the city to the so-called ‘green forest’. The green colour sculpture manages to grab the attention of the users with the contrasting white colour of the interior of this building. “We wanted to see how far we could take the idea of creating more space with less material, filling 3000 cubic meters, the equivalent of 8 million cola cans, with a minimal surface of 300 square meters weighting only 40 kg.”, emphasises Tobias Wallisser Director of LAVA Europe and professor of Digital Design at the State Academy of Fine Arts Stuttgart. 
B.1. Field .21Research Design Computation
ll of the categories in the material systems listed in fact most of them are related to each other. The patterning that shapes the form is supported by the structure; the stripping/folding idea defines an interesting outcome of geometry and so on. After discussion, our group decided to start the project by working on geometry.