Air Studio

AIR AIR 2016 SEM2 YOUJIA HUANG

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ello, my name is Youjia Huang, I was born in China, and came to Australia when I was 11 years old. I am currently in second year of architecture.

How architecture is representative of city’s living environment, culture, and history evokes my interest in the subject at the beginning. When I was travelling and exploring other city’s architecture I often wonder how does these building fit into people everyday life? How does this structure fit into its landscape? And how are the space within being organized for people to use? With these in mind, I wish to creates beautiful but comfortable, elegant but appropriate architecture that meets our needs and contains fascinating spaces to explore.

In the past, I have explored some digital designing method, such as Photoshop, InDesign, AutoCAD and a little Rhino in my studio subject including Digital Design and Fabrication and Studio Earth. These subjects have opened up my horizon in design, how fabrication process can be made more effective and how more design opportunities can be explored with digital designing. Hopefully, Studio Air will help me to open another window to designing, which I seek to develop a more critical state of mind and improve in digital designing by mastering Grasshopper.

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TOP: Secret pavilion from Earth studio Bottom: Sleeping pod from digital desgin and fabrication

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CONCEPTULISATION 4

CONTENTS A.0 INTRODUCTION 2 A.1 DESIGN FUTURING 7

1.1 ECO POD

1.2 79 & PARK

A.2 COMPUTATION 15

2.1 THE TWIST

2.2 AS AUTUMN LEAVES

A.3 COMPOSITION/GENERATION 25

3.1 NEW KEELUNG HARBOUR TERMINAL BUILDING

3.2 THINK TANK & THE LIFE AQUATECH

A.4 CONCLUSION 35 A.5 LEARNING OUTCOME 37 A.6 APPENDIX 39

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We could design a much sweeter ending for ourselves, and think responsibly of the species will survive the human race.

- Paola Atonelli

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n nowadays, our egocentrism expand with the development of science and technology and result in treating our home as unlimited resource for consumption. Most people hold an indifferent attitude toward sustaining the future; yet understand the potential to the destruction of our environment. Immedate and direct consequences are needed to alarm us to take action.

State of the world and the state of design are closely linked, that change can only be brought by design. Design is there to bring revolution of present to future into real life. Throughout the process crucial judgments about actions is important, collective of knowledge from different practice is required and its opens up to different sort of possibilities1. In the end, design has a key role in elevating humanity and redefining ideology. Eventually, design leads people to a more sustainable practice, helps people to become an active citizenand increase the chance of having a more desirable future. Furthermore, design gives us hope, but it may also lead us to destruction. However, design will creates a more graceful ending to our extinction2.

1 Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg), pp. 1–16 2 Chris, Luebkeman, “Designing a Graceful Ending: A Conversation with Design Luminary Paola Antonelli”, Architectual Design, 85,4, (2015), pages 20–25

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PRECEDENT STUDY 1.1

ECO-POD Boston Massachusetts,2009 Hรถweler + Yoon Architecture/tSquare Design

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This is anticipatory pre cycled architecture, capable of gen-

erating a new micro-urbanism that is local, agile and carbon net-positive - HĂśweler + Yoon 9

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oston global asks architects to envision the site with complete new project that use the existing structure to improve the urban space. Höweler + Yoon and Square Design Lab envisioned a prefab, bio-fule producting building that can adapt, change and grow over time. The structure proposes to encourage the economy and ecology of downtown Boston. The pod will be used as bio-fuel sources and as micro-incubators for flexible research and development programs, as an open and reconfigurable structure. The robotic arm that is attached to the building would move the pods around to optimize growing conditions. Void are created when the pods are reconfigured, leaving behind space for public park or botanical garden3.

It is an instant architecture where the armature enables the structure to reconstruct to meet the changing programmatic and economic needs, while the ongoing construction on the site will broadcast a subtle semaphore of constructional activity and economic recovery4.

I believe that this project is foresees one of the future architectures and creating resilient city, that it has adaptable structure, reusable, durable and reduces waste. The algae garden improves biodiversity around the urban space and allows the public to experience vitality and energy production process, such that, the space can function as a driver for ecological awareness.

3 Suckerpunch daily, “eco-pod”, SuckerPUNCH <http://www.suckerpunchdaily.com/2010/03/10/eco-pod/> [11 August 2016] 4 Suckerpunch daily

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PRECEDENT STUDY 1.2

7 9 & PA R K Stockholm, 2015 Bjarke Ingels, Jakob

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his block of terraced apartments located on the edge on a national park, the property proposes to harmonize with the surrounding green space, and provide a sensitive, respectful form while enable occupancy with broad view. Terrace with abundant vegetation that connects to the units aims to blur the boundary between the park and the building5. Rooftop will also be covered in plants, this way the biodiversity in the landscape can be maintained. Residences ecological awareness can be heighten through interacting with the surrounding environment, redirecting residences to a more sustainable life style.

The use of natural material for construction also creates a sense of harmony to the park, where the building is not too incompatible.

Massing is visually reduced to allow more organic expression, reflecting the surround landscape and accomplish the building in an appropriated way that it is inexpensive and controlled. The units are arranged around central void, which maximize daylight and ventilation into the residence6.

5 Dezeen, â&#x20AC;&#x153;IG designs stepped 79 & Park residential development for Stockholmâ&#x20AC;?, dezeen (revised October 2015) < http://www.dezeen.com/2015/10/06/bjarke-ingels-group-big-79-park-residential-developmentarchitecture-stockholm-sweden-cedar-wood/> [11 August 2016] 6 Dezeen

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Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working arguments the designerâ&#x20AC;&#x2122;s intellect and allows us to capture no only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a building formation.

-Peters, Brady

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ecently, an interactive relationship has been established between digital design software and designs to produce more satisfactory outcome. However, the growth of digital design has lead people to question the necessity of using computer software in architecture design and whether digital process manipulates creativity. Some believes that its manifest creativity, while the other considers the contrary7. Two case studies “The Twist” and “As Autumn Leaves” will demonstrates that computation facilitates design process and architect’s creativity.

Architecture is unlike other design, such as industrial design or fashion design. Architect need to face many constraints, including climate, site condition, functionality, cost, building code and so forth as well as internally drawn inspiration8. In this case, architecture cannot be solved by merely creativity; it requires both analytical aspect and creative.

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ings and and models has been an suitable communication tool to the client and to construction workers, but design choice has to be altered to allow clear communication. In this case, effective modeling or drawing tool is required. The emergence of digital design software such as rhino and grasshopper, provides more accurate calculation and modeling ability and replacing the time costly hand drawing or making method10. Furthermore, digital design is an effective tool for analyzing environment conditions, program such as Honeybee and Ladybug, produces analytical data that is essential in integrating environmental factor into design.

[CREATING OPPORTUNITY IN FORMS] Before 20th century, the hanging model of Sagrada Familia

by Antoni Gaudi provisions the possibility of parametric design in architecture and its advantages9. In the past, draw-

7 Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8 Kalay, Yehuda E, Architecture’s New Media, pp. 5-25 9 Kalay, Yehuda E, Architecture’s New Media, pp. 5-25 10 Kalay, Yehuda E, Architecture’s New Media, pp. 5-25

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PRECEDENT STUDY 2.1

THE TWIST London UNITED KINGDOM, 2015 AA EM TECH

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he twist contains a system that mainly consist of two plywood element: the “rid” and the “wing”. A subsystem defined by two major elements referred to as “combs” and “perpendiculars,” or “perps,” runs along the free edges of the articulated surface. This system serves to lock the geometry in place locate the rib elements during the assembly process. The ‘combs’ assemble as a linear strip which bends to conform to the overall geometry, constraining the movement of rib elements. This works in conjunction with the ‘perps’ geometry, running normal to the comb elements which are milled specifically to define the angle at which a rib strikes a comb.11 [DESIGN PROCESS WITH COMPUTATION] Architect uses design process that assure that their creation met the design goal, abide by its limitation, and reduced the likelihood of error. In design futuring argues impractical design method and alarms the future designers to be sustainable, which computation comes into the role of that. Computer naturally is an analytical tool. When they programmed, they follow a set of logic and repeats the searching, storing process quickly. However, both rational and creative abili-

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ties are required to use computer in the process of design and computer does have the instinct in coming up of new creativity.12 We as human though have the capability to own both skills, mistakes and bore will hinder us from perfecting the solution. Nevertheless, with computer and human working together, best of the both world can be made; computer’s rational ability, human’s creativity and instinct. Thus, effective design process can be achieved.

Computation system facilitates human de- signers by assisting major or minor part of the design process, which the analytical systems provide rational evaluation of human designer’s solution. For example, in “the twist” project, computational techniques used to generate forms were calibrated and tuned based on the results of physical experiments on plywood strips. These tests, which observed the possible twisting angles which could be achieved with different end rotations and rib radii, identified the effective range of geometries, and served as the bridge between the physical and digital realms. The twisting geometry chosen for the material exploration was designed to accommodate for the specific ability of the system to achieve synclastic surfaces.13

11 Suckerpunch daily, “The Twist”, SuckerPUNCH <http://www.suckerpunchdaily.com/2015/10/29/the-twist/> [11 August 2016] 12 Kalay, Yehuda E, Architecture’s New Media, pp. 5-25 13 Suckerpunch daily

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PRECEDENT STUDY 2.2

AS AUTUMN LEAVES Beijing CHINA, 2013 Laboratory for Computational Design

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[FABRICATION’S RELATION TO DIGITAL DESIGN ] Digital architecture design process updates architect’s conventional role, through understanding and skill to digitally produce in the material realm; architect no longer need to be professional builder.14 Computation has brought a significant development into production of architecture. Digital design information speeds up the fabrication and stimulates the trend of rapid prototyping. “The twist” project has plywood element CNC milled to obtain desirable profile, Wing elements are connected to the rib elements at specific angles and distances in order to obtain both bending and twisting. The rib elements are essentially working as a means to trigger the inherent physical properties of the thin wings, creating characteristic sinusoidal curves on the surface. The digital production allows more accurate cutting which enable every piece of the plywood

to be fitted together as designed.15 In addition, the project “As autumn leaves” has individual components digitally fabricated using laser cut acrylic and pre-assembled into ‘families’, then aggregated on site.16 Students only took minimal of 6 hours to assemble the structure, that the rapid assemblage is only possible through digital fabrication. Moreover, tensioning of the acrylic ‘Leaves’ through bending, natural to the material, solidified structural integrity. Designers used physics based modelling programs to generate and evaluate wind and gravitational forces in their installations. In this case, the analytical data enables digital materiality and allows the structure to have higher performance.17 Therefore, materiality and fabrication in design leads the evolution of digital design.

14 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 15 Suckerpunch daily 16 Suckerpunch daily, “as autumn leaves”, SuckerPUNCH < http://www.suckerpunchdaily.com/2013/12/12/%E7%A7%8B%E5%8F%B6-as-autumn-leaves/> [11 August 2016] 17 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture, pp. 1–10

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

-Peters, Brady

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C O M P O S I T I O N G E N E R A T I O N Computation’s ability of creating opportunities in architecture enhances its importance in the design process. However, computation differs to computerization that the concept of computation relates to extending designer’s ability when encountering highly complex situation. In Sean Ahluist and Achim Menges word, computation is “the processing of information and interaction between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of data set of information, with the capacity to generate complex order, form and structure.”18 Such that, computation is comprehend as an algorithm, which it inspires architect to stimulate new ideas and aids the designer’s to make design decisions.

In this case, scripting programs such as RhinoScript allows algorithmic thinking and enhances our knowledge in code generation, thus provides opportunities to explore new options and speculating on further design potentials.

tion is replacing the traditional drawing method. It ability to construct complex models of building and give performance feedback on these models may elevates computation as an intuitive and natural way to design. Having computation as a true method of design can only made possible when architect is knowledgeable of algorithmic concepts and when digital design is seen as ordinary. However, as discussed by Hugh Whitehead, there is this risk of degeneration of digital design method that it may be seem as craft skill rather then integrated art form.21 Thus, parametric modeling is an effective design tool and it is still in the development to acceptance as ultimate method to design or architecture.

[EFFICIENT AND PERFORMATIVE DESIGN] Appropriate and performative building becomes an essential design choice when comes in to sustaining our future.

Using computer as a tool to produce building performance analysis is a fundamental parameter in creation of architectural form. By providing material, structural and environmental performance detail assists architect to make appropriate architectural choice and creates more responsive design. In addition, choice of tool utilized for communication between architecture and public is important. Compares to drawing, computational tool generates more sophisticated and accurate sketches or diagrams that allow more effective representation of architecture language to public.Thus, with its increasing simulation capabilities, computation achieves not only the simulation and communication of constructional aspects of a building, but also the experience and the creating of definition. 19 Computational designer’s creates complex 3D models of invents digital tool, most importantly they refine the underlying logic of architecture and creates new environment in which to explore design and simulate performance, both physical and experiential.20 Algorithmic method in computa-

18 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 19 Peters, Brady, pp. 08-15 20 Peters, Brady, pp. 08-15 21 Peters, Brady, pp. 08-15

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PRECEDENT STUDY 3.1

NEW KEELUNG HARBOUR TER Keelung, TAIWAN Synthesis Design + Architecture

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RMINAL BUILDINGING

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he proposal of the New Keelung Harbor Terminal Building emphasis on the combination of coherent, elegant, and iconic solution which signifies the creation of a new identity for Keelung Harbor. The new identity seeks to provide a local landmark and portal for Keelung that acknowledges its context and legacy, while simultaneously project to its future through forming a portal condition with the opposing tower on the opposite side of the bay, referencing the historical legacy of Keelung’s Chinese name “the hen cage” and capitalizing on the local industry of yatch manufacturing to explore the formal, material and structural language of the composite industry as both inspiration and resource.22 In this case, the design sustains local’s economy, which is a key concept to future architecture.

Moreover, the architect utilizes generative concept rather than additive design solution, which the concept is demonstrated through Integrate visual, structural, and environmental performance. The idea is achieved by optimizing building orientation and massing for passive environmental design and control, harvesting wind, rain, and sun through geometric configuration, plugging in to district heating/

22 Suckerpunch daily, “New Keelung Harbor Terminal Building”, SuckerPUNCH <http://www.suckerpunchdaily.com/2012/08/14/new-keelung-harbor-terminal-building/> [11 August 2016] 23 Suckerpunch daily, 24 Suckerpunch daily,

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cooling and waste disposal systems, integrating structure and skin through geometric and material composition. Thus, what appears to be formal expression is actually â&#x20AC;&#x153;informed formâ&#x20AC;? which responds to the integration of weather, urban context, program, circulation, and sustainability through integrated design responses that inform the building orientation, spatial layout, façade design, and choice of material and structural system.23 In this case, more responsive design is achieved through computation.

Architect may lose the quality of handcrafting when trapped in the digital world. However, new form or design choice can be stimulated with computation fabrication. For example, the New Keelung Harbour Building is inspired by the geometric patterns of Taiwanese Hen Cages and the structural shells of luxury racing yachts, the building takes shape in a dynamic gradient form that transitions from exoskin to exo-skeleton in response to programmatic content as well as performative requirements.24 In other words, digital design helps the architect to deal with complicated form and performance choice.

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THINK

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PRECEDENT STUDY 3.2

K TA N D & T H E L I F E A Q U AT E C H London UNITED KINGDOM, 2015 Architectural Association, Design Research Laboratory (DRL)

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By focusing on the behaviour of fluid as part of our generative design methodology, the Life Aquatech proposes a building system that is given the same tectonic prevalence as structure.

- AA

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The Life Aquatech investigates the relationship between the building systems that mediate between interior and exterior and architectural design by shifting from air-based systems to a water-based system. Human comfort is one of the main drivers of the investigation, seeking an ideal relationship between the user’s comfort in relation to temperature and how the building can self-regulate in order to provide it.25 Formally the project takes shape from its requirement to collect water while at the same time being structurally viable when made out of fiberglass. Self-regulating thermal properties are achieved through the facility’s ability to hold and distribute water within the structure.

By contouring the surface of the project, the surface enhances its ability to carry water while at the same time making it more structurally sound.26 In this case, through the aid of computer, the designer is able to achieve performance as well as aesthetic quality of the building.

Through the collection of water from a contoured fiberglass shell and the storage and distribution of water in a soft expandable silicone membrane, the building prototype aims to create a cohesive architectural environment through the interaction of different water-based building systems resulting in a fusion of design aesthetic and building performance.27

25 Suckerpunch daily, “thinkTANK & the Life Aquatech”, SuckerPUNCH <http://www.suckerpunchdaily.com/2013/09/09/thinktank-the-life-aquatech/> [11 August 2016] 26 Suckerpunch daily, 27 Suckerpunch daily,

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Most people believe that idea of saving the world only lives in the fantasy. However, with architect, idea of saving our planet cannot be something to fantasise, this should be something that is happening. Our future will be at destruction if we donâ&#x20AC;&#x2122;t stand up to protect it. One of the ideas in defuturing relates to modern architecture that nearly no design consideration is taken into sustaining our limited resources, instead more of appropriate architecture design should be construct. In this case, appropriate refers to effective design process that produces performative buildings. In order to achieve this, moving architecture design to computation era is important and it is one of the answers to the state of current society.

a natural analytical generator. Moreover, the movement of composition to generation is the result of accepting computation as one of the method in architectural design. The concept of generation has heightened architecture design to a new level.

Technology or computers triggers the evolution of architecture, and reflects the status of our society. Architect should be aware that digital design will improve the standard of architecture design in the modern society and it may be the future of architecture design, but not necessarily all design, since traditional handcraft may be preserved.

Computation and algorithmic thinking can assist architects or designers to create building with higher efficiency and performance. In many ways, digital design creates opportunities in productivity and creativity of design. This is portrayed through material system and structural complexity, such as thinking and designing in 3 dimensional manners with complicated geometry or labyrinthine pattern.

The current practice of architecture not only has to consider the functionality and aesthetic, notion of sustainability is also essential. In this case, analytical thinking has become a fundamental skill in architecture design. This enhances the significance of computer-aided design, as computer is

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THEREFORE...

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Through completion of conceptualization stage, it has broadened and refreshed my understanding in computer program as well as it role to future architecture design. Before this course, my understanding of digital design is very limited and narrow, which in some case not realising it importance and believe that it will hinder us from finding more creativity, since everything is all digital it not natural. Now, I believe that computer aid design is a powerful tool in enhancing our design quality, and allows effective fabrication.

In addition, digital design allows designers to come together as community, where we all share our ideas, finding other perspective to design or solution through other practice and these enriches out designâ&#x20AC;&#x2122;s significance.

After exploring parametric design through practicing grasshopper, I recognise and appreciate the ability of digital design, that it not only it speeds up the design process and enhance our understanding of the structural system, that solutions to design can be find through various parameter.

Looking back to my previous works, with understanding and have the skill of digital design would communicates my design in a more accurate or desirable manner, and will assist to find more suitable, finer or creative solution to our design problems.

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Chris, Luebkeman, “Designing a Graceful Ending: A Conversation with Design Luminary Paola Antonelli”, Architectual Design, 85,4, (2015), pages 20–25 Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp.

1-9, 33-45 Dezeen, “IG designs stepped 79 & Park residential development for Stockholm”, dezeen (revised October 2015) < http://www.dezeen.com/2015/10/06/bjarke-ingels-group-big-79-park-residential-development-architecturestockholm-sweden-cedar-wood/> [11 August 2016] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg), pp. 1–16 Howler+Yoon, “Fliene’s Eco Pods”, Howler+Yoon(Revised 2015) <http://www.suckerpunchdaily. com/2010/03/10/eco-pod/> [11 August 2016] Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge), pp.

1–10 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Suckerpunch daily, “as autumn leaves”, SuckerPUNCH < http://www.suckerpunchdaily. com/2013/12/12/%E7%A7%8B%E5%8F%B6-as-autumn-leaves/> [11 August 2016] Suckerpunch daily, “eco-pod”, SuckerPUNCH <http://www.suckerpunchdaily. com/2010/03/10/eco-pod/> [11 August 2016] Suckerpunch daily, “New Keelung Harbor Terminal Building”, SuckerPUNCH <http://www.suckerpunchdaily. com/2012/08/14/new-keelung-harbor-terminal-building/> [11 August 2016] Suckerpunch daily, “The Twist”, SuckerPUNCH <http://www.suckerpunchdaily.com/2015/10/29/the-twist/> [11 August 2016] Suckerpunch daily, “thinkTANK & the Life Aquatech”, SuckerPUNCH <http://www.suckerpunchdaily. com/2013/09/09/thinktank-the-life-aquatech/> [11 August 2016]

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CONTENTS B.1

RESEARCH FIELD - TESSELLATION

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B.2 CASE STUDY 1.0 52

SKYLAR TIBBIT VOLTDOM

B.3 CASE STUDY 2.0 64 POLYP:LUX B.4 TECHNIQUE: DEVELOPMENT 66 B.5 TECHNIQUE: PROTOTYPE 75 B.6 TECHNIQUE: PROPOSAL 89 B.7

LEARNING OBJECTIVE AND OUTCOME

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WHAT IS TESSELLATION? By definition tessellation is created from repeating shape or shapes that fit perfectly on a plane, which between shapes that there are with no overlaps or gaps. These type of pattern derives from a logical set of rules based on mathematical shapes and calculation, this may suggests that the space for creativity is limited. However, various cultures adapt and accept tessellation to their life in spaces including design and art.1 Origin of the word tessellation is from greek language “tesseres” which means “four”1. In fact, the tilings were firstly created from square tiles. Tessellation or the process of tiling can be created from regular, semi-regular geometric or non geometric shape, that they all line up side by side like puzzle to creates larger and more complicated structure.2 TESSELLATION IN HISTORY Tessellation has been utilized in art and architecture due to its ornamental or decorative nature, such as wall and ceiling coverings.

These can be dated back to 4000BC, the Sumerians applied clay tiles to produce ornamental features in their homes and temples. Since then, tessellation found it place in art in various civilizations, including the Egyptian, Persians, Romans and Greeks to the Byzantines, that design and arrangement of tiling varied adopt different culture.

In the 19th century, a group of mathematicians started to discover tessellation’s existence in nature in order to explain its geometric structure, which result in various mathematical studies.3

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We adore chaos because we love to produce order.

- Maurits Cornelis Escher

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TESSELLATION IN ART AND ARCHITECTURE Many tessellation techniques has be adapted in Islamic art an architecture, especially in the Muslim region of Maghreb, North Africa, the Lbverian, Sicily and Malta during the Middle Ages. In Islamic culture, the living object as a representation of art is forbidden, such that they adapted the abstract characteristic of a tessellation and coloured geometric shape in combination to produce distinct patterns.4 Science, mathematics and art has a inevitable connection in relation to tessellation in various area including architecture and art. The division between art and science if often blurred and many artists have followed certain mathematical or science rules in their art creation. For example, the golden ratio is one of the tool that many artist utilized to create images or photographs that is most pleasing for the eye5. Even more, some of most celebrated work in the modern days reflects the art of math, such as repetition, geometrical shapes and symmetry.

Artist Maurits Cornelis Escher is the most renown artist in history and till now still in many ways adored by mathematicians and scientist, whose creation based on the nature of visual perception, infinity and patterns. In the 20th century, M.C. Escher produced few of the most unforgettable woodcuts, lithographs and drawings inspired by the investigation into the formal possibility of perspective and tiling of a plane using one or more geometrical shapes.

His most well known work follows the principles of tessellation explored in the basic patterns, and the artist extended further by embedding shapes into animals, birds, and other figures6.

Contemporary art is greatly influenced by the digital design and the computer dominance. Shifting from graphic artwork by Escher to the today’s computer generated patterns. With the advancement of digital design, increasing possibility of generating higher dimensional tessellation that could be valuable in different aspect of architecture TESSELLATION IN NATURE Honeycomb’s hexagonal wax cells and Fritillary flower are one of the few example of tessellation in nature. On the other hand, more examples of tessellation are seen on buildings and artworks. In nowadays, many architecture embraces distinctive patterns, including London’s Swiss Re Building, Melbourne’s Federation Square and the details on the facade of Hagia Sophia7. As mentioned before, tessellation evolutes to be a great inspiration source for the Islamic Architecture.

Image page 4: Butterflies M.C. Esche Image page 5: Sultan Ahmed Mosque 1-2 Mathforum, 'What is tessellation?', Mathforum (revised 2016) <http://mathforum.org/sum95/suzanne/whattess.html> [22 August 2016] 3-7 Widewalls, 'How did tessellation transform from method to art?', Widewalls (revised 2016) <http://www.widewalls.ch/tessellation-mathematics-method-art/> [22 August 2016]

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V O LTA D O M Cambridge Massachusettes Skylar Tibbits This installation populates the concrete and glass hallway with hundreds of vaults, reminiscent of the great vaulted ceiling of historic cathedral. The vaults includes a thickened surface articulation and a spectrum of oculi that penetrate the hallway the neighbouring area with view and light. Voltadom endeavours to expand the idea of the architectural â&#x20AC;&#x153;surface panelâ&#x20AC;?, by exaggerating the depth of a doubly-curved vaulted surface, while conserves relative relaxation in assembly and fabrication.

This is build by transforming complex curved vault to developable strips, and assembled by rolling a strip of material.1 This project reconsiders a fundamental historical structural element, the vault, attempting to find its relation to contemporary design through numerous assembly and fabrication techniques. This mention enhances the appreciation of installation both as sculpture and a research in materiality and digital fabrication.2 The production also resembles a cell group that will increase in a relation of interdependence between cells, and demonstrates tesselation in its panelling form.

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SPECIE 3

DIAGRAM OF SPECIES

added Weaverbird and Starfish component to pattern or tessellate the surface

SPECIE 1

changed geometry cone to sphere

CROSS REFERENCE RECTANGLE

A boundary for the geometry to be contained in.

outter cone

CULL PATTERN CULL PATTERN

POPULATE 2D

HEIGHT CONTROL

effect the radii and height of trimming cone

inital center point of the cone

CURVE EXTRUDE

ISOTRIM

CONE

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DISTANCE

POINT

VORONOI EXPRESSOIN REMAP SHIFT LIST

creates opening on the vertex

DECOMPOSE MESH selects the mesh with most faces

CONE

SORT LIST LIST ITEM

for trimming the edge

data arranging

informing the radtii and the height of the cone

FINAL

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used attractor to create variation in height and population of the geometry

box morphed geometry's surface, generates edge extrusion

SPECIE 5

mapped geometry on to a brep and utilized Weaverbird to add complexity onto the surface BREP

BOUNDING BOX GEOMETRY

DIVIDE DOMAIN

GRAFT

SURFACE BOX

ISOTRIMED OUTER CONE

1 2 3

MESH SPLIT

BOUNDING BOX

SPIN FORCE

EVALUATE BOX

ROTATE

ORIENT

EVALUATE FIELD

FINAL DECOMPOSED MESH ORIENT

SCALE UV

ORIENT

RANDOM BREP/SURFACE

POPULATE GEOMETRY

MESH CLOEST POINT

EVALUATE MESH

PLANE NORMAL

54

SPECIE 1 ORIGINAL ITERATIONS SMALLER THAN

RADII TARGET DOMAIN

HEIGHT RATIO

B=1

A = 0.5

H=2

B = 0.58

A = 1.5

H = 1.50

B = 0.41

B = 0.2

H=1

B=0

B = 1.5

H = 0.5

55

SPECIE 2 ATTRACTOR SURFACE TRIM

REPLACED CONE WITH SPHERE

ITERATIONS VORONOI BASE SHAPE ATTRACTION

V0 = 1 / V1 =0.5

Dom2 : V0 = 0.64 V1 =0.9

Expression: y = 10

V0 = 0.8 / V1 =0.5

Dom2 : V0 = 0.37 V1 =0.9

Height = 2 Trim dom decresed = 0.5

V1 =0

Dom2 : V0 = 0.5 V1 =1

Expression: (x+y), y = 0.51

V1 =0.8

Dom2 : V0 = 0.5 V1 =0.1

Expression: (x-y) Trim Dom: V0 = 0.8 V1 = 0.1 56

VARIATION IN HEIGHT

SPECIE 4

SPECIE 3

MORPHIING

PATTERNING

ITERATIONS EDGE EXTRUSION ALTERATION

ITERATIONS STARFISH TESSELLATION

Target Dom: (0,5)

Original boundary

Offset pattern edge, Loft

Target Dom: (-3.7,8)

Box Morph Offset distance increased

Offset distance increased Expression: B = 1.00

2 point attractor

Incresed u/v count

Altered tessellation pattern type

Curve attractor

Offset distance = 30

Dom2 : V0 = 0.5/ V1 =0.1 57

SPECIE 5 MAPPING STARFISH TESSELLATION

WEAVERBIRD SUBDIVIDE

ITERATIONS DEFINITION 1+2

With cone for trimming

Sierpinski Triangle Level of subdivision = 1

Mapped on to torus

Without cone for trimming

Level of subdivision = 3 Reduced population

With 2nd layer Added spin force field

Trim dom: V1 = 0.7 Decrease pipe radius

Innerpolygon subdivision Level = 1

Increased force radius

Trim dom: V0 = 0.3 Base Dom decreased

Level = 2

Trim dom: V0 = 0.3 Base Dom decreased 58

DEFINITION 1

DEFINITION 2+3

Sierpinski Triangle Level of subdivision = 1

Random: N = 8 Populate Geo = 8

Level of subdivision = 3 Reduced population

Mesh Dom: End increased Seed = 15

Innerpolygon subdivision Level = 1

Height = 0.01 Trim Dom: V0 = 0.6 V1 = 1

Level = 2

WB Sierpinski Carpet WB Mesh Thicken 59

SUCCESSFUL SPECIES BOX MORPH This iteration was considered to be successful due to it creation of oriental like pavilion. However, there are some overlaps in some area and was not able to be trimmed due to the fault of the original definition. Multi level building can be created with this form. Each of the individual form has a symmetry to it and from every angle, the form will look the same.

60

MAPPING + SPIN FORCE 2 layer of sphere was mapped onto a torus. Spin force was added to one of the layer, original expectation is to have the all the circle spinning out individually, instead the whole layer spined, and this "tail" was created. This iteration is considered to be successful due to its creation of dual space that is clearly identified. When people move alone the space, it can give them a different atmosphere, one is more dense and feel more pressurised, the other feels more light and may be more relaxed.

61

MAPPING + WB This iteration was achieve through mapping only one of the cone on to a cylinder. Complexity was achieved through using weaverbird. The randomness of the mapping result creates some interest to the form. In reality, unlike the original design, this pattern will allow more light to penetrate through and generates complex shadow effect.

62

MAPPINGX 2 + WB The result of this iteration was generated through mistake. Original idea was to map both cone on to a cylinder, so that one of the cone can trim off the intersection. Despite my failure in creating a desired and expect design, the product was interesting. This form may creates a interesting bridge design. Spinning effect was generated, which is unlike the result of ordinary mapping. This effect creates a sense of dynamic to the form, if the spinning effect was future pushed, the arm can result in more complex pattern.

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B.3 C

A

S

E

P O LY P. L

Nuit Blanche NEW YO SOFTLab

A site specific hanging installat entrance of St Patrikâ&#x20AC;&#x2122;s Catholic

The form was created through over 1400 battery powered LED cal formal expression of the cre of typical barrier, the installation interweave and interact with th

64

S

T

U

D Y

2 .

0

LU X

ORK

tion produced by SOFTlab was a part of Flash:Light 2011. It is located at the School.1

a gravity force process and then set upped for production. The surface contains Ds. The piece was designed to lighten the entrance for the evening event. The foeation are the hanging pieces that spark and sway in the wind. Like the purpose n is to moderating the traffic through experience and effect; the visitor is to he piece, such like a clown fish and the sea anemone2.t

1 Softlab, "POLYP.lux", Softlab <http://softlabnyc.com/portfolio/polyp-lux/> [18 September 2016] 2. Softlab

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R

E

V

E

R

S

E

E

N

G

I

N

E

E

MESH EDGE POLYGON MESH initial geometry input

R

I

LENGTH

QUAD SPLIT SUBDIVISION add face or edge to original mesh

SOLVER

NAKED VERTICES

DISCONTINUTY

ANCHOR

CIRCLE

CULL PATTERN REGION UNION EXPLODE MATCH TEXT

CIRCLE

CULL PATTERN

RECTANGLE

N

END POIN

EVALUATET

CURVE BOUNDARY FACE

EXTUDE

UNIT Z

BOX MORPH

TW

66

N

G

CLEAN TREE

DECONSTRUCT MESH

BASE MESH

CONSTRUCT MESH TARGET MESH FACE NORMAL

INPUT CURVE

PULL POINT

ATTRACTOR

creates graduation in decrease of object size

BOUND

REMAP

NT

CURVE

E

LINE

EVALUATE CURVE

REPEAT DATA X2 MERGE INTERPOLATE LIST LENGTH SHIFT PATH FLIP MATRIX

OBJECT

custom created objects to map on to the geometry

DUPLICATE DATA LIST LENGTH

WISTED BOX

PARTITION LIST PANEL

LIST ITEM DECONSTRUCT MESH MESH EXPLODE LIST ITEM DECONSTRUCT MESH MESH EXPLODE

MERGE

OFFSET MESH

MORPH

orient custom created object on to the geometry to complete the form

67

SPECIE 1 WEAVERBIRD ITERATIONS SIEPINSKI CARPET MESH THICKEN

STELLATE + ATTRACTOR

PICTURE FRAME+LOOP SUBDIVISION

s distance = 2 thicken distance = 20

single point attractor mesh thicken dom (-1,20)

thicken distance = 2

s distance = 5 thicken distance = 7

mesh thicken dom (-20.20)

thicken attractor dom (1,33)

attractor dom (-50.50)

attractor dom (-300,300)

picture frame dom (-100,100)

dom (-300,300)

picture frame attractor dom (-21,71)

dom (-300,300) 68

SPECIE 2

SPECIE 3

SPECIE 4

STARFISH

NESTING

REFORM

ITERATIONS TESSELATION

ITERATIONS

ITERATIONS RECREATE BASE GEOMETRY

pattern = 8 edges

pipe radius = 0.1 nest line = 100

extrusion (-3283,1114) rectangle (521,722)

pattern = 6 edges

nest line = 164

extrusion (-2756,1114) rectangle (521,722)

pattern =11 edges

pattern = 3 edges

nest line = 164 pipe radius = 1

nest line = 284 pipe radius = 1

extrusion (-4000,4000) rectangle (272,276)

extrusion (-4196,4000) rectangle (272,276) 69

SPECIE 5 MESH REDUCTION ITERATIONS MESH MACHINE

jitter = 2000

jitter = 640

jitter = -780

jitter = -3670

RANDOM REDUCE

length = 8 curve adoptively = 0.312 iterations = 6

item to remove = 69,100

length = 6 curve adoptively = 0.712 iterations = 1

item to remove = 73, 81

item to remove = 92, 100

item to remove = 35.4, 47

70

SPECIE 6

SPECIE 7

MESH+/SUBDIVISION

MESH+/VOLUME

ITERATIONS

ITERATIONS BOX

x+2 subdivision item

stellate subdivision item distance = 200

4 subdivision item

stellate subdivision item distance = 320

all subdivision item distance = 2.1655

2 subdivision item

2 subdivision item distance = 2.1655

from vert = 0.5 transverse = 0.5

from vert = 0.8 transverse = 0.5 ttrans

from vert = 0.5 transverse = 1.0 ttrans

from vert = 1.0 transverse = 0.5 ttrans 71

SPECIE 6 MESH+/LOOP ITERATIONS SS (M+SS) P(M=P)

ITERATIONS BRANCH

CRUMPLE CRYSTALLIZE

distance = 500 face edge = 0.691 edge to face 0.020

distance face = 0.5 scale face = (0.1,0.1)

distance = 388 face edge = 0.000 edge to face 1.000

distance face = 0.865 scale face = (0.3,0.1)

distance = 0.930 to shift peak = 0 to pivot peak = 0

vert to face = 0.5 vert to volume = 0.5

distance face = 0.865 scale face = (0.3,1.0)

distance = 0.250 edge offset = 0.750

vert to face = 1.0 vert to volume = 1.0

distance = 0.5 to shift peak = 0 to pivot peak = 0

distance = 1.000 edge offset = 0.260 72

SPECIE 9 WB WINDOW REDUCTION EXPAND

distance = 0.250 vertex offset = 0.125

distance = 0.925 vertex offset = 0.471

ITERATIONS

reduction = 0

reduction = 625

SELECTION CRITERIA There is no "successful" in meeting all criteria as well as meets the brief. Majority of the selection was based on: Fabrication possiblity Struture intergrity Complexity Form Future potential

reduction = 1625

reduction = 2875

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B.5.

T E C H N I Q U E : P R O T O T Y P E Prototyping stage is an critical process through out the design. By making models can benefit designer in term of gaining higher understanding material's properties, limits or opportunities as well as it's physical reaction to the reality.

This will elevates designer's understanding of fabrication, taken this knowledge into the design, and use more suitable or logical definition in grasshopper. It is designer's role to identify, solve or innovate upon the grasshopper's limitation.

Therefore, making prototype is important in order to expose the potential problem within fabrication and improve on it that more desirable outcome can be achieve for the final product.

75

PROTOTYPE 01 SCALE 1:1, this allows more accurate testing of material's properties and joint's system.

MATERIAL Polypropylene, ready made craft joint.

AIM To test the material's effect, structure integrity, joint's system.

To see the aesthetic or form of the design in reality and decides whether the aesthetic need to be improve to achieve more complex form.

FABRICATION METHOD 1. Unroll section of the design in rhino and label each pieces 2. Circular node to each of the panel is created in rhino 3. Laser cut each of the panel pieces.

4. Attach each panel pieces using ready make metal craft joint.

PROBLEM ENCOUNTERED The form created in grasshopper was a mesh, that each of the panel piece have multiple faces, that by converting mesh to surface and unrolling the surface using grasshopper, each of the face was unrolled as separate pieces. That only the edge of each of the panel piece was need to be find and be unrolled instead of all the edge. In this case, use rhino command unroll surface not exploded was more effective than using grasshopper definition.

RESULT The joint's system allow free rotation movement between each of the panel. However, such joint's strength is too weak, that each of panel will detached from each other with greater pulling force applied, which this may limit construction of whole design. Burning mark was created on the polypropylene panel pieces by laser cut.

Polypropylene is very flexible and able to achieve great bending effect. However, the structure integrity of the material is questioned when is applied to the whole design.

FUTURE IMPROVEMENTS Joint component need to be reconsidered, other options may include using a rivet or ready made eyelets.

Less flexible material may need to be utilized in order to create some limitation.

If polypropylenes continue to be used, maybe it is needed to be hanged in order to achieve the designed form and a structurally sound walkway needed to be attach to the surface to allow access.

BENDING EFFECT

76

JOINT PIECES

JOINT DETAIL

READY MADE METAL CRAFT JOIN

LASER CUT POLY PROPYLENE PIECES

EXPLODED ASSEMBLAGE DIAGRAM

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PROTOTYPE 02

back

front

FLEXIBILITY

RIVET

WIRE

ORIGINAL JOINT CHOICE

JOINT CHOICE 2

78

SCALE 1:1 CONNECTION MATERIAL MATERIAL Polypropylene, jewelry making wire AIM To test the material's effect, whether the flexibility of polypropylene is enough to achieve non planar surface panel and join them together.

FABRICATION METHOD 1. Unroll section of the design in rhino and label.

2. Make offset length of 5mm tab on the panel pieces 3. Laser cut each of the panel pieces.

4. Drill 2mm holes on the matching pieces' tabs 5. Connect matching pieces together by twisting wire PROBLEM ENCOUNTERED In the design, each of the panel surface is non planer, each panel has some twist in order to connect to each other, therefore, flexible material must be used in order to build the design.

"Make 2D" command in Rhino did not accurately transform the shape of each of the panel piece from 3D space, some dimension of the panel was inaccurate, which this limit future assemblage. In this case, "Unroll surface" should be used at first, then make tab in 2D space. Also, the tab size was too small, and original idea of using rivet was neglect and instead used wire to connect.

ETCHING

RESULT The connection method did not fix each of the panel piece perfectly, that gap still exist between the panel pieces. Also, etching was in the wrong way, which created to much limit to the fold and the when each panel is assembled, it is naturally shown in the reversed side.

FUTURE IMPROVEMENT Joint system may need to be redesigned. Option may include not having the tab on the panel, and drill matching hole on the side that need to be conneted, use wire or string element to loop around the hole to connect, use helix sort of looping pattern. This way, tighter connection may be created and etching is not necessary, problem of showing the reverse side can be neglected.

JOINT

ASSEMBLAGE

79

PROTOTYPE 03

SCALE 1:1 MATERIAL 3mm MDF, high strength glue AIM To test the material's effect with light and joint detail.

FABRICATION METHOD 1. Found the angled curve between each of the panel connection 2. Use grasshopper to creates H-clip 3. Unroll and label each of the pieces in rhino 4. Laser cut the template 5. Connect each the triangle pieces using designed H-clip and further to strengthen the connection with glue.

PROBLEM ENCOUNTERED The H-clip definition was not able to be created within the 3D space, that the angle curve creates on each of the panel piece was needed to be "make 2D" and then apply the H-clip definition to each of the curve.

In addition, with this method, labeling process was made difficult, that each curve was needed to be labeled manually and then be labeled again when H-clip was created in 2D, that this process was in effective. If H-clip was able to be created in the 3D space, the unroll definition from "fabtool" grasshopper can label each of the piece automatically.

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H-CLIP

ASSEMBLAGE DIAGRAM RESULT MDF H-clip was too weak to held the larger panel piece, that the arm's of the clip was broken off. Also, the slit created on the clip was too large, the slit size was 3mm; exact the same thickness as the MDF panel pieces. As result, the connection was too loose, panels was unable to be connected to each other, high strength glue was applied to join each piece.

Used light to test the density of the material, light was able to be fully cover by the panels, but in the uncovered area, the gap between the panel;light was able to escape through. This effect may creates design opportunities in the future design. In addition, material effect was future test with water. The result is that MDF's penetration strength allow water to create generative pattern on the panel.

FUTURE IMPROVEMENT Joint detail need to be redesigned and maybe the connection need to be larger in scale in order to have a higher strength. Thicker or higher strength material may be utilized for the joints. Slot size of the joint component will need to be smaller than the panel material's thickness, which is to minimize tolerance and achieve tighter connection.

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PROTOTYPE 04

SCALE 1:5 MATERIAL 2mm Perspex, cable tie AIM To test the material's strength and joint detail.

FABRICATION METHOD 1. Unroll section of the design 2. use Rhino to create the circular node 3. Laser cut the 2D template 4. Connect each panel by using cable tie PROBLEM ENCOUNTERED Originally, the joint is to use rivet. However, when designing the joint system, the fact that meeting point of the panel piece may have many la ignored. In this case, depth of rivet was not enough to held many layers, cable tie was used in order to just join each pieces together.

JOI

82

ayers was

RESULT Cable tie was the able to connect all the layers together, but aesthetic make the design look in complete. However, cable tie was allowing some flexibility within the joint, so that the as the panel connect to each other not just creating a larger flat piece, a round or circular resulting form can be achieve. In this case, when the material is not flexible, the joint must have some space to allow panel to rotate.

In addition, 2mm Perspex was too brittle, it cracked easily, careful handling of the material is needed.

The material is waterproof, this may be a important property in relation to the site.

FUTURE IMPROVEMENT Joint detail must be redesigned to allow multiple layers connection as well as having some flexibility.

Thicker Perspex must be used in order to have higher strength, or change the material system entirely.

INT'S FLEXIBILITY

BRITTLE : CRAKES

JOINT'S DETAIL

CABLE TIE

ASSEMBLAGE DIAGRAM

83

MATERIAL EFFECT: WATER

84

MATERIAL EFFECT: LIGHT

85

MATERIAL EFFECT: WATER

PROTOTYPE 1 SECTION

PROTOTYPE 2 SECTION

PROTOTYPE 3/4 SECTION

86

VISIBILITY

STRUCTURE INTEGRITY

LOW

LOW

Allowing the form to be merge

May depends on the material

into the landscape, creates a

choice, use of polypropylene will

sense of lightness and "foggy"

not achieve any structure integ-

effect that the pavilion seems

rity, which this method may not

RECYCLABILITY POLYPROPYLENE - YES

going to be disappearing

MEDIUM

LOW

Have a sense of complexity and

Depends upon the material

lead the users to explore the

choice applied to the design.

design more closely.

Polypropylene will not work in

POLYPROPYLENE - YES

reality.

HIGH

MEDIUM

MDF - NO

Generates a bold aesthetic look.

Though MDF and Perspex has

PERSPEX - YES/NO

Creates a sense of dominance

some strength, but the strength

and may overwhelm the visitor.

is not enough to have people walk on it, or the joint system may be design to be more rigid

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B.6.

T E C H N I Q U E P R O P O S A L

:

89

THOMAS EMBLING HOSPITAL

CLIFTON HILL

YARRA BEND PARK

LEGEND water flow direction populaton density pollution density 90

S I T E A N A LY S I S BACKGROUND The Merri Creek flows about 60 km from the Great Dividing range through Melbourne's northern suburbs to the Yarra rivers. All parts of the Creek are significant in terms of its contribution on linking areas of environment, heritage and recreational value along the creek.1 SITE USER Surrounding resident, Bikers.

KEY AMENITIES Play grounds, benches, Bike route, Path.

KEY ACTIVITIES Jogging, riding bike, walking a dog PUBLIC TRANSPORT Clifton Hill and Rushall stations , St Georges Road, Nicholson Street and Sydney Road trams.2 SHORTFALLS Limited bridges to connect the river side, limits the movement around the creek. Insufficient amenity for family activities, such as picnic area, BBQ space, toilets. Insufficient rubbish bins, such inconveniency may lead site user to litter.

MERRI CREEK

CHOSEN SITE

YARRA RIVER

ISSUE Water quality of Merri Creek is severely polluted. It is mainly the result of urban development. Urban sprawl is taking over rural areas in the mid-Merri. Developments has implication for water quality and quantity in the creek, as well as for biodiversity value. Melbourne water reported the section of Merri Creek from Craigieburn to Yarra Bend have city's poorest water quality, polluted by heavy stormwater and industrial run off.3 SITE CHOICE Location of the exhibition space is located in Yarra Bend Park at the space where creek is about to meet with Yarra River. In such location may encourage more visitors and creates more physical movement in the park, add more vividness to the green space, leading people to have more healthier life style.

In addition, the site is near public facility, the Thomas Embling Hospital, which may help to increase publicity to the exhibition center, directing people to be more engaged toward environmental issue.

1 Merri Creek Management Committee, 'About Merri Creek', Merri Creek Management Committee <http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36&Itemid=188> [22 September 2016] 2 Tom, Arup, 'Not so Merri reputation for creek', The Sydney Morning Herald (revised Novermber 2011) <http://www.smh.com.au/environment/water-issues/not-so-merri-reputation-for-creek-20111120-1npef.html> [22 September 2016] 3 Merri Creek Management Committee, 'Issues', Merri Creek Management Committee <http://www.mcmc.org.au/index.php?option=com_content&view=article&id=347&Itemid=350> [22 September 2016]

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PROPOSAL IDEAS TOPIC

O C E A N A C I D I F I C AT I O N WHAT IS IT? Ocean acidification occurs when carbon dioxide is absorbed by seawater, the chemical reaction reduces seawater PH level and biologically important calcium carbonate minerals saturates1.

RELATION TO SITE An Ocean acidification related exhibition space on Merri Creek is to highlight the importance of having clean water ways. Especially, having the site near the merging point to the Yarra River is to indicates that polluted water will go to the ocean, which will contributes to Ocean acidification and corrupt our very own coral reef.

In addition, the site and the exhibition is to alarm any visitors that RELATION TO SUSTAINABILITY every water stream is critical in preserving our ecosystem. EncourOcean acidification affects ocean species to varying extends. For age the community to visits the park and be engaged to the green example, expansion of ocean acidification has significantly despace or the surrounding environment. This way the community crease the ability of reef building corals to produce their skeleton2. may response to the deterioration of water qualities in a positive The issue as a global problem enhance the importance to sustain way, that water pollution may become an issue that more people ocean's biodiversity for maintaining marine food webs. That this is concerning about and generates more sustainable behaviour. will benefits harvested species that is the central food resource Ultimately, having a sustainable living style is the way to improve for coastal populations. Also, reduction of ocean acidification to status of having degenerated future. presence marine life will be an critical move in the development of sustainable tourism activities. Ultimately, increase of sustainable tourism benefits all biodiversity.

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INTERIM FEEDBACK Questions the location of the site relation to the topic. Whether the site is suitable enough to promote ocean acidification. If the topic relates to ocean, maybe the have the site in the ocean is more effective in communication and be more clear in addressing the topic. Therefore, sustainability topic of ocean acidification may be completely abandoned in order to achieve clear communication and proposal.

Image: Coral bleach 1. PMEL Carbon program, "What is ocean acidification", PMEL Carbon Program <http://www.pmel.noaa.gov/co2/story/What+is+Ocean+Acidification%3F> [18 September 2016] 2. Jane Lubchenco, "benefits from ocean acidification research" Nature Geoscience <http://www.nature.com/ngeo/jour> {}nal/v8/n10/box/ngeo2552_BX1.html> [18 September 2016]

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TOPIC

REFLECTING THE SOCIETY

94

The design mirrors the current social status, which people’s words does not match their action.

This concept is demonstrated through dual materiality of the design; from rigid form to flexible or relaxed geometry. The rigid is shown above that is to suggests majority of people’s speech about protecting the environment is often dogmatic and forthright to the outer world. However, often sense of conformity hinders individual from acting out their word. This state of mind is represented by the softer geometry on the under part of the exhibition pavilion, where each individual is the geometry, water represents other people’s action, each individual’s action is often driven by what other people do. From observing or seeing the architecture, hope people can reflect upon their action and live to a more sustainable lifestyle.

INTERIM FEEDBACK Idea of duality may be extend further or have the proposal entirely relation to human characteristic of duality. The design in section has an interesting shape, maybe the form can be utilized in plan to explore the characteristic of bad and good. That people can walk on the good side, or the bad side of this bridge, that they can walk to the peak of each of the section to express themselves of desire to be very bad or very good.

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N AT U R E ' S P O W E R Nature in many ways is dangerous, which in event such as Tsunami, earthquake, we are almost helpless. We may be fearful toward what is unknown or the unexpected.

The dark coral like form pavilion design seeks to creates an antagonizing or domineering atmosphere during day time. The form symbolizes nature in some way and it is there to remind us that nature is powerful. In face of nature, we as human is vulnerable, we must give it our fullest respect and appreciate or protect it for our prosperity. At night time, the black of the pavilion merges to the darkness of the night. The lights installation in the pavilion lightens up the structure. When the light escape through the gap between panel creating the starry effect, which seeks to generate a mystical sort of feeling. Despite the fantasy, the "danger" is still there; beneath there are still many sharp crystal geometry. Somewhat, the pavilion is like characteristic of nature, that deep into the forest or beneath the ocean is the darkest and may be the dangerousest.

Such that, the aesthetic of the pavilion seek to heighten public's respect toward nature and directing them to live in more sustainable.

HYDROPOWER Electricity is required on the site for the lighting effect. However, in order to be energy sufficient and sustainable, the space utilized hydropower to generates power. Hydro power is a renewable source of energy which uses the force of energy of moving water to generates electricity. In Australia, water shortage is one of the key constraint on future growth in hydroelectricity generation. By use such technology on the site is to further enhance the importance of water, that may lead more people to reflect upon their wasteful lifestyle. In addition, by introducing of hydropower to more people may be able to direct the public to be more accepting in the modern technology, and realizing that computers can help us to have a more convinent but sustainable life style.

This system is going to be separated from the pavilion itself, that the aesthetic of the pavilion remains as original design.

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97

ACCESS DIAGRAM/PLAN

98

FRONT ELEVATION

99

THEREFORE...

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B.7

L E A R T I V E

N

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GENERATING FORMS I believe one of the object in Studio air is to lead us to see the potential of computation design in architecture. It is influencing how contemporary designers think and design. Throughout Part B, I am able to understand and be amazed on the ability of computation design.

I was able to discover varies method to generate different effect by generating numerous iterations using the existing or reverse engineered definition. At beginning, generating iterations was challenging. However, the process pushed me to think algorithmically. Understanding of data structure and how each components work in grasshopper was critical in the creation of reverse engineering, this way greater control over the design in the later stage of making iteration can be achieved. In this stage, I investigated the potential of use Weaverbird and Mesh+ plugging to generates patterns and ability of attractor point to creates variability. However, I seeks to investigate further on the potential of Kangaroo as well as plugin relation to structure to understand and extends the design's form to it's limit.

O B J E C T C O M E

-

was reluctant to use grasshopper due to my limited understanding. However, through posting on grasshopper forum and going to technical session for assistant, introduces new component and other means of generating same component broadened my knowledge of grasshopper and future developed on the definition. As result, I was able to have some parametric thinking in to the design process.

IN PART C Prototyping is important in this stage as well, since not many successful prototype was generated in Part B. Joint detail need to be redesigned and be tested.

Also, in term of designing a parth or walkway along the strucutre, some thing more interesting than flat surface may need to be designed in order to achieve the a more complete outcome.

In addition, proposal need to be revised in order to achieve more clear communication. Also, when work in a group in the later stage, proposal need to be discussed.

Complexity of the design need to be pushed, opportunities may be created when work as a group.

MAKING THE PROPOSAL In order to create a successful proposal I need to have clear idea of what I want to achieve in this design. Things to consider may include what message I want to bring out? Why am I designing this? What effect I want to achieve. This was difficult at the beginning, I was really lost in term of have a clear idea of what I want to achieve. Through site analysis, I was able to pick up my self and understand what the Merri Creek Community is seeking; clean water ways. However, from the feed back in the interim presentation, I understand that have a clear proposal is important to push the message I have to demonstrate to it's limit. That having multiple ideas or proposal in one design will not be effective in communication, that the investors may be confused in what do I exactly want to show, or what is exactly is the purpose of this pavilion. Therefore, having one strong and clear proposal is important in persuading the audience or investor to take your design.

UNDERSTANDS PARAMETRIC GEOMETRY AND DATA STRUCTURE Through weekly video and practice taught me to have some understand parametric design or grasshopper and opens a new window to my understanding of computational design.

Through use repetitive element, such as graft, flattening helps me to understand the data structure in grasshopper. Initially, I

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B.8.

A

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WB LOOP WB MESH ICOSAHEDRON SUBDIVISION

DUAL GRAPH VECTOR 2 PT

MOVE

PATH MAPPER SPLIT TREE

ASSIGN SPIKE LENTH

LIST ITEM

IDENTIFIES VERTEX SHARING BETWEEN INNER AND OUTTER SPHERE

REMOVE DUOPLICAT LINE

POLY LINE

REMOVE DUOPLICAT LINE

POLY LINE

WEAVE

MULTIPLY

MERGE EXOWIRE WB LAPLACIAN SMOOTHING 103

POINT CHAR CURVES number of curves

DIVIDE CURVE

INTERPOLATE

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CIRCLE

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MERGE FIELD

FIELD LINES

DIVIDE CURVE

IPLY

DIVIDE CURVE GRAPH MAPPER shape of the field changes according alteration of the graph

RANGE

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SPHERE COLLIDE DECONSTRUCT MESH MESH

UNARY FORCE SPRING FROM MESH SETTING

KANGAROO PHYSIC

ANCHOR POINT gripping point of the fabric

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SERIES CONSTRUCT POINTS LIST LENGTH

RANDOM

UNIT Z MOVE

CONSTRUC DOM MULTIPLY

INTEROPOLATE

FLIP MATRIX

RUNNIN

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SURFACE FROM POINT

CONTOUR

NUMBER TO POINT POPULATE GEOMETRY

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SURFACE CLOSEST PT

MOVE

LOOP START

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SET OF LINES XY PLANE

PLANE DECONSTRUCT PLANE

LINE initial pattern

POINTS

LINE

END POINTS

ORIENT DIRECTION

HOOP SNAKE

UNGROUP

LINE

LINE result

LARGER THAN

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Lubchenco. Jane, "benefits from ocean acidification research" Nature Geoscience <http://www.nature. com/ngeo/jour> {}nal/v8/n10/box/ngeo2552_BX1.html> [18 September 2016] Mathforum, 'What is tessellation?', Mathforum (revised 2016) <http://mathforum.org/sum95/suzanne/ whattess.html> [22 August 2016] Merri Creek Management Committee, 'About Merri Creek', Merri Creek Management Committee <http:// www.mcmc.org.au/index.php?option=com_content&view=article&id=36&Itemid=188> [22 September 2016] Merri Creek Management Committee, 'Issues', Merri Creek Management Committee <http://www.mcmc. org.au/index.php?option=com_content&view=article&id=347&Itemid=350> [22 September 2016] PMEL Carbon program, "What is ocean acidification", PMEL Carbon Program <http://www.pmel.noaa.gov/ co2/story/What+is+Ocean+Acidification%3F> [18 September 2016] SJET, "Voltadom:2011", SJET <http://sjet.us/MIT_VOLTADOM.html> [18 September 2016].

Softlab, "Polyp.lux", Softlab <http://softlabnyc.com/portfolio/polyp-lux/> [18 September 2016] Tom, Arup, 'Not so Merri reputation for creek', The Sydney Morning Herald (revised Novermber 2011) <http://www.smh.com.au/environment/water-issues/not-so-merri-reputation-for-creek-20111120-1npef. html> [14 September 2016] Widewalls, 'How did tessellation transform from method to art?', Widewalls (revised 2016) <http://www. widewalls.ch/tessellation-mathematics-method-art/> [22 August 2016] image Butterflies: Wikiart, "Butterflies", Wikiart < http://www.wikiart.org/en/m-c-escher/butterflies > [18 September 2016] POLYP:lux: Softlab, "Polyp.lux", Softlab <http://softlabnyc.com/portfolio/polyp-lux/> [18 September 2016] Coral bleach: Daniels, Ethan, " Corals are in the middle of a “global bleaching event.” Here’s what that means ", Grist < http://grist.org/climate-energy/corals-are-in-the-middle-of-a-global-bleaching-event-heres-what-that-means/ >[19 September 2016] Sultan Ahmet Mosque: Youjia Huang Voltadom: SJET, "Voltadom:2011", SJET <http://sjet.us/MIT_VOLTADOM.html> [18 September 2016].

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DETAILED DESIGN 114

A SPECIAL THANKS TO MY GROUP Sida Yu

CONTENTS C.1 DESIGN CONCEPT 115 C.2

TECTONIC ELEMENTS & PROTOTYPES

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C.3

FINAL DETAILED MODEL

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C.4

LEARNING OBJECTIVE AND OUTCOME

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FINAL PROPOSAL From our interim feedback, our group mainly focus on clarifying our proposal and focus on one idea. Also, linking our design concept to the site will be our main challenge.

DECAY VS GROWTH

Our home faces treat as a result of unlimited resource consumption. Immediate or indirect consequence are there to alarm us. In Melbourne, citizens and especially residents around Merri Creek should be concern about the pollution of this waterway, it is a sign of corruption and directly effecting our wellbeing. The pavilion is to imitates this degeneration process and to question people do we want our race to ends in the dark or have a brighter future.

IMAGE LEFT TOP: Inspiration image “Sewerage1” IMAGE LEFT BOTTOM: Inspiration image “Flower decay2”

MATERIAL

High density polypropylene will be used to construct the pavilion. It is 100% recycled and recyleclable material. It’s post-consumer HDPE is a material or finished product that has served its single use and been diverted or recovered from waste destined for a landfill. It is used in products and packaging such as milk jugs, detergent bottles, margarine tubs and garbage containers.3

CONSTRUCTION PROCESS

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S I T E A N A LY S I S The site chosen is in Merri Park. By having the pavilion beside the Merri creek; the pollution of the waterway reminds and reinforce the idea of degeneration to the visitor. Around the site there are many schools and recreations which may encourage effective promotion of this pavilion.

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COMBINE HYBRID PUT TOGETHER

COMBINE SIDA’S FORM

+ extrusion

+ mesh reduction

+ frame, reset anchor points and extrusion

+ reset anchor points and frame

+ bending panels

COMBINE YOUJIA’S FORM

+ reset anchor points

FINAL FORM

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DEVELOPMENT

The extrusion gradually increase and completely fill up one end, which it is to represent the decay. The opposite end is the lighter end, only has the framing element and allows light to penerate in.

Pavilion in shape of tunnel is to limits people’s circulation, that they only can enter from either end.

The purpose of creating a tunnel like pavilion is to engage with the experience of change in atmosphere of either “decay” of “growth”.

When people walk from the lighter end to the dark end, they may feel a “decaying” process, from some space fresh and relaxed to dark and pressured space with no light.

On the other hand, when visitor travels from the lighting end, the end with framing element, they may feel a sense of “growth”. From some place dark or enclosed to some space that is more open where you can see greens or life.

MATERIAL

Framing element will be construct out of transparent HDPE to allow more light to penerate to the one end.

The extrusion element shall be black, the enhance the idea of “decay” and the intensity in the space.

Framing element’s material will be UV stablelized. However, the material for the black pyramid shape will not be UV stablelized. It will change in apperance and molecular structure over time, which is to reinforce the design concept of corruption.

PRESERVATION

The pavilion will be located in park and with many trees, which the trees shall be preseved and untouched. In this case, the cone shaped opening through out the design is to accomodates the trees. The installation shall be assembled on site to allow the design to be within the trees.

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METHOD 2

PROTOTYPES ATTEMPT 1

Our final model will be 1:10 scale and prototypes are made out of 1:10 as well. Having a 1:10 scaled final model allow people to see the constructbility of the design., which our design can be made in reality.

Front

METHOD 1

Wire

Material is too thin to be used as this type of node connection. Not enough strength is provided to held long framing elements.

Cut is not precise enough, results in loose connection

Connections needs to be future developed for aesthetic.

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METHOD 3

Reverse

Reverse Front

Wire

Restrict the positioning of the pyramid element.

Connections needs to be future developed for aesthetic.

Fin edge needs to be longer to reduce the tension in the joint and prevent from flipping to reverse side

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PRECEDENT

S H E L L S TA R PAV I L I O N MATSYS Wan Chai, HONG KONG

Secondary tab

Primary tab

Holes

Cable tie

On the first attempt of prototyping there were many failures. The main failure is the joint between framing elements, it is either too loose or too tight that is flipping to the reverse side. In addition, the efficiency of the assemblage need be heightened.

In this case, we did research on joint method and encountered “Shellstar Pavilion”. It has similar form to our design and it’s fabrication piece has tabs which is like our first attempts method 3. However, it’s secondary tab was the highlight. This linking element to other panel piece which may be the factor we are missing in order limit the force in the joint from pushing to the reverse side.

Top image: Shellstar Pavilion2 Bottom images: Shellstar Pavilion fabrication process3 4. MATSYS, “Shellstar Pavilion” MATSYS (revised 2015) < http://matsysdesign.com/category/projects/shell-star-pavilion/ > [1 November 2016] 5. MATSYS.

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PROTOTYPES ATTEMPT 2

METHOD 1

Entirely adapt Shellstar Pavilionâ&#x20AC;&#x2122;s joint detail, using round secondary tab and cable ties to connect.

METHOD 2

Using square secondary tab instead of round. Replaced cable tie with bolt, didnâ&#x20AC;&#x2122;t use rivet because difficulty in assemblage at some smaller or narrow section. Also using bolt allows greater flexibility, which can be unscrewed when mistakes are made.

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METHOD 1

METHOD 1

BOLT ROUND

METHOD 2

SQUARE

JOINERY PIECE TEST

CONNECTION TOOL TEST

ROUND: Allow pieces to connect in their original designed state, the round corner allowed rotation.

CABLE TIE: Only creates tight connection Large gaps occurs on the untied side (fro

SQUARE: The squared corner limits the pieces from forming angles, which in the end the whole piece may result in one flat pavilion instead of arced.

BOLT: Tighter connection in both ways. G

CHOSEN METHOD: Round

CHOSEN METHOD: Bolt

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METHOD 1

CABLE TIE BACK FACE

GLUE

METHOD 2

BOLT

CABLE TIE FRONT FACE

n at where it is been tied(back face). ont face).

Gaps at the front face is reduced.

PYRAMIDâ&#x20AC;&#x2122;S BINDING METHOD TEST GLUE: Binds with careful application and burns the material. However, will allow more effective assemblage and the burn mark will not show when the material is black.

BOLT: Tighter connection and finer aesthetic. However, slows down the assemblage process.

CHOSEN METHOD: Glue

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PRECEDENT STRUCTURE STUDY

M U N I C H O LY M P I C S T A D I U M Frei Otto and Gunther Behnisch Munich, GERMANY

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Tensile structures are light weight and it’s structural integrity is derived from pressure rather then the mass of the material used. Munich Olympic Stadium is one of the representation of tensile structure. It is constructed out of mesh of steel cables connecting to eight poles, covered with almost transparent translucent polyester fabric matching the shape of mesh.6 Used bolt in the connection to creates freely rotatable node and allowed the mesh to set to any angle. The main cable were held at high tension to control the deformation of the roof.7 Similarly, our design will require some “cable” elements to held the structure in tension to result in the desired form as well as improving structural integrity.

aluminium clamp acrylic plated frame with steel square section

bolt cable net

6. Williamson,Marcus ”Frei Otto: Architect Best Known For The Tented Roofs That Graced The”, The Independent, 2016 <http://www.independent.co.uk/news/people/frei-otto-architect-best-known-for-the-tented-roofs-thatgraced-the-1972-olympics-in-munich-10109264.html> [accessed 1 November 2016].

7.Choudhari, Tanvi “Tensile Final”, Scribd, 2016 <https://www.scribd.com/doc/19465847/Tensile-Final> [accessed 1 November 2016].

Left Image: ArchDaily “AD Classics: Munich Olympic Stadium / Frei Otto And Gunther Behnisch”, Archdaily, 2016 <http://www.archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch> [accessed 1 November 2016].

Right Image: ArchDaily, 2016

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THE MAKING PROCESS

UNROLL

SPERATE AND LABEL

MAKE TABS AND HOLES

NEST

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PROBLEMS ENCOUNTERED During assemblage process, there were some choice have to be remade to adapt the faults in materials.

FIRST Originally planned to use all round head bolt. However, in some part gaps between pieces where particularly small and round head are too large for the part. In this case, flat head bolt were used instead to suit the situation.

SECOND The nut bought for the final model were different to the prototype.

The nut used for the prototype can be tighten without any mechanical tool. However, the new nut requires mechanical drill for tightening, which slows down our assemblage process. In some part the area for using drill was limited, using hand for tightening will be easier.

THIRD The laser cutting material used by the processer were the wrong type of polypropylene as replied by the processer. Many cutting were uncut, our group have to redo many part by hand which greatly slows down our assemblage process. Also, many crakes formed due to the uneven etching. In this case, we have to recut many pieces to reduce the crack in the final model.

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COMPLETE FINAL MODEL

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CIRCULATION DIAGRAM

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wire rope sling with soft eye machine swaged

anchor bolt

CONNECTION DETAIL

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black extrusion elements

almost translucent frame

nut and bolt

PANELâ&#x20AC;&#x2122;S CONNECTION DETAIL

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FURTHER DEVELOPMENT 1 LIGHTING EFFECT In my previous proposal lighting effect was added at night time to enhance the experience. For this new proposal, lighting is also added at night time to reinforce the concept. At the framing end has warm bright light to welcome the visitor creating a pleasant atmosphere. The light becomes cool and vague merging in to the dark as the visitor travel through tunnel. On the other hand, visitors may choose to enter from the darker and cooler end and the experience will be in contrast to the experience when entering from opposite end.

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ENTERING FROM TWO END

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FURTHER DEVELOPMENT 2 STRUCTURE

Need to be revised for structural logic, which tensil structure will not be pulled when no extermal force is applied.

In this case, the framing element will not go up, it should be going down

REVISING BASE MESH PROCESS

inital mesh / top view

set new anchor points to apply force to / top view

relax mesh / front view

mesh reduction / front view REVISED MODEL

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FRONT ELEVATION 1:250

SIDE ELEVATION 1:250

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FINAL DEFINITION

POPULATE 2D + SCALE + LOFT To begin with, we used populate 2D to set a list of random points within the given area. Then certain points was chosen as the location of the trees that we will be build our structure around.

The next step is to scale voronoi as according to the scale of the tree truck. The curves are then lofted to give a surface, which is converted to mesh later.

SPRING FROM MESH + KANGAROO +CONMESH. The mesh generated from WB splitquads is then put under kangaroo to form a tensile structure we needed. After starting this simulation, hight of some of the anchor points are adjusted as according to the hight of the tree truck.

DEMESH + REDUCE + CONMESH The mesh is then reduced to a co

M+EXPLODE + SCALE +LOFT + WBTH This stage is to create the frame of our edge and then loft it with the original m Wb Thicken is used to give the frame a

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WB SPLITQUADS + MESH EDGES + END POINTS To find the anchor points of our tensile structure, the mesh is then subdivided using wb splitquads component.

This allows the mesh to be able to form a tensile structure or otherwise all the mesh edge are anchored. In this case, anchor points only uses the start points and end points of the outer mesh edges.

H +CULLVERTICES. onstructable number of faces for later fabrication concern.

HICKEN r structure. We scale each mesh faces and extract the scale mesh mesh edges. a thickness.

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ATTRACTOR SYSTEM + REMAP To create a gradual changing effect, attractor system is used in this step. The increasing number of extrusion is create through split the mes each part.

Set the area that is going to be extruded. Because of the gradual changing effect we intent to create, the defini- Set extrusion hig tion remap the distance from the centre point of each mesh to 0 to 1 and chose certain distance as we did in the last step.

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sh into seven parts and gradually increasing the percentage of extrusion in

ght as according to the distance from entrance.

Randomly reduce the number of extrusion as according to the distance from entrance.

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Throughout the development of final project heighten my perspective of computation design, and allows me to further understand the practicality and ability of computation in relation to the contemporary architecture practice.

There were many unconsidered factors in the initial stages proposal, such as how it is linking back to nature or what part of the design shows sustainability? Many concepts suggested on the initial proposal where vague on the design or not shown. In this case, the design itself were not persuasive or selling. When using computational method to create design it is important to always thinking back to the proposal, and always need to question â&#x20AC;&#x153;does the design shows the idea of the proposal?â&#x20AC;?

Connection of our design to the concept of interactive architecture should be made at the earlier stage of the design process. Our design is a tensile structure, including a structural optimization at the beginning of the design stages will greatly improve our structure integrity. Having a deformation optimization running through our initial mesh may creates some more opportunities in the form finding of our design.

Structural analysis

However, once we finalized our design we went in to the prototypiying process. Practicality factors were need to be taken in to account and enforces us to think rationality about fabrication and connection details. Making models allowed us to see the construction situation in reality and testing of different method is critical in order to achieve finer aesthetic as well as meeting initial design concepts.

In addition, graphic communication were particularly important in delivering our design message. Our design idea includes a change in atmosphere and this idea need to be shown in graphic. Various rendering technical or drawing method need to be adapted in order to allow people to understand the design through graphic. For example, rendering of the lighting effect in the night time can be more persuasive than image at day, since the contrast between atmosphere is enhanced.

Development of the digital design enables our completion of final design. This course has broadens my view of architecture and have direct and taught me of using grasshopper and I will continue to refine my skill and utilizing the

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Intectural , “Metem Recycled HDPE Plastic Building Material | Intectural”, Intectural, 2016 <http://intectural.com/ material/metem/> [accessed 1 November 2016].

Williamson,Marcus ”Frei Otto: Architect Best Known For The Tented Roofs That Graced The”, The Independent, 2016 <http://www.independent.co.uk/news/people/frei-otto-architect-best-known-for-the-tented-roofs-thatgraced-the-1972-olympics-in-munich-10109264.html> [accessed 1 November 2016].

7.Choudhari, Tanvi “Tensile Final”, Scribd, 2016 <https://www.scribd.com/doc/19465847/Tensile-Final> [accessed 1 November 2016].

IMAGE: ArchDaily “AD Classics: Munich Olympic Stadium / Frei Otto And Gunther Behnisch”, Archdaily, 2016 <http://www. archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch> [accessed 1 November 2016].

Pininterest, “Davidsketchbook”, Pininterest (revised 2016) < https://au.pinterest.com/pin/496733033872026601/ > [1 November 2016] MATSYS, “Shellstar Pavilion” MATSYS (revised 2015) < http://matsysdesign.com/category/projects/shell-starpavilion/ > [1 November 2016] Yadav. Rajeev, ”Causes For Increasing Pollution In India (10 Causes)”, Publishyourarticles.Net - Publish Your Articles Now, 2016 <http://www.publishyourarticles.net/knowledge-hub/environmental-studies/10-essentialcauses-responsible-for-increasing-pollution-in-india/3735/> [accessed 1 November 2016].

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