WENYI YANG 618498 FINAL STUDIO AIR JOURNAL

1

STUDIO AIR WENYI YANG 618498SEMESTER 1/2015TUTOR: CHEN CANHUI

2

WENYI YANG

Born in Shanghai Raised in Singapore

3

I am a third year Bachelor of Environments student, majoring in Architecture.

I came to Melbourne after finishing my secondary studies in the hot and bustling Singapore. Since young, I love drawing and was fortunate enough to meet a good teacher, who inspired me to be an architect.

Through the course Virtual Environments, I have got-ten the chance to experience first hand and learn about computational design. It was a tough struggle to mas-ter Rhino. Nevertheless, I am excited to prepare for what Grasshopper has to offer.

I have gone through internship so as to broaden my experience with the real architectural world and em-phasised the importance of computation.

4

TABLE OF CONTENT

5

PART A : CONCEPTUALISATION

PART B: CRITERIA DESIGN

PART C: DETAILED DESIGN

INTRODUCTION

A.1 DESIGN FUTURINGA.2 DESIGN COMPUTATIONA.3’COMPOSITION / GENERATION

B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0B.4 TECHNIQUE DEVELOPMENTB.5 TECHNIQUE : PROTOTYPESB.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES AND OUTOOMES B.8 APPENDIX

C.1 DESIGN CONCEPTC.2 TECTONIC ELEMENTS AND PROTOTYPESC.3 FINAL MODELC.4 LEARNING OBJECTIVES AND OUTOOMES

6

7

PART A CONCEPTUALISATION

8

Location: Abu Dhabi Climate : Intense Sunshine and little Rainfall

The design is produced using parametric function to respond to the natural environment and climatic situation of the site.

The interesting thing about this project is with its environmentally responsive external screen that operates like a curtain wall.

The screen sits two meters outside of the facade with each triangle coated with fibreglass and programmed in a wall that it alters with the changing sunpaths to reduce solar gain and glare.

When evening comes, these panels will close up, helping to reduce an estima-tion of 50% of energy.

In my opinion. this project is an amalgation of practicality and sustainability. As it answers directly to the needs of people using this building.

AL BAHAR TOWERS RESPONSIVE FACADEBY.AEDAS

A .1.0 DESIGN FUTURING

9

10

The design was made with a clear aim towards sustainabil-ity and to be able to cater to a series of distinct ecosystems which will enable the gardens to function with maximum en-vironmental efficiency , and to showcase those world habitats most at risk from the climate change.

A computer controlled shading system and carbon neutral cooling technologies have been integrated into the building to efficiently maintain the climate within.

GARDENS BY THE BAY BY. WILKSON EYRE ARCHITECTS

Location : Singapore Climate: Hot and Humid Purpose: Climate Controlled Conservatory

11

12

ICD/ ITKE RESEARCH PAVILION 2010 BY. INSTITUTE COMPUTATIONAL DESIGN (ICD) & INSTITUE OF BUILDING STRUCTURES AND STRUCTURAL DESIGN (ITKE) UNIVERSITY OF STUTTGART

A .1.1 DESIGN COMPUTATION

13

It is based on a common material behavior: elastic bending. The elastic bending behavior define a series of behavioral components that spa-

tially mediate an intricate network of forces.

The research project indicates how even a relatively simple behaviour such as elastic bending can lead to novel design possibilities of bend-

ing active systems that are surprisingly versatile, complex and structur-ally effective.

14

Softwares used:Rhino, 3D studio and Catia

The inner model controls the seating bowl. The outer roof model contains the now- famil-iar bird’s nest geometry.This project employed the so-phistication of parametric mod-eling, where one independent parametric model sitting within another.

BEIJING OLYMPICS STADIUM BY HERZOG AND DEMURON

15

In the case of the design of the seating bowl, parametric design fixes rela-tionships between seating, supporting terraces and the stadium floor so that the view of any spectator is automatically optimized as a variety of options for bowl geometry are explored.

Difficulties faced during this project. As the model is dynamic, architects face difficulties in producing the 2 dimensional drawings as there are very few purely vertical elements. Hence making the documentation drawings very complex and challenging for the builders as well.

16

A .1.2 COMPOSITION/GENERATIONMICHAEL HANSMEYER COLUMN 2011BY.MICHAEL HANSMEYER

17

Michael Hansmeyer is an architect and programmer, who uses a genera-tive method of metamorphosis to create intricate and delicate details on these columns.

This process can be run again and again with different parameters to create endless per- mutations of col-umns. The result is a seriesof columns that exhibit both highly specific local conditions as well as an overall conti- nuity and coherency.

He generates the design by inputting indi- vidual segments into the output of polylines and subsequently more advanced forms will be derived. The use of morphogenesis allows him to take control of his design.

18

This project is an architectural research focusing on both form-finding and the fabrication of minimal surface struc-

tures. The project seeks to find how the transla- tion from the computational space to the built work could be embodied into

this dual process.

The set of algorithms produced is derived from the principle behind the state of quilibrium of natural organsims - cor-

rela- tion to the conservation of energy. And the result shows an emergence of quality self-organisation similar to the one

found in nature.

The final metallic prototype is composed of 148 identical reflected regions of 16 dif- ferent pieces each, followed by a

detailed structural analysis done by Buro Happold.I find the product very interesting as I am amazed by how

minimal surfaces have ex- traordinary structural properties,, uniform distribution of loads and their stiffness increases

with the increase in complexity.

MINIMAL COMPLEXITYBY.VLAD TENU

19

20

Architecture needs mechanisms that allow it to be-come connected to culture. This is at-tained by constantly capturing the forc-es that shape the society as material to work with. In this digital age, the archi-tect’s role is becoming increasingly spe-cailised in the desgin of the outer shell yet contributing to the urban setting. 11 - Farshid Moussavi

An algorithm is a receipe, method, or technique for doing something. It is made up of a finite set of rules or operations that are unambiguous ad simple to follow. -Wilson and Frank 10

21

PART B CRITERIA DESIGN

22

B1. RESEARCH FIELD TESSELLATION OVERVIEW The field of study that I have chosen here is Tessellation.

Tessellation, or otherwise known as tiling, is gaining more significance in the architectural industry as architects challenges to create more complicated forms and surfaces with dif-ferent materials. Tessellation is defined by Lisa Iwamoto as “ a collection of pieces that fit together without gaps to form a plane or surface. It can come in any shapes and forms as long as they can piece together in tight formation.”1

23

FIG 1 : VOLTADOM BY SKYLAR TIBBITS

I have chosen Tessellation because of its decorative and complex nature that fascinates me to look deeper into this vast and imaginative patternings.2

Digital designs have brought back the design interest in tessellation by equipping us with ways to explore further into patterns as it was once a time consuming and labour inten-sive enterprise. With the advent of digital technologies, it has allowed architects to form complex surfaces or meshes quickly. At the same time, it gives us an approximation of the smoothness and accuacy of the form. 3 Architects can now array custom made panels across a large surface to address different scales and curvatures. 4

24

FIG 3: ICD/ITKE Research Pavilion 2011 Full View

FIG 2: ICD/ITKE Research Pavilion 2011 Full View

25

B2.CASE STUDY 1.0

VOUSSOIR CLOUD BY IWAMOTO SCOTT

Voussoir Cloud is a collaboration project between Iwamoto Scott and BuroHappold’s Los Angeles office.

The Voussoir cloud uses an ultra light material system.

This installation is a landscape of vaults and columns made up of 3D thin wood petals that explores the structural paradigm of pure compression. These paper-thin wood laminate was folded along curved seams to give each petal strength and geometric interest. The

curve produce an inflected and dished form which relies on the internal surface tension of the wood and the folded geometry of the flanges to hold its shape. The petals are wedge-

shaped and act in compression. yet display a sense of light weightedness when natural lighting passes through. 5

BuroHappold uses form finding software to create this smooth curvature. The resulting process was highly mathematical incorporating geometry to understand how folding along a

curve affected each petal and in turn the overall form. 6

26

B2. MATRIX EXPLORATIONSPATTERNING : VORONOI, HEXAGRID, SQUAREGRID, TRIGRID, RECTANGULAR GRID, RADICAL GRID

OVERALL SHAPE TRIMMING

POINT

27

PATTERNING : VORONOI, HEXAGRID, SQUAREGRID, TRIGRID, RECTANGULAR GRID, RADICAL GRID

28

CURVY SURFACE

SUBDIVIDE PATTERN

29

30

FIG 4: ICD/ITKE Research Pavilion 2011 Full ViewFIG 5: Single Panelling Detail (Left)

FIG 6: Lofted Geometry Panelling (Right)

31

B3.CASE STUDY 2.0

ICD/ITKE RESEARCH PAVILION 2011 BY UNIVERSITY OF STUTTGART

This project is the collaboration of Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), together with students of the University of Stutt-

gart.

This project looks into the digital transfer of biological principles of sea urchin’s plate skeleton morphology by ways of computer based design and stimulation methods, along with computer

controlled manufacturing methods for its building implementation. 7

This pavilion is built using extremely thin sheets of plywood (6.5mm) using finger joints, similar to the ones on the sea urchin’s shell. Three plate edges meet together at just one point,a principle which enables the transmission of normal and shear forces but no bending moments between the

joints. Due to the lightweight construction, the structure has to be anchored to the ground. 8

32

B3. REVERSE ENGINEERING

First, create a grid. Then, create an exte-rior curve to close up the grid. Using Region Intersect, bake the curves out. Set the curve into Grasshopper. And en-able the Kangaroo function.

Set the 2 curves - opening constrain curve and exterior boundary curve into Grasshop-per, so as to avoid the form to “fly” away when Kangaroo is enabled.

33

Adjust Rest Length, Caternary Strength and Pressure Level of the forces to stimulate the form from Kangaroo.

Find the discontinuities of the curves from the previous diagram. Region Union the base pat-tern. And vector2pt them, adding amplitude to direct the vector directions upwards. Move the points up and loft the area.

34

B4. MATRIX EXPLORATION

ANCHOR POINTS (TRIGRID)

VORONOI

VORONOI

35

36

ANCHOR POINTS (NEGATIVE)

ANCHOR POINTS (POSITIVE)

ANCHOR POINTS (NEGATIVE)

37

38

SUBDIVISION PATTERNS

SUBDIVISION PATTERNS

39

40

B4. MATRIX EXPLORATION: SELECTED OUTCOMES

Cone Shaped Panels - native vegetations can be slotted into each cone.

Dynamic Hollow Structure - flexible and dynamic move-ment of the form

41

B4. MATRIX EXPLORATION: SELECTED OUTCOMES

Double Domed Structure - A small singular opening - Spikey cones are inspired by the

Tectonic Panel Form - The form itself reminds me of native inhabitats.

42

B5. TECHNIQUE: PROTOTYPES

43

LASER CUT IVORY PAPER.

This prototype is 1.2m long with 40 panels in total.

I created small tabs to join each panels together. However, this material is not lightweight-ed in nature. Hence, unable to pull the weights. Hence, the use of clips to temporarily secure them in place to give an approximate look and idea.

What I lack in this prototype ?

I failed looking into a detailed joint to connect my panels together. I would like to throw out the finger joints introduced in the ICD/ITKE Research Pavilion 2011 or other alternatives.

At the same time, I should try different materials. As they give different performance levels, which will finally affect my final design.

44

B6. TECHNIQUE: PROPOSAL

45

B6. TECHNIQUE: PROPOSAL

Site : CERES Community Environmental Park

The CERES Community Environmental Park is located at the Merri Creek, which stretches at about 70km.

With the different varieties of my matrix explorations, I would like to look into the design concept of creating a playground for kids by placing a few of the models around the area.

The above photo is an open space that wrapped between different functional houses in CERES. It will be a good gathering space for the users and a great playground for the kids.

46

B7. LEARNING OBJECTIVES & OUTCOMES Unlike past studio where the design step starts initially from analysising a given site, this algorithmic exercise begins with the use of computational methods such as Rhino and Grasshopper. These tools give digital quantitaive and qualitative performance-based stimulation to generate complex forms.9 Plug ins such as Kangaroo allow me to play with different geometries and anchor points that gives endless design possibilities that are both unex-pected and interesting. In my matrix exploration, voronoi system is used to create varying patterns that gives interesting design outcomes.

Through process such as reverse engineering and matrix explo-ration, I was able to learn about Grasshopper by studying differ-ent scripts and finding solutions to my problems. Both exercise forced us to take greater steps forward in exploring our knowl-edge about Grasshopper.

As for the design proposal, I have modelled a form for my site. However, its feasibility and responsiveness has yet to be tested out.

47

B8: ALGORITHMIC SKETCH

48

49

PART C CRITERIA DESIGN

50

Merri Creek is a waterway that runs from the Northern suburb of Melbourne to the Yarra River. Due to revegetation and parkland development, a linear park and landscape is resulted. Along the creek lies a fragile ecosystem which contains some of Australia’s threatened wildlife and native vegetation. The above property and infrastructure diagram shows the urban density of the area, which is contributed by parks, schools, recreational centers and Brunswick Train Station. There are several parks that surrounds the Merri Creek trail, namely the CERES environmental park, Merri Park and Sumner Park.

WATERCOURSE FLORA & TREE DENSITY PLANNING & OVERLAY

51

Merri Creek is a waterway that runs from the Northern suburb of Melbourne to the Yarra River. Due to revegetation and parkland development, a linear park and landscape is resulted. Along the creek lies a fragile ecosystem which contains some of Australia’s threatened wildlife and native vegetation. The above property and infrastructure diagram shows the urban density of the area, which is contributed by parks, schools, recreational centers and Brunswick Train Station. There are several parks that surrounds the Merri Creek trail, namely the CERES environmental park, Merri Park and Sumner Park.

PLANNING & OVERLAY PROPERTY ALLOCATION INFRASTRUCTURE

52

C .0.1 SITE ANALYSIS

BRUNSWICK

PRINCESS HILL

A stroll along the Merri Creek trail brought us to know the site better, in which there are several spots like the CERES environmental park and the Collingwood Children’s Farm that attracts most users. Our installation on the other hand would want to promote the Merri Park, so as to draw more audience to the area. Additionally, given the delicacy of the ecosystem, our group will be implementing a design that post minimum threat to the habitat within.

53

PRINCESS HILL

MERRI PARKAREA OF IMPLEMENTATION

THORNSBURY

A stroll along the Merri Creek trail brought us to know the site better, in which there are several spots like the CERES environmental park and the Collingwood Children’s Farm that attracts most users. Our installation on the other hand would want to promote the Merri Park, so as to draw more audience to the area. Additionally, given the delicacy of the ecosystem, our group will be implementing a design that post minimum threat to the habitat within.

54

C .0.2 VISUAL IMAGE TRAIL

55

56

C .0.3 SITE CHOICES

SITE 1

57

SITE 2 SITE 3

58

C .0.4 DESIGNATED SITE

59

The designated site that we have chosen lies within the Merri Park,

where it sits near the intersection of a bridge and the walking trail. The site

is surrounded by the waterway that is curtained off by a row of towering trees

and a piece of empty greenland. It is a space that is enjoyed by a diverse range of people - joggers, children,

local residents and bikers, and at the same time giving a sense of serenity and calmness. Just like any users of

the site, we took a stroll around the area and along the way there are 4

young trees that caught our attention. There they are sitting in a nearly circu-lar motion around each other, creating

a virtual boundary around.

60

C. 1.2. DESIGN CONCEPT

61

Based on our observations, our site is relatively static as compared to CERES Environ-

mental Park and Collingwoods Children’s Farm, where there are a variety of activities engaging the users. Hence, we want to bring in more movement into the Merri Park, by

placing our installation there. Thus, attracting people to see Merri Park not just as a community park, but an interesting and inviting space for everyone.

During our visit to Merri Park, Melbourne was half way into the fall season. Gush of winds blew on the vertically towering trees. its branches fanned out wide, separating

from each other and swaying in rhythm horizontally with the direction of the wind. Leaves were like confetti, scattering down on the trails. Leaving with users of the site

a very poetic scene and experience. Thus, we wanted to reimitate this poetic experi-ence, which led us to consolidate our design concept and farther develop this idea

into our final installation.

62

STILL LEAVES

is a delicate organic form that works as a sensory installation to be hang on trees, mimicking the confetti of leaves scattering down, frozen

within time. Its a device that enhances the senses of hearing, seeing and touching of the audience.

63

STILL LEAVES

is a delicate organic form that works as a sensory installation to be hang on trees, mimicking the confetti of leaves scattering down, frozen

within time. Its a device that enhances the senses of hearing, seeing and touching of the audience.

64

C .1.2PATTERNING

EXPERIMENTSModel 1

Model 2

65

Model 1 Model 3 Model 5

Model 2 Model 4 Model 6

66

Model 7

Model 8

Model 9

Model 10

67

As we wanted to mimic the concept of leaves into our design. We start off by looking into triangular shapes to imitate the overall shape of a leaf. Cou-

pled with the intention to create a series of repeated pattern that is able to collect leaves . A series of

prototypes were brainstormed and made to be tested for their aesthetics and feasibilities.

Initially, we took the triangular pattern literally and made two sets of cone shaped patterns and a

tessellated triangular panel. We tried the idea of overlapping, thinking that the gaps in-between the two skins will be able to “catch” the fallen leaves. Additionally, we play with the transparency of the

material by tessellating oval shaped petals.After seeing through the results of above Six

protoypes, we wanted to amalgamate some of the interesting points of these prototypes and

incorporate them into our farther development. The ideas that we took in were triangular shape,

overlapping and transparency.

Moving forward with experimentation, we looked into the effects of transparent patterns. Whereby we

played with its flexibility.

Model 10 gives a triangular outline through the fold-ings of the pattern. The twisted hollow also gave allowance for leafs and water to be fallen onto or

drips through. The idea of being able to see this gravitational process of falling down was intriguing

to us, hence we did an identical one with transparent sheet.

Concluding the subtle aesthetic look of Model 7 and the idea of Model 11, we finalise our designed

concept.

Model 11

Model 12

68

C .1.3 PATTERN COMPUTATION FLAT PATTERN

2 UNDER WEAVERBIRD, SUBDIVIDE THE VORONOI

PATTERN USING SIERPINSKI TRIANGLES SUBDIVISION BY REFERENCING THEM INTO THE PREVIOUS PATTERN

3 FURTHER SUBDIVIDE THE PATTERN USING CAT-

MULL CLARK SUBDIVISION

REFERENCING PATTERN

69

3 FURTHER SUBDIVIDE THE PATTERN USING CAT-

MULL CLARK SUBDIVISION

1 USING GRASSHOPPER, SET UP A BASIC VORONOI PATTERN

4 REFERENCE THE PATTERN AGAIN, ADD IN IN-

NER POLYGONS SUBDIVISON

5 LASTLY, ADD IN ANOTHER LAYER OF SIERPIN-

SKI TRIANGLE TO COMPLICATE THE PATTERN FURTHER.

70

VORONOI SUBDIVISIONAL PATTERN

C .1.3 TECHNIQUE ILLUSTRATION COMPUTATIONAL PROCESS

THIS SERIES SHOWS IN DETAIL THE PROGRESSIVE DIGITAL COMPUTATION.

A FLAT PATTERN WAS INITIALLY SET. THEN ACCORDING TO THE LOCATION OF THE TREES ON THE SITE AND THE ESTIMATED GADGE OF THE SLOPE, WE SET ANCHOR POINTS INTO KANGAROO. USING THE INFLATING FUNCTION OF KANGAROO, THE CONES WHERE THE TRESS WERE LOCATED AT WILL BE EXTRUDED UP.

TO ALLOW USERS TO ENJOY THIS INSTALLATION, WE SET 3 POINTS FOR AUDIENCE TO ENJOY THEIR PRIVATE SPACE. HENCE, PULLING THE OTHER 3 POINTS DOWN, VARING EACH WITH DIFFERENT HEIGHT TO ATTEND TO AUDI-ENCE OF DIFFERENT HEIGHT.

LASTLY, WE VISIONED FALLEN LEAVES TO BE SCATTERING ON OUR INSTALLATION AND USERS ARE ENJOYING THE SPACE WITHIN.

3 CONES EXTRUDED UP

71

THIS SERIES SHOWS IN DETAIL THE PROGRESSIVE DIGITAL COMPUTATION.

A FLAT PATTERN WAS INITIALLY SET. THEN ACCORDING TO THE LOCATION OF THE TREES ON THE SITE AND THE ESTIMATED GADGE OF THE SLOPE, WE SET ANCHOR POINTS INTO KANGAROO. USING THE INFLATING FUNCTION OF KANGAROO, THE CONES WHERE THE TRESS WERE LOCATED AT WILL BE EXTRUDED UP.

TO ALLOW USERS TO ENJOY THIS INSTALLATION, WE SET 3 POINTS FOR AUDIENCE TO ENJOY THEIR PRIVATE SPACE. HENCE, PULLING THE OTHER 3 POINTS DOWN, VARING EACH WITH DIFFERENT HEIGHT TO ATTEND TO AUDI-ENCE OF DIFFERENT HEIGHT.

LASTLY, WE VISIONED FALLEN LEAVES TO BE SCATTERING ON OUR INSTALLATION AND USERS ARE ENJOYING THE SPACE WITHIN.

3 CONES EXTRUDED UP 3 CONES PULLED DOWN SCATTERED LEAVES ON TREES

72

73

C .2.1 TECTONIC ELEMENTSCONNECTION

OUR THROUGH OUR PHYSICAL AND DIGITAL EXPLORATION, WE ARRIVED AT OUR FINAL MODEL. OUR FINAL INSTALLATION IS MADE UP OF 3 LAYERS THE UPPER AND LOWER LAYERS ARE INFLATED OUTWARDS TO CREATE A HOLLOW SPACE SO AS TO COLLECT FALLING LEAVES. CIRCULAR RINGS ARE CUSTOMISED AS CONNECTORS. THE SIZE AND POSITION OF EACH LEAVES ARE RANDOMLY PLACED DUE TO PARAMETRIC COMPUTATIONAL DESIGN, JUST LIKE EVERY PIECE OF LEAVES IN NATURE. THE UNEVENNESS AT THE BOTTOM OF OUR INSTALLATION GIVES A SENSE OF UNTOUCHED FEELING. WHEREBY THE STRUCTURE WILL BE HANG UP AT POINTS AND THE REST WILL DRAP DOWN NATURALLY, MIMICKING THE RANDOMNESS OF NATURE.

74

C .2.1 TECTONIC ELEMENTSDISSECTING LAYERS

75

Upper Skin

Lower Skin

Middle Base

76

77

78

79

80

C .2.2 IMAGE RENDERINGS

81

82

83

84

C .3.1 DIGITAL FABRICATION

MATERIAL: 600X600mmCLEAR POLYPROPYLENE

MATERIAL: 600X600mmWHITE POLYPROPYLENE

85

Clear Polypropylene for Base Skin

White Polyproylene for Upper Skin

A total of 33 sheets of polypropylene was cut in 7 hours.

Due to the complexity of the our model, we decided to fabricate one

cone. There is a total of 1300 pieces cut out by the Fab Lab.

86

C .3.2 MODEL MAKING PROCESS

The model making process was a long and challenging one.

First, number each pieces with pencil. As the laser cutter was unable to etch the number hard enough, resulting in many numbers being unclear or worst was not even etched. After labelling them, take the pieces out from the 600X600 polypropylene sheets.

According to plan, white bead threads were bought to connect each pieces. However. given its minimal elasticity, it is very hard and time consuming to tie the pieces together. Thus, we switched to use cable ties, which is translucent and adjustable to desired length.

As the structure of the installation is a tensile-like one, to allow each pieces to connect together “naturally”, it is best to tie them loosely.

The model took a man power of three people 4 days to finish.

87

The model making process was a long and challenging one.

First, number each pieces with pencil. As the laser cutter was unable to etch the number hard enough, resulting in many numbers being unclear or worst was not even etched. After labelling them, take the pieces out from the 600X600 polypropylene sheets.

According to plan, white bead threads were bought to connect each pieces. However. given its minimal elasticity, it is very hard and time consuming to tie the pieces together. Thus, we switched to use cable ties, which is translucent and adjustable to desired length.

As the structure of the installation is a tensile-like one, to allow each pieces to connect together “naturally”, it is best to tie them loosely.

The model took a man power of three people 4 days to finish.

88

C .3.3FINAL MODEL

89

Bead thread used to tie the installation to the tree trunks

90

THIS WAS OUR MODEL HALF DONE FOR THE FINAL PRESENTATION. WE DECIDED TO HANG IT ON A TREE OUTSIDE OF THE MSD BUILDING. OUR INSTALLATION GIVES A POP OF WHITE COLOUR AS CONTRAST TO THE LIME GREEN AUTUMN LEAVES AND IT IS BEAUTIFULLY CAMOUFLAGED INTO THE ENVIRONMENT.

After our final presentation, the panel of judges gave their ideas as references for us to take our design exploration further. Trying out different materials like a reflective sheet may enhance the

sense of seeing even greater. Paying attention to the texture of our material and inviting a sense of touch like smoothness or even pointy-ness will increase the attraction towards audiences.

91

THIS WAS OUR MODEL HALF DONE FOR THE FINAL PRESENTATION. WE DECIDED TO HANG IT ON A TREE OUTSIDE OF THE MSD BUILDING. OUR INSTALLATION GIVES A POP OF WHITE COLOUR AS CONTRAST TO THE LIME GREEN AUTUMN LEAVES AND IT IS BEAUTIFULLY CAMOUFLAGED INTO THE ENVIRONMENT.

After our final presentation, the panel of judges gave their ideas as references for us to take our design exploration further. Trying out different materials like a reflective sheet may enhance the

sense of seeing even greater. Paying attention to the texture of our material and inviting a sense of touch like smoothness or even pointy-ness will increase the attraction towards audiences.

92

93

SEASONAL EPISODIC

Growth &

Renewal

capturing the scattering of leaves, freezing them within

time, allowing one to witness the cycle of life and be aware

of the nature around us.

94

95

96

97

98

99

“Looking” ......“Touching” ......”Hearing”......”Smelling”......

100

FALLING LEAVES IS LIKE A PROCEESS OF LIFE, JUST LIKE MAN, IT DESERVES TO BE APPRECIATED AND RECORDED.

101

FALLING LEAVES IS LIKE A PROCEESS OF LIFE, JUST LIKE MAN, IT DESERVES TO BE APPRECIATED AND RECORDED.

102

C .4.1LEARNING OBJECTIVES &OUTCOMES

103

The last lapse of Studio Air was ultimately a challenge physically and mentally. Yet, undeniably, a very rewarding

experience.There is clearly no doubt that the success of this project can only be achieved through patient mentoring and

constant revision of our work and most importantly the team work and bonding that my group members and i have

cultivated in this last design process.

Everything started off nearly in a blank piece of paper, paying attention to what our site offers us was the start to attaining

our final conceptualised design. The endless hours put into digital modelling was almost like an unachievable challenge.

However, it allows one to see the endless potential to computational design and the near limitless beauty of

parametric modelling.Our knowledge of digital design and algortihmic technique

heightened over the progress of this semester.

Looking into case studies and refering to precedents gave us ample opportunities and ideas. Keeping in mind not to stray

from our design intention was thus critical.

Amalgamating the ideas of our part Bs was clearly effective and efficient as it boost our critcal thinking and pushing us to achieve greater heights. Tie-ing up loose ends in our part Bs,

where our design proposal was weak and loose. Part C has clearly looked into tackling these issues. Indeed, I am truly

satisfied with the final outcome of this project.

C .4.1LEARNING OBJECTIVES &OUTCOMES

104

105

106

IMAGE REFERENCE

Fig 5-6 : icd.uni-stuttgart.de/?p6553

Fig 2-4 : http://www.iwamotoscott.com/VOUSSOIR-CLOUD

FIG 1: https://architecture.mit.edu/faculty/skylar-

BIBLIOGRAPHY

1-4 Iwamoto, Lisa ( 2009) Digital Fbrication : Architectural and Material Techniques (Princeton, New York). pp36-43

7-8 Universitat Stuttgart, ‘ ICD/ITKE Research Pavilion 2011’ < http://icd.uni-stuttgart.de/?p=6553>

5 IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’< http://www.burohappold.com/projects/project/voussoir-cloud-1402/>

6 IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’ <http://www.iwamotoscott.com/VOUS-SOIR-CLOUD>

9 Kolarevic , Branko (2014). ‘Computing the Performative’, ed.by Rivka Oxman and Robert Oxman, pp 103-106

10 Wilson, Robert A. and Frank C. Keil, eds (1999). Definition of “Algorithm. ( London:MIT Press) pp11

11 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Onament (Barcelona : Actar), pp. 5-6

107

BIBLIOGRAPHY

1-4 Iwamoto, Lisa ( 2009) Digital Fbrication : Architectural and Material Techniques (Princeton, New York). pp36-43

7-8 Universitat Stuttgart, ‘ ICD/ITKE Research Pavilion 2011’ < http://icd.uni-stuttgart.de/?p=6553>

5 IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’< http://www.burohappold.com/projects/project/voussoir-cloud-1402/>

6 IwamotoScott Architecture and Buro Happold, ‘Voussoir Cloud’ <http://www.iwamotoscott.com/VOUS-SOIR-CLOUD>

9 Kolarevic , Branko (2014). ‘Computing the Performative’, ed.by Rivka Oxman and Robert Oxman, pp 103-106

10 Wilson, Robert A. and Frank C. Keil, eds (1999). Definition of “Algorithm. ( London:MIT Press) pp11

11 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Onament (Barcelona : Actar), pp. 5-6