STUDIO AIR

JOURNALABPL30048

ARCHITECTURE DESIGN STUDIO: AIR YIJIA ZHANG 611692

S1 2015

A.1. DESIGN FUTURINGA.2. DESIGN COMPUTATIONA.3. COMPOSITION/GENERATIONA.4. CONCLUSIONA.5. LEARNING OUTCOMESA.6. APPENDIX - ALGORITHMIC SKETCHES

TABLE OF CONTENTS

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INTRODUCTION

PART A. CONCEPTUALISATION

PART B. CRITERIA DESIGN

B.1. RESEARCH FIELDB.2. CASE STUDY 1.0B.3. CASE STUDY 2.0B.4. TECHNIQUE DEVELOPMENTB.5. TECHNIQUE: PROTOTYPESB.6. TECHNIQUE: PROPOSALB.7. LEANING OBJECTIVES AND OUTCOMESB.8. APPENDIX - ALGORITHMIC SKETCHES

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My name is Yijia Zhang, third year architecture student from Guangzhou, China. From the beginning of early education, I always consider myself a science student; I did well in Maths and other science subjects. However deep down in my heart, what really makes me happy is when a pencil and piece of paper were given to me, or cardboards to cut and fold. When applying for University of Melbourne, considering I never did something related to architecture, a choice between 'comfortable' or 'challenge' was given to me. Two years later, I have no regret on the decision I made.

I love architecture that gives people strong impressions, whether it stands out from everything nearby or simply makes people feel calm and relax. The experience I got in relation with process of design and making are from architectural studios. Every week, new ideas, sketches, models need to be generated

consistently, it is all about making the spaces better for people to stay in, how functions and structures work together, how innovative the concepts and appearance are and how it communicates with people.

Digital designs are first introduced to me in the subject 'Virtual Environments', where our challenge is to fabricate a lantern using 3D modeling tool Rhinoceros together with paneling tool and grasshopper plug-ins. It really helps to develop an understanding of the software and allow me to familliarise with fabrication process using Fablab. The concept of my design generated from sunflower and the algorithm behind. The connection between nature and architecture is interesting, the growth of them may somehow follows certain rules and form patterns that one cannot imagine.

INTRODUCTION

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PART A. CONCEPTUALISATION

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A.1. DESIGN FUTURING

PRECEDENT 1: URBAN ADAPTERLOCATION: HONG KONGDESIGN YEAR: 2009CONSTRUCTION YEAR: 2009

The urban adapter is a project of street furniture for the Hong Kong & Shenzhen bi-city biennale of Urbanism/Architecture. It is designed by Rocker-Lange Architects of Boston and Hong Kong. This creation aim to achieve endless results in variable shapes and sizes that fit into specific location. The group believes that although Hong Kong has multiple functional urban furniture with innovative expression and style, the lack of uniformity may cause loss of a unique identity of the city. Urban adapter, however, is designed to be holistic with the city[1]. The benches, constructed in timber, are not only for sitting, but also combined with other features. Incoperating recycling containers, flower buckets and billboards for advertising or education, it serves as a functinal space for communication and interation in the busy urban area.

Urban adapter is designed based on digital parametric model, it analyses data of the intended site to generate a form that fits the space. The use of parametric design statergic provides multiple options for designers, it is no longer human who makes the decision of shapes and analysing the site, computers now do the job for us and seeking out the one that meets the information provided. In this case, the benches will interact with its surronding while adapt the site condition[2].

http://4.bp.blogspot.com/-_Nl_ws-VGfw/UO6zqXIC2fI/AAAAAAAAUjg/qpTrPypFszc/s1600/Urban+Adapter+by+Rocker-Lange+Architects01.jpg

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http://c1038.r38.cf3.rackcdn.com/group5/building41698/media/upnu_urban_adapter_rl_01.jpg

http://4.bp.blogspot.com/-_Nl_ws-VGfw/UO6zqXIC2fI/AAAAAAAAUjg/qpTrPypFszc/s1600/Urban+Adapter+by+Rocker-Lange+Architects01.jpg

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A.1. DESIGN FUTURING

PRECEDENT 2: GARDENS BY THE BAY / GRANT ASSOCIATES

Gardens by the bay is a garden project located at the marina bay in singapore. It is cooperation between both architects and landscape architects. The garden features two themes - the flower dome (cool dry biome) and cloud forest (cool moist biome), with horticulture spaces with thousands of plants imported worldwide.

One of the iconic designs are the supertrees, the tall vertical tree shape elements are used as gardens with tropical flowering climbers, epiphytes and ferns. This design considers sustainability as an essential component; the canopies of supertrees create shades during daytime as well as adjust microclimates; during night, the lighting effect and multimedia creates an environment for entertainment. New technologies like solar photovoltaic are also used in building to save energy consumption and costs[3].

"Our brief for Gardens by the Bay was to create the most amazing tropical gardens in the world, incorporating cutting edge environmental design and sustainable development principles. We had to factor in the challenges of both the Singaporean climate and working on a reclaimed waterfront. We wanted to capture people’s relationship with nature and use innovative technology to create rich lifestyle, educational and recreational experiences for both local residents of Singapore and visitors from around the world. All these elements informed the vision and creation of the gardens." — Andrew Grant, Director, Grant Associates

http://www.thousandwonders.net/Gardens+by+the+Bay

http://ideasgn.com/wp-content/uploads/2013/03/Gardens-by-the-Bay-02.jpg

http://static.dezeen.com/uploads/2012/06/dezeen_Gardens-By-The-Bay-by-Grant-Associates-and-Wilkinson-Eyre_27.jpg

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http://www.thousandwonders.net/Gardens+by+the+Bay

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A.2. DESIGN COMPUTATION

PRECEDENT 1: BEIJING NATIONAL AQUATICS CENTER/ PTW ARCHITECTS

The beijing national aquatics center is design for the beijing 2008 olympics games aquatic centre, it provides multifunctional leisure spaces as well as fitness facilities. The undefined cluster shapes of foam bubbles are design to inform water elements and symbolized bio-mimicry of nature[4]. The material for constructing the exterior is a transparent dual etfe cushion envelope, which contributes to the achievement of ecologically friendly design and great thermal efficiency[5].

The cluster outer shell of the swimming center is an example of computational design in term of the simulation of bubble formation that naturally occurred; however, the concept behind the selection of ‘foam apparent’ or ‘water related feature’ seems not as strong as other bio-mimicry inspired design, it may be just for appearance rather than a more innovative approach.

National Aquatics Center "The Water Cube" http://www-scf.usc.edu/~richarrl/itp104/outside.jpg

http://acdn.architizer.com/thumbnails-PRODUCTION/66/0f/660f41c15c063f5f48a916250db3849c.jpg

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National Aquatics Center "The Water Cube" http://www-scf.usc.edu/~richarrl/itp104/outside.jpg

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A.2. DESIGN COMPUTATION

The fibre composite adaptive systems are designed as part of the master program, Emergent Technologies and Design, at the Architectural Association in London by Maria Mingallon, Sakthivel Ramaswamy and Konstantinos Karatzas. It is a thesis project of bio-mimic material system that has the ability to self-organise. The aim is to eventually transfer into architectural applications.

Self-organisation principles can be seen in nature quite often. Plant growth into a structure that gets maximum sunlight and ventilation conditions, same thing happens when we design buildings, the envelope always needs to be considered. However, in reality, sun will change its orientation during the day, wind will change its direction unpredictably. It is ideal to have a ‘living’ building that can adjust itself according to environment[6].

A term called ‘thigmo-morphogenesis’ used to describe ‘the changes in shape, structure and material properties of biological organisms that are produced in response to transient changes in environmental conditions’; examples in nature includes sunflower movement responds to sunlight and bone structure of sea urchins. The material which allows this motion is fibre composite tissue, using fibre composite adaptive system to emulate the natural process can give the characteristic to architecture. A program is designed to use multiple parameters, which are senses, as input through artificial neural network to achieve state of equilibrium[7].

The design not only rely on programming to arrange openings or shading system, but aim to let the building dynamically adapts the changing environmental conditions.

http://www.biomimetic-architecture.com/2010/fiber-composite-adaptive-architecture/

http://www.morfae.com/0397-mingallon/

http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2011/01/1295552317-04-1000x656.jpg

PRECEDENT 2: FIBER COMPOSITE ADAPTIVE ARCHITECTUREDESINGER: MARIA MINGALLON, SAKTHIVEL RAMASWAMY AND KONSTANTINOS KARATZASLOCATION: LONDON

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http://www.biomimetic-architecture.com/2010/fiber-composite-adaptive-architecture/

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A.3. COMPOSITION/GENERATION

PRECEDENT 1: NATIONAL LIBRARY IN ASTANA, KAZAKHSTAN / BIG

The design for kazakhstan’s new national library in astana is a winning project of an international design competition by big. It consists of two main areas – a circle and a public spiral. The twisted shell challenges the sense of wall and roof, horizontal and vertical connectivity.

This geometrical shape seems like nothing but a play on mobius strip to me a t first; however, according to bjarke ingels: “the circle, the rotunda, the arch and the yurt are merged into the form of a moebius strip. The clarity of the circle, the courtyard of the rotunda, the gateway of the arch and the soft silhouette of the yurt are combined to create a new national monument appearing local and universal, contemporary and timeless, unique and archetypal at the same time”[8]. The design clearly considers the history, culture and function integrality.

The patterns on the façade are arranged base on the building envelope. By calculating the thermal exposure, climate information is generated and translates into the shading system of patterning. It is described as a form of ecological ornaments that response to solar impact.

This design represents computational design using algorithm thinking. The use of mobius strip, which mentioned in korarevic’s article[9] as non-euclidean geometries, shows a basic element of digital design. These topological geometries are aesthetic, technological and ideological, they represent the new thinking of spatial relationship and interconnections with building elements[10]. The arrangement of shading pattern also informs the way that generate suitable design solution through programming.

East-west section Elevationshttp://ad009cdnb.archdaily.net/wp-content/uploads/2009/08/1251244057-elevations3.jpg

Astana National Library - BIGhttp://www.bustler.net/images/gallery/big_anl_04.jpg

Astana National Library - BIG http://www.bustler.net/images/gallery/big_anl_18.jpg

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Astana National Library - BIG http://www.bustler.net/images/gallery/big_anl_18.jpg

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A.3. COMPOSITION/GENERATION

PRECEDENT 2: ICD/ITKE RESEARCH PAVILION 2012

The pavilion designed by institutes at the university of stuttgart is a collaboration work of both architectural and engineering researchers. It has two main focuses, the biomimetic design strategies and process of robotic production.

The design simulates the morphological principles of arthropods’ exoskeletons to explore a new construction method in architecture. The ‘bottom-up’ design approach can be seen during the process. Movements and principles are being observed, analysed then abstracted in order to transfer into a new language; it then builds by robotic equipment using carbon and glass fibres to simulate the method of natural fabrication.

By integrating form, material, structure and fabrication technology into design process, this project represents an entire sets of computational design concept. ‘the concurrent integration of the biomimetic principles of the lobster’s cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding within the computational design process, enable a high level of structural performance and novel tectonic opportunities for architecture.[11] it symbolized new architectural design possibilities of an extremely lightweight and materially efficient structure.

http://www.gabreport.com/wp-content/uploads/2014/04/2-icd-itke_rp2012_rh_02.jpg

https://i.vimeocdn.com/avideo/442464521_1280x720.jpg

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http://www.gooood.hk/_c_c3O_knUkmB-wqWguOTawAIum3h8ev5Bm3rFGe9y__Q596xnEgjx9B6hRFETlOxhNIq7jWIgPtu80DxKYeIJvk6hQZ_8lco1.jpg

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A.4. CONCLUSION

A.5. LEARNING OUTCOMES

In part A, we start by discussing the future. As the population growing rapidly, sustainability becomes an important concept in designers’ mind, architecture associate with environmentally friendly, renewable resources features gain its popularity. However, design futuring is more than being ’green’, it is about optimization of structure and material use, being able to adapt changing environments and making quick response. ‘Design democracy’, [12] referring to the deregulated pluralization of design activity, allowing more people to involved in design process, with the aids of more and more cheap digital tools, the value of ‘design’ or ‘style’ becoming less influential.

Then we talked about computational design and generative design. The concept of computational design needs to be separated from computerization, the later just means using computer as a tool to virtualize a physical model or sketch. Computational design is a ‘bottom up’ process; it is base on algorithmic programming to control input information therefore create a system that fits the condition. This method solves problems that can not be done using traditional ways.

Before the subject begins, an architecture that using computational design method means a beautiful or different appearance that often involve complex structure, smooth round surfaces or interesting patterns. After three weeks of understanding, I learned that is has other applications. Digital tools and parametric programming can achieve more than just aesthetic, it provides innovative spaces,

forms, structures, construction methods, unconventional materials and much more.

In cooperating computational tools grasshopper, this subjects project need to be designed integrally with the given site, the surrounding condition, also structure and material.

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[1],[2], Urban Adapter by Rocker-Lange Architects Natasha Lyons, January 2010, Accessed 19 Mar 2015. <http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-architects/>

[3]Gardens by the Bay / Grant Associates, 17 Jul 2012. ArchDaily. Accessed 20 Mar 2015. <http://www.archdaily.com/?p=254471>

[4], The Watercube - National Aquatics Centre, Beijing, Accessed 19 Mar 2015. <http://architectu-reinsights.com.au/architecture/the-watercube-national-aquatics-centre-beijing/>

[5], Giermann, Holly, Architectural Innovation Inspired by Nature, (03 Mar 2015. ArchDaily). Ac-cessed 19 Mar 2015. <http://www.archdaily.com/?p=604846>

[6], Furuto, Alison, Fibre Composite Adaptive Systems / Architectural Association, (20 Jan 2011. ArchDaily). Accessed 14 Mar 2015. <http://www.archdaily.com/?p=105431>

[7]EHSAAN, Fiber Composite Adaptive Architecture, OCTOBER 25, 2010, <http://www.biomimetic-architecture.com/2010/fiber-composite-adaptive-architecture/>

[8], Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; Lon-don: Spon Press, 2003).p6

[9], Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; Lon-don: Spon Press, 2003).p7

[10], Basulto, David, National Library in Astana, Kazakhstan / BIG, (25 Aug 2009. ArchDaily. )Ac-cessed 19 Mar 2015. <http://www.archdaily.com/?p=33238>

[11], ICD/ITKE Research pavilion 2012. Accessed 19 Mar 2015. <http://icd.uni-stuttgart.de/?p=8807>

[12],Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg).p11

REFERENCE:

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A.6. APPENDIX - ALGORITHMIC SKETCHES

WEEK 1

Populated points: num=900,500,200,50Octree: premitted content per leaf=2,5,1,1

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WEEK 2

ADJUST UNARY FORCE TO ACHIEVE LOSE/TIGHT WEBS

LOFT - MESH - ANCHOR USING POINTS OF COLUMNS

USE OF KANGAROO PHYSICS SIMULATION PLUG-IN

MESH/WEB SUSPENDED BETWEEN COLUMNS

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PART B. CRITERIA DESIGN

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B.1. RESEARCH FIELD

A soap film, formed by dipping wire frame in soap solution, can be used to visualize an area-minimizing minimal surface. One famous example in architecture practice is the roofs of Munich Olympic Stadium; it takes soap bubble as inspiration and applies the minimal surface and form finding principle [1].

Geometry plays an important role in architectural design. With contemporary digital design being used, parametric tools are used frequently for structure and material optimization. In addition, sustainability has always been a main theme for architectural designing. Achieving more with less involves creating maximum space with minimum material, with can be visualized through the aids of grasshopper plug-in kangaroo physics. It simulates how an elastic material will preform as its equilibrium, relaxed state. The model then, can be broke down into pieces and fabricate effectively. The following design study will be focus on minimal surfaces, relaxation and form finding.

The first precedent is the Green Void by LAVA, it is a direct representation of relaxation surface. The design features a lightweight, freely stretching sculpture hinging inside the center of building. It connects with walls, ceiling and floor, the elastic, rubbery material forming a large interior space. The design uses computer-modeling tool to simulate the complex natural system that requires minimal adjustment onsite [2]. The minimal usage of material also highlights the awareness of sustainable design.

http://www.designboom.com/tools/WPro/images/rid24/green4.jpg

PRECEDENCE 1. GREEN VOID By LAVA

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PRECEDENCE 2. SHELLSTAR PAVILION By MATSYS/HKU/Art Lab HK

The second precedent that embodied the concept of form-finding is Shellstar Pavilion by Matsys. Working fully with parametric designing tools, the pavilion was generated with maximum spatial performance in minimal structure and material, due to the efficiency of process it is completed within 6 weeks. One major technique involved is digital form-finding using kangaroo physics, the catenary shape thrust surface was self-organized to achieve optimal structural performance [3].

http://c1038.r38.cf3.rackcdn.com/group5/building45063/media/baaf_shellstar7733.jpg

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B.2. CASE STUDY 1.0

DERMOID III by SIALThe third iteration of Dermoid, designed by The Spatial Information Architecture Laboratory (SIAL), RMIT, is an installation that experiment with material behavior and construction techniques. Compare to the elastic material used in Green Void for demonstrating relaxed material and the principle behind, this project aim to test the material, structure and technique that can be used for fabricating a self form-finding object. A structural simulation was run together with physical model making in plywood strips in order to achieve a flexible skin [4]. Focusing on the designing process of form-finding rather

than fabrication technique, kangaroo physics will be used for experimenting varies possibility of self-organizing surfaces to achieve maximum space inside with less structure and material.

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Species 1Change force amplitude/input geometry

Species 2Change control cruve boundary/adding new control points

Species 3Change of anchor points

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Species 3Change of anchor points/input geometry/curves

Species 4further alternations (display in surface for better demonstration)

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Most successful iterations:1. Shows both inflating and stretching be-tween control curves.

2. Large volume, can be stable, surface seems dynamic, almost flowing.

3. Large openings, the anchors points stretch-ing the surface to form several ‘columns’ which can support itself.

4. Openings and internal space, this one seems to have least surface area, which re-quires less material for fabrication.

1. Form-finding property, relax of surfacesThis case study example explore these techniques using kangaroo, therefore the successful outcomes need to show that.

2. OpeningsOpenings allow circulation as well as views, which is important for later stage.

3. Internal space, voidThe case study uses 'pressure' in kangaroo forces to create space,the inflated structure is an essential feature.

4. Stability of surface and structureWhen changing parameters of forces, a certain range need to be maintained, otherwise the input geometry will 'fly away', which means it is not balanced. In addition, the anchors of surface need to be strong to hold the structure in physical model.

5. Sustanabilityachieve 'more' with 'less' material

Selection criteria and most successful iterations:

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B.3. CASE STUDY 2.0

The gridshell displaced at SmartGeometry 2012 is a project designed by the Gridshell Digital Tectonics. Neither its structure nor material looks similar with the previous examples of relaxation surface and form-finding designs, however, the geodesic lines that applied can be seen as an understanding of minimal structure as well. Geodesic lines represents the shortest distance that travelled across two points on a surface. In this case, the technique was used to draw a series of intersecting curves on a relaxed surface [5]. The strips stretching in all directions

forming patterns, the area underneath can be considered as space defined by it. This type of structure may be included in later design and fabrication stage as a substitute for irregular soft fabric-like surfaces. Another use for gridshell is to act as a framework to support unconventional material.

GRIDSHELL/Gridshell Digital Tectonics

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divide explode tree arc rebuild curve loft

shift list

geodesic lines

Input curves loft divide curve explode tree shift list geodesic lines

Input curves

divide explode treeInput curves

Method 1.

The first method does not have the smooth cureve created by the second method, however, the lloft surface can be used for other patterning.

Method 2.

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B.4. TECHNIQUE DEVELOPMENT

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Most successful iterations:1. Use of three layers of geodesic lines with ad-justment to curves division and lists shifted, it forms a triangulated pattern. It can be a sta-ble and strong structure.

2. By altering the curves order, it creates a tent-like shape, can be used for relaxation surface or framing.

3. Using method one with further develop-ment, this iteration remains me of plants growth, which is useful for future design.

4. Applying voronoi to surface, the structure is different and can be use as pattern for later reference. Voronoi is also an algorithm devel-oped from nature, it fits the theme well.

1. Related to the conceptUse of optimal structure and minimal material.

2. Openings and spaceOpenings for circulation and view, internal space for activities.

3. Stability of structureStructure is interconnected, can support its weight.

4. Connect to environmentThe creek is a natural environment, design can relate to the ecosystem.

5. Ability to be fabricated

Selection criteria and most successful iterations:

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B.5. TECHNIQUE: PROTOTYPES

This installation is desgined to be climable staircase in exhibition. it uses vertical, interconnected nets as material [6], which is related to the concept of relaxation surfaces. It can be either weighted down by sand bags or draping freely on air, which will gently swing

when people walk through. I want to achieve a similar structure in my design, by hanging a relaxed structure from the suspended railway, hence the material need to be soft, stretchable but also strong.

Precedence: NET LINZ

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B.5. TECHNIQUE: PROTOTYPES

Different material and technique are tested to look for a strong, flexible, and also sustainable one for future design.

1. Threads wrap aroundhigh level of deform, ramdon pattern, can cover differenve shape and size framing.

2. Nylon netrelatively weak, easy to break, however can achieve elastic, stretching effects well.

3. Threads tied by knotsfish net structure, strong, but takes time to fabricate

4. Yarn by knittingVery strong and flexible, but have certain shapes and need large amount of material.

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B.6. TECHNIQUE: PROPOSAL

The site is located near the Rushall railway station, surrounded by mid-dense recidential area. Existing users for this place are families, runners and cyclists. Since the families are used to sit around the parks and people who do exercises normally just passby. there is a lack of human activities around the creek. The suspended railway and the ecosystem under create an oppoturnity for me.

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Technology has become part of out life long before, however the fast moving development of society leads to damages of environment. Sustainability therefore becomes main theme for lots of design concepts nowadays. For my design, I want to merge the two elements together, it will allow people to experience

the advantage of technology brings to our life while pay more attention to our environment. Minimal as well as sustainable material will be used in the design. Natural inspired elements will be used with parametric design tools to create a relaxed hammock structure between the suspended railway and creek.

B.6. TECHNIQUE: PROPOSAL

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B.7. LEANING OBJECTIVES AND OUTCOMES

By the end of part B, I am able to understand the very basic of parametic design tool grasshopper and its plug-in kangaroo physics. The interations of case studies have developed further than last two weeks and I am beginning to visualise the design project through the outcomes of it. By studing Precedence project and the chosen research field, the idea of relaxation surface and form finding structure and the application of physical simulation tools become more clear to me. It also bring

me the awareness of sustainability that it can be achieve through optimize the surface area therefore minimise material usage. I am aiming to achieve that in the following exploration.

In turns of the design outcome, clearly it is not enough for the actual design and needs to be developed further. There is also lack of consideration of prototyping and creating a structure that can be use for the proposal.

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Reference:

1. Hermann Karcher and Konrad Polthier, An Introduction to Minimal Surfaces, Architecture and Tent Roofs, 2013, Freie Universität Berlin, Germany, Accessed 30 Apr 2015 http://page.mi.fu-berlin.de/polthier/booklet/architecture.html

2. Baraona Pohl, Ethel. Green Void / LAVA, 16 Dec 2008. ArchDaily. Accessed 30 Apr 2015. http://www.archdaily.com/?p=10233

3. SHELLSTAR PAVILION, 2013, http://matsysdesign.com/2013/02/27/shellstar-pavilion/

4. Dermoid Australia, 2013, http://cita.karch.dk/Menu/Research+Projects/Digital+Formations/Dermoid+Australia+

5. SG2012 GRIDSHELL, http://matsysdesign.com/category/projects/sg2012-gridshell/

6. Net Linz, OK Center for Contemporary Art / 27.06. – 19.10.2014, Linz, Austria, http://www.numen.eu/installations/net/linz/

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B.8. APPENDIX - ALGORITHMIC SKETCHES

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