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YUANYUAN YE 613901TUTOR: BRAD ELIAS

TUTORIAL TIME: FRIDAY 12pm

DESIGN STUDIO: AIRSEMESTER ONE 2015

CONTENTSINTRODUCTION 1-2

PART A. CONCEPTUALIZATION

A.0 DESIGN FUTURING 4-8

A.1 Design Computation 9-14

A.2 Composition/Generation 15-20

A.3 Conclusion 21

A.4 Learning outcomes 22

A.5 appendix - algorithmic sketches 23-24

Reference list 25-26

PART B. CRITERIA DESIGN

B.1 Research Field 27-28

B.2 CASE STUDY 1.0 29-36

B.3 CASE STUDY 2.0 37-40

B.4 Technique: Development 41-46

B.5 Technique: Prototype 47-54

B.6 Technique: Proposal 55-58

B.7 Learning objectives and outcomes 59-60

B.8 Appendix - Algorithmic Sketches 61-62

Reference list 63

PART C. DETAILED DESIGN

C.1 Design Concept 64-75

C.2 Tectonic Elements & Prototypes 76-79

C.3 Final Detail Model 80-85

C.4 Learning Objectives and Outcomes 86-87

References 88

My name is Yuanyuan Ye. I am a third year student under the Bachalor of Environments, major in Architecture. I come from China and spent most of my life there until I was 17. I made a big dicision at that time that to study abroad because I believed this must be an extraordinary experience for my life and my future, thus I came to Melbourne alone as an international student.

Traced back to the time before entered university, I spent lots of time assuming the major and got confused. And I finally chose architecture as it seems like a‘safe' major -- no need of complex calculation and excessive essay. Therefore, in the begining of my early studies I actually did not take the subjects seriously and that's why I got frustrated during the first semester. I found I should change my attitude and then reconsider about architecture.

INTRODUCTION

The first experience inspired my confidence and interest about this subject was the final parade of ‘Virtual Environments'. It was my first time that learned about digital design and our task was to make our own lantern within Rhino. That was a big challenge for me as I've never touched those thing before. I started with thinking about the shape design, idea generation and draft modelling. Every time I got a new idea, a sense of achievement that came up with my heart. When I brought my final lantern performed in the parade, I was really excited and talked to myself: that's architecture!

The most interesting thing of architecture is the process: thinking, sketching, making and displaying. I am eager to learn more and improve my skill of digital design of architecture.

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DIGITAL DESIGN EXPERIENCE

As I mentioned before, the first digital design experience was gained in the subject ‘Virtual Environments'. I learned Rhino with paneling tool at that time which is a very good computing software for 3D modelling and parametric design. For my lantern, I firstly create a surface and then developed it into a solid object through loft, paneling and some other options. And using paneling tool to create several types of the surface, finally import the statistic and scale into fablab to cut the separate shapes out. Then established the model. I have not touched Grasshooper before but I know it's a plug-in program that helps Rhino control the parameter of the design. I still have a long journey to explore more about digital design and look forward to studying more about Rhino.

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PART A. CONCEPTUALIZATION

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A.0 DESIGN FUTURING

The society where we live today could be considered as a whole and all of other elements including human being, plants, animals and architectures are the essential parts which exist correlatively.

The separate e lement presents an associat ive relat ionship and br ings implicative impacts with each other. However, we could say human being stands in a leading position as we have ability to think and create thing. And this status entrusts a responsibility for us that to refine the environment, not merely for now but the future.

Design, it’s a direct manner to fulfill this dream. It is a sophisticated theory which should not be considered only to design something based on aesthetics without any useful function.

Fry gave a further explanat ion that "forget design as a territory and practice that can be laid claim to (the drive of professional izat ion), stop talking to yourselves (the internal dialogue of design events), give up on repackaging design within design (codesign) and start talking to other people, other disciplines; broaden

your gaze (beyond the design process, design objects and design’s current economic pos i t ion ing) , engage the complexity of design as a world-shaping force and help explain it as such."1

Sustainability is another big issue that human being has to integrate within the design process. Design is not merely to break the tradition, but to benefits the environment, society and next generation. Therefore, i t needs us to create, to generate and certainly, to innovate.

In regard ing w i th the a rch i tec tu ra l design, the shift from conceptualization to the visualization on technology is an extrodinary innovative revolution. The digital technology is capable to develop more achievable and expectable design techniques within the production, and it means there are more possibilities will be explored in the future. If architects attempt to evoke an innovation, there is a broad scope should be considered such as structure, material, aesthetics, function and context. It is inspiring to integrate contemporary existing technology within architectural design to expand future possibilities.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3.

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Riverside MuseumArchitect: Zaha HadidLocation: Glasgow

The Riverside Museum in Glasgow is designed by architect Zaha Hadid. This architecture is well-known for its zig-zags roofline in folds clad with patinated zinc panels.

The Riverside Museum der ives f rom its context. One signif icant thing this arch i tec ture cont r ibutes to us is i ts connection between nature and design, in which combines the environment into an integral unity. The design flows from the city to the river; symbolizing a dynamic relationship where the museum is the voice of both, connecting the city to the river and also the transition from one to the other2. The museum is situated in very context of its origins, with its design actively encouraging connectivity between the exhibits and the wider environment.

The most representative and inspiring feature is the design of the roof which shapes like cresting waves runs the length of the structure, giving the building a sculptural appearance. Refer to the sustainability, the roof is able to collect the rainwater and bring it inside through a network of pipes, also has to be transmitted through the concealed conduits. The building is also capable to contribute to the low energy services strategy. It provides a very low level of air leakage and substantial insulation to reduce extremes of temperature which, in turn, reduces the demand for heating or cooling3. This function significantly sustainable to the local environment and the technology implemented within the roof is a great innovation of architecture.

Fig 1: Top view of Riverside Museum

Fig 2: Roof section

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The museum positions itself symbolically and functionally open and fluid, engaging its context and content to ensure it is profoundly interlinked with not only Glasgow’s history, but also the future elements. Here Zaha Hadid made a detailed explanation about the museum: “through architecture, we can investigate future possibilities yet also explore the cultural foundations that have defined the city…The design, combining geometric complexity with structural ingenuity and material authenticity, continues Glasgow’s rich engineering traditions and will be a part of the city’s future as a center of innovation.”4

W h a t T h e R i v e r s i d e Museum conveys to us is its iconic facade which symbolizing the dynamic relationship between ship-building and Glasgow. I l i ke the des ign that transfers the architecture to the site fluently and the contrast between the metal material and soft roofline. I think that's the idea what Hadid eagers to contribute: to create an innovative future.

2 . F r e a r s o n A m y . R i v e r s i d e Museum by Zaha Hadid Architects ( June 10 , 2011) . <http : / /w w w.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015].

3 . B u r o H a p p o l d E n g i n e e r i n g . Riverside Museum, Glasgow (2015). <http://www.burohappold.com/projects/project/riverside-museum-glasgow-76/> [accessed 12 March 2015].

4 . F r e a r s o n A m y . R i v e r s i d e Museum by Zaha Hadid Architects ( June 10 , 2011) . <http : / /w w w.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015].

Fi g 3 : R i ve r s i d e M u s e u m w i t h lighting

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56 Leonard StreetArchitects: Herzog and de Meuronlocation: new york city

The tower of 56 Leonard Street is one of the iconic skyscrapers in New York which is a 56-storey residential building designed by architects Herzog and de Meuron.

This tower contributes some new concepts and ideas to the ongoing disciplinary discourse. The architects intend to design a skyscraper which is able to preserve the spirit of traditional style but also contain new structural possibilities5. The most well-known design of this tower is its special feature of “houses stacked in the sky”, which residents look forward to seeing through the remarkable glass curtain façade.

Herzog & de Meuron has replaced the usual extrusion of traditional skyscraper floor plates with a staggered progression of structural slabs turning slightly off axis by degrees, creating constant variety among the apartment floor plans6. This structural arrangement of floor plates at 56 Leonard Street will create an irregular flurry of cantilevered terraces up and down the building, making plays of light and shadow that give the tower a shimmering, animated appearance on the skyline and widely varying interiors7.

^Fig 4: 56 Leonard Street<Fig 5: Building composition

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Due to Herzog and de meuron have paid special attention to the building’s impression on ground level, they create an interesting piece of metal object which performs as the upholder. It is a mirrored stainless steel which makes a sense like appears to be wedged into an opening at the foot of the building. This design breaks the tradition of a normal column or an ordinary supporting, instead, designed with a brand new concept that makes people reconsider the way we originally think about architecture. People appreciate the design of 56 Leonard Street building which strikes an uncanny balance between strict refinement and pure invention, practicality and the sublime8.

It is a revolutionary architecture that apparently apart from the traditional skyscraper. It is still under construction but would be the tallest buildings in the Tribeca area. The tower alters the panoramic view of New York City. Herzog and de Meuron aimed not for virtuosity but innovation in terms of the broader culture and art for inspiration9.

This bui ld ing a ims to improve the living environment of its residents. The structure intertwines and shifts according to the internal organization of the floor plans, providing the opportunity for each apartment to have its own panoramic view of Tribeca area10.

^Fig 6: Stainless steel under the building <Fig 7: Building panorama

5. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015].6. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015).7. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015).8. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015].9. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015].10. Basulto David. 56 Leonard Street, New York / Herzog & de Meuron (September 16, 2008). <http://www.archdaily.com/6268/56-leonard-street-new-york-herzog-de-meuron/> [accessed 12 March 2015].

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A.1 design computation

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Computer today plays as an inseparable part of our lives continually contributes its strength to every domain.

As a precise and quick-response tool, the speed is one of the biggest reason that computers becomes essential in human being’s l i fe. Computation allows alteration during design formulation and gives architects immediate response, as well as capable to accommodate these developments therein the design process.

The accuracy of computational design also significantly lessen the burden of designers in terms of logically automatic operation.

It is a rational process that to find, analyze and solve problem. However, it is ex-parte that recognize computer is merely a problem-solving machine. Peters explained a bit further: “computation augments the intellect of the designer and increases capability to solve complex problems.”11

The methodology of computation within the generation of architectural design process not merely brings a brand new statement of theory but also the innovations. It leads to produce more far-reaching significant outcomes in the design process of architecture.

Computational design also has the ability to create potential possibilities. Parametric design is a logical form of digital design thinking which is able to fabricate more conceivable and achievable geometries through setting a chain of rules systematically.

Oxman here stated that “parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements of a design.”12 And this is the unique function what computational design presents for today’s society.

11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.12. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3.

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Canopy of aggregated porositydesign by professors and students of hunan university’s school of

architecture

Location: Hunan, CHINA

This canopy was produced by students and architecture professors of Hunan University in China. This program was inspired by the concept of ‘aggregated porosity’, engaged with “an exploration of dynamically changing density and the lines of intersection between skeletons and solids”13.

The design process of the canopy itself includes program formulation, parametric setting and laser-cut affixing that done with computational generation. It involved manipulation and refinement determined by computer modeling programs which is more efficient to adjust the custom panels and re-appropriate off-the-shelf hardware components. The porosities of the canopy are the major elements within the design, through continually testing the size and relevant staffs such as the joints connection and hexagonal panel arrangement, a dynamic and fluid form is systematically created without any illogical constraint.

The set of six curving and laser-cut plywood ribs are cross-braced which running parallel to the ground, which assembled into a customized circular joint. Digital design is capable to ensure those panels are precisely positioned on the three axes which could be easily set for construction.

Not only the property of logic that computational design provides, another essence what we call ‘creativity’ of computation should not be ignored with. The form of the separate panel was rationalized into a grid of hexagonal components, each with a unique shape. Its overall innovative S shape geometry of this digital architecture consists of the lower curve which formed a bench and the upper curve to create a canopy14. The computational design plays as a creative platform which has the ability to fulfill what designers tend to do on the design of modeling.

F i g 8 : t h r e e p r o g r e s s i v e stages of design: re s p o n d i n g t o need for shade; i n c o r p o r a t i n g bench; creating a d y n a m i c , f lu id form and r e n d e r i n g o f canopy

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13. Filippetti Jenny. Digital architecture laboratory: aggregated porosity (August 27 2011). < http://www.designboom.com/architecture/digital-architecture-laboratory-aggregated-porosity/> [accessed 15 March 2015].14. Krichels Jennifer. Aggregated Porosity Canopy: Digital Architecture Laboratory (September 9 2011). <http://blog.archpaper.com/2011/09/aggregated-porosity-canopy-digital-architecture-laboratory/> [accessed 15 March 2015].

F i g 9 : l a s e r - c u t t i n g t h e plywood

Fig 10: detail on wire mesh and joints

Fig 11: final construction of canopy

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Fig 12: Library of Sendai Mediatheque13

Sendai MediathequeArchitect: TOYO ITO

Location: Sendai, JapanThis iconic transparent architecture is a library located in the city of Sendai, Japan which was designed by Japanese well-known architect Toyo Ito in 1995 and completed in 2001. It is considered as a revolutionary project in regard to its engineering technology and aesthetic design.

Ito’s proposal was conceptually rooted in an idea of “fluid” space of technology discussed in his 1997 article Tarzan in the Media Jungle. Rather than viewing media as a foreign element to nature, Ito embraced new computing as forming an integral part of the contemporary urban environment. By utilizing the new software called “mediatheque”, it helps to redefine the conventional program and integrate it with new functions.

This open structure gives the building an inherent flexibility and the space is free to be reconfigured to meet the changing demands or to accommodate unimagined technological developments15. The continuity of each floor is rarely interrupted by wall elements. The precise computational generation ideally suited to the design brief’s setting of fluid

The schematic drawing illustrates the main three elements of the building: floor plates, structural tubes and skin. With the creative design of irregular types of the tubes, the open plan is not intended to create homogeneity but differentiation15. Through the subtle parametric setting of multiple various criteria, unique character are effected by the tubes - some places are light, others dark; some lively, others quiet. This active and dynamic design achieved by computational generation stimulating a variety of activities within the design process of architecture.

15. OpenBuildings. Sendai Mediatheque (2012). <http://openbuildings.com/buildings/sendai-mediatheque-profile-2580> [accessed 15 March 2015].

Fig 13: Computational design of Sendai MediathequeFig 14: Model of Sendai Mediatheque

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A.2 dcomposition/generation

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The shift of computation from composition to generat ion is actual ly a process of experiment, trial and creation.

It requires designers to pay much efforts on the invention of new techniques and the improvement of their skills, in which pave the way to fulfill the shift to generation.

As computing is formed by a series of programs, a special 'language' is invented only to communicate with computer -- what we call 'code'. This is the first trial to make a generation which helps to create things further. Here Peters gave an extention: “taking an interpretive role in understanding the results of the generating code，knowing how to modify the code to explore new options and speculating on further design potentials.”16

Architects have writ ten more of those programs to apply with existing architectural design software.

Algori thm is one of the programs that designers engaged within architectural design proces.

It helps the modifications of design problem through setting a chain of digital operation to generate an algorithmic script and communicate with computer.

The algorithmic thinking is a sophisticated analysis which requires us dialectically consider the pro and cons of the generation of algorithm.

Parametric modelling is another important generative approach. Through controling the parameter to modify the design of modelling. More possible design potentials could be discovered and generated within architectural design process.

With the progress of exploring to the generative outcomes is stil l ongoing, the design environment around us is changeable. But one thing could be confirmed is that the prominent impacts generation brings.

Burry described that “we are moving from an era where architects use software to one where they create software.”17

16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.17. Mark Burry. Scripting Cultures, John Wiley & Sons (Chichester). 2010, p 8.

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GrottoArchitect: Michael HansmeyerLocation: Zurich, Switzerland

This is a 3D-printed grotto designed by German computational architect Michael Hansmeyer who engaged in using computer algorithms to challenge traditional notions of design.

Algorithm allows creating complex computer-generated architectural forms which go through none of the conventional stages of architectural design: no front and side elevations; no plans. This generation enables more innovative and free digital form, which permits the possible and creative potentials.

The design of the grotto hides an intricate geometry of millions of design facets. “The room’s impossible ornamentation and free-form geometries represent a paradigm shift within the field of digital fabrication.”18

There are too many faces shown on the columns, however, it is difficult to draw and create by CAD. Algorithms produces this complex 3D geometries through repeating over and over and adjusting the parameters to achieve its perfectness.

A series of architectural components’ shape, size and density is systematically set by algorithm. It is capable to ensure the precision and improve the efficiency during installation and construction process. Algorith provides its ideal suitability for this Grotto as it allows variable and intricate data setting and adjustment.

However, with the logical sequence of algorithmic setting procedure, it’s time consuming if a mistake emerges therein because it is developed firstly into flowchart and then into the computer program which requires a logical process to accomplish the design outcomes. I wonder whether this program is able to achieve its best outcome or not. Because algorithm is a good tool that to control the parameter with high accuracy and precision.Thus, when fabricating such a volumetric architecture with multiple performances occur at the same time, it presents a tendency that do not allow any mistakes.

Fig 15: Algorithm design of the column

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Fig 16: The facade of Grotto

18. Azzarello Nina. Digital grotesque: full-scale 3D printed room realized (September 16 2013). <http://www.designboom.com/architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 15 March 2015].

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Fig 17: The exhibition of Flux19

FLUXDesigned by California College of the Arts Media

Location: California

This case is organized by the California College of the Arts Media Lab in 2009. The term ‘flux’ actually means continuous change or movement is an “appropriate appellation for the current state of affairs in architectural practices that try to reconcile the need for iterative or evolutionary design procedures with the ways in which we produce architectural environments.”19

Such development involves digital technology of parametric modeling approach which provides the flexibility and efficiency for dynamic design techniques. Parametric modeling provides its flexibility and efficiency while designing the repeating elements of hexagons in the number of sequences.To achieve the advanced geometry and parametric design, the design team organized and constructed the digital framework driving the formal and spatial layout of the armature19. The parametric logic behind is produced by Grasshopper which is used to generate the vertyical MDF (medium density fiber-board) ribs and horizontal HDPE (high density polyethylene) panels for the armature19. It greatly simplify and speed up the modeling procedure.

Through the use of parametric modeling and a series of custom designed scripts, the installation design could be quickly updated to address new design criteria. For this process, parametric modeling and scripting are both essential to formulate the architectural performances.

However, this case is formed by similar custom panels which is achieved by parametric modeling through simply repeating the identical setting. It seems to make a sense of lacking the characteristic of ‘creativity’ during design process. The potential innovations might be missed through utilizing the preset of existing

19. Lift Architects. Flux Installation (2009). <http://www.liftarchitects.com/flux/> [accessed 15 March 2015].

< F i g 1 8 : digital model of Flux

>Fig 19: the r e p e a t i n g e l e m e n t s o f i n t e r n a l design

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A.3 CONCLUSION

The conceptualization of architecture is a sophisticated disciplinary discourse which encompasses multiple theories. Integrating the application of computational design techniques into architectural design process is totally a revolution that helps the improvements and refinement of the realm.

Innovation is also a big issue within the architectural design process through encountering with the various computational approaches. Regarding to the topic of designing future, innovation reflects future possibility that involved in computational design. This exploration helps designers enter into the era which evokes the generation of new computing methods.

The parametric modeling is the approach that I intend to. When we use parametric modelling to design something, it creates a compact relationship between the structure, appearance and characteristic. The incorporation of parameter setting which involves logic and rationality is able to achieve an ideal outcome and provides high precision for designers. Parametric modelling is also an innovative approach which allows intricate geometries and flexible spatial layout for computational design. It will reflect its active capabilities during the process of design and offer its benefits for users.

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A.4 LEARNING OUTCOMES

With the experience learning about the theory and practice of architectural computing, what I interested about is it refreshes the traditional way that I used to think about architecture. Through the engagement with the reading and relevant precedents, I’ve discovered that the contemporary architectural design is closely connect with the digital technology. The computational design techniques becomes more powerful today and it has the ability and potentials to change the original way that people used to generate objects in architectural design process.

For the improvement of my past design, I would let the traditional thinking of ‘to build what we should build’ out of my mind, instead, letting the innovative discovery come in and exploring more possibilities through applying multiple computational approaches in terms of combing both idea of logic and creativity.

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A.5 APPENDIX -- ALGORITHMIC SKETCHES

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Solar Powered Stadium

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This is the algorithmic sketches that created by Grasshopper within the Octree options. It is formed by numbers of cubes that enbraced the main cube in the middle and controled by Grasshopper through adjusting the points and parameters setting.It reflects the flexibile and creative property that creating various kinds of geometries. The shape, size and number could be changed depend on the algorithmic adjustment, in which enables more innovative forms to be generated.

REFERENCE LIST1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3.

2. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015].

3. BuroHappold Engineering. Riverside Museum, Glasgow (2015). <http://www.burohappold.com/projects/project/riverside-museum-glasgow-76/> [accessed 12 March 2015].

4. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015].

5. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015].

6. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015).

7. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015).



10. Basulto David. 56 Leonard Street, New York / Herzog & de Meuron (September 16, 2008). <http://www.archdaily.com/6268/56-leonard-street-new-york-herzog-de-meuron/> [accessed 12 March 2015].

11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.

12. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3.

13. Filippetti Jenny. Digital architecture laboratory: aggregated porosity (August 27 2011). < http://www.designboom.com/architecture/digital-architecture-laboratory-aggregated-porosity/> [accessed 15 March 2015].

14. Krichels Jennifer. Aggregated Porosity Canopy: Digital Architecture Laboratory (September 9 2011). <http://blog.archpaper.com/2011/09/aggregated-porosity-canopy-digital-architecture-laboratory/> [accessed 15 March 2015].

15. OpenBuildings. Sendai Mediatheque (2012). <http://openbuildings.com/buildings/sendai-mediatheque-profile-2580> [accessed 15 March 2015].

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16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10.

17. Mark Burry. Scripting Cultures, John Wiley & Sons (Chichester). 2010, p 8.

18. Azzarello Nina. Digital grotesque: full-scale 3D printed room realized (September 16 2013). <http://www.designboom.com/architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 15 March 2015].

19. Lift Architects. Flux Installation (2009). <http://www.liftarchitects.com/flux/> [accessed 15 March 2015].

IMAGE CREDITS:

Fig 1: Riverside Museum. Retreived from http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/ 15 Mar 2015

Fig 2: Riverside Museum Roof Detail. Retreived from: http://www.bdonline.co.uk/the-ups-and-downs-of-zaha-hadid%E2%80%99s-glasgow-riverside-museum-roof/3094644.article 15 Mar 2015

Fig 3: Riverside Museum. Retreived from http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/ 15 Mar 2015

Fig 4: 56 Leonard Street. Retreived from http://streeteasy.com/building/56-leonard-street-new_york 15 Mar 2015

Fig 5: 56 Leonard Street building composition. Retreived from http://www.skyscrapercity.com/showthread.php?t=708580&page=41 15 Mar 2015



Fig 8, 9, 10, 11: Digital architecture laboratory: aggregated porosity. Retrievied from http://www.designboom.com/architecture/digital-architecture-laboratory-aggregated-porosity/ 17 Mar 2015

Fig 12: Sendai Mediatheque. Retreived from http://openbuildings.com/buildings/sendai-mediatheque-profile-2580 17 Mar 2015

Fig 13 & 14: Sendai Mediatheque digital design. Retreived from https://www.pinterest.com/sophielem/librarym%C3%A9diath%C3%A8que/ 17 Mar 2015

Fig 15 & 16: Architecture: breaking the mould. Retreived from http://www.ft.com/intl/cms/s/2/41800772-f3fb-11e2-942f-00144feabdc0.html#axzz3URHV7uBV 17 Mar 2015

Fig 17, 18, 19: Flux Installation. Retreived from http://www.liftarchitects.com/flux/ 17 Mar 2015

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PART BCRITERIAL DESIGN

Through the studying of computational design and the knowledge of algorithm so far, we are asked to learn a specific a lgor i thmic work ing process wi th in Grasshoper. It requires choosing a field which based on our interest and the relevance of later project.

The tasks aim to find out more possibilities through using the original definitions of grasshooper and try to create more innovations behind the logical algorithm.

B.1 RESEARCH FIELD: GEOMETRY

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The field I chose is geometry. The form under this f ield have a similar i ty of irregularity, flexibility and smoothness, in which conveys a perception of fluency. It also provides many opportunities for the later project in Part C.

Geometry highlights the expression of overall form either blended or strench out to create some abstract patterns. Thus, these architecture used to be designed by computational techniques and fabricated in workshop. It al lows us to explore more abstract structure and increase the complexity within the form.

The architectural composition under the field of geometry used to be a fluent unit without saparate parts. This character gives viewers a straightforward sensation in terms of the clear structure. It makes people get an intuitive imagination to think about how the architecture forms.

Another thing which I think also interesting is that the geometry is able to show a sense of softness, which apart from what architecture used to show to audience about its feature of massfulness.

Fig 1: geometry forms

The project of Taichung Metropolitan Opera House designed by Toyo Ito illustrates the concept of freeform geometry in rational and efficient manner1. It is commonly utilized for tunnel construction and suitable for curved surface which could be shot horizontally or vertically.

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The design concept under the field of geometry presents much more possibilities to design technique and gives people a wider space of imagination.

Fig 2: Taichung Metropolitan Opera House

1. Ethel Baraona Pohl. Green Void / LAVA (December 16, 2008). <http://www.l-a-v-a.net/projects/green-void/> [accessed 25 Apr 2015].

2. John Hill. Coming in 2015 (November 20, 2014). <http://www.world-architects.com/architecture-news/headlines/Coming_in_2015_2286> [accessed 25 Apr 2015].

Fig 3: Montreal Biosphère

The Biosphere is a museum in Montreal dedicated to the environment.

The building originally formed an enclosed structure of steel and acrylic cells. The dome's steel skeleton was fitted with a clear acryl ic covering, making the icosahedron look like a massive, glittering jewel2.

B.2 CASE STUDY 1.0

The case study I chose is Green Void Project. Through continually adjusting the parameter of original definitions within grasshopper, more possibilities of forms could be explored behind a logical process.

LAVA designed the ‘Green Void’ installation specif ically for the Customs House central atrium which spans through all five levels.

This project is a digital design program which derived from nature. It's realized in lightweight fabric, using the latest digital fabrication and engineering techniques, to create more with less.

The appearance looks like a three-dimensional spider web

or a coral reef which gives audience a strong visual impact.

The concept was achieved with a flexible material that follows the forces of gravity, tension and growth which contains the latest 3D screen technology.

It highlights the idea of fluency, lightweight and flexibility under this irregular geometry.

There fo re , incorpora t ing the design idea with grasshopper, the objectives are to identify how the geometry forms. Through adjusting the parametric value, it's able to gain the knowledge of logic algorithm process.

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Fig 4 & 5: Green Void

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1

2

3

4

5

a b c

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d e f

These matrices shows some at tempts which away from the original definition and includes di fferent outcomes of own designed geometry. The form I aim to achieve is the one which able to show the flexibility and fluency in the geometry.

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The first two matrices use simple curve inputs to generate the geometry. Through adjusting parametric value in Exoskeleton component, various structures could be achieved. The percentage of goal length controls the plasticity of structure.

Within these two kinds of iterations, the 1d and 2e are the forms which I think are successful as the smooth outline convey a sense of fluency.

And the geometry of 2e also similar with a web structure whose 4 sides could be stretched out to hang on somewhere. It more or less inspires me to think about later project.

1d

2e

In the trial of the third matrix, a more complex curve geometry is used. In this case, the mesh arrangement and boundary smoothness could be identified more clearly.

The 3d and 3e are successful as it we could find that the mesh lines are regularly connecting to each other and create suitable spacing distance. The boundry of circular shapes are also bending in a fluent way.

However, the structure of 3f might be too slender to sustain something. For the consideration of design criteria, 3f is easy to break up.

Therefore, the thickness is also one of the important factors should be recognized that affects the design quality.

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3d

3e

3f

For next I’m still trying to find out more possibilities and inspiration within the grasshopper definitions, therefore, I attempt to make pyramid geometry.

For this case, I discover that no matter the height of the original object is, the geometry would turn to flat if goal length is less than 0.80 within kangaroo.

In this matrix, the change of boundary shape and thickness is apparent.

The 4b is an interesting form. When I use kangaroo to adjust the plasticity of geometry, the boundary of pyramid becames smoothly and the height gets reducing.

The 4d is sucessful that clearly shows the inflection forms that adjusted by kangaroo.

However, this case lacks of some design possibilit ies because the original geometry has a spatial limitation and limits the tension of boundary.

4b

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4d

For the last matrix, what I want to do is to take away from the single curve inputs and turned to see the effects of mesh geometry.

The mesh surface turns softer gradually when the goal length getting smaller within kangaroo.

However, the outcomes are not obvious as the geometries created by curves.

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B.3 CASE STUDY 2.0

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Fig 6: Gridshell Project

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The Gridshell

The Gridshell Project is fabricated at SmartGeometry 2012 which focused on the design and construction of a wooden structure. The geometry is a web form and creates an open space where able to let people walk through.

I choose this example is because the curve outline conveys a fluent geometry. Although it does not fit the brief which sits on the ground, its main idea focuses on the flow of geometry whcih inspires me on the later project on Part C.

It uses only straight wood members bent along geodesic lines on a relaxed surface. A feedback loop was designed between the parametric geometric model and a structural model allowing for a smooth workflow that integrated geometry, structures, and material performance.3

The construction of each wood member uses the method of one by one stack on each other, and then fastened by screws in the cross position. Using parametric tools, the design was developed and analyzed to minimize material waste while maximizing its architectural presence in the space4.

This project engages with computational modelling design techniques to analyze the bending radii of curve structure.

3. Karamba3d. Parametric Engineering Grid Shell Digital Tectonics - SG2012 (July 29 2012). <http://www.karamba3d.com/gridshell-digital-tectonics-sg2012/> [accessed Apr 27 2015].


In the reverse-engineer process of Gridshell, the first approach is to divide the point of original curves. And then to use arc component to create the cross web form between each curve.

Then loft the curves into surface and connect to geodesic component, therefore, the gridshell geometry is created. It is necessary to rebuild the crossing arc to make the arc correctly.

In trying to make the form smoothly and fix the problem of sitting on the ground, several components of kangaroo were used. Therefore, the form of gridshell has plasticity that could be inflected to leave the earth.

Through setting the geometry into brep and convert it into mesh, the plasticity could be adjusted by the percentage of goal length.

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CURVE DIVIDE CURVE ARC GEODESICLOFTREBUILD CURVE

BREP KANGAROOMESHMESH SURFACESURFACEDECONSTRUCT BREP

B.4 TECHNIQUE DEVELOPMENT

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b ca

1

5

4

3

2

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I n t h e d e v e l o p m e n t o f techn iques such as arc , mesh and kangaroo, different iterations were produced to reach multiple outcomes.

The targets of my outputs were to embody the qualities of plasticity between various forms of geometry. Each iteration aims to show the different strength and softness of each form.

fed

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1

5

4

3

2

g h

Mul t ip le i te ra t ions shows var ious outcomes through adjusting parametric value within grasshopper.

For the selection criteria, I would prefer matrices a, b, g and j.

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ji

Matrix a

Matrix g

The reason why I prefer matrices a and g is because they display a clear change in from the first stage to the final stage.

In the process of adjusting the geometry by kangaroo, a higher quality of plasticity is obtained.

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The last matrix b and j also shows a series of geometry that contain different level of smoothness.

We could discover that if the crossing arc getting denser, more inflected the form is. It also could be considered to the design of later project.

Matrix b

Matrix j

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B.5 PROTOTYPE

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1. Balsa

In the trial of fabricating balsa wood, it shows a good composition quality which could be easily cut and installed. Balsa creates good effect in terms of its neat surface. To stop the balsa strips getting apart from each other, the screws are used to fasten the interfaces. However, because of the texture of balsa wood, a bit crack would happen when installing screws. And balsa is hard to make inflection.

2. Wire

Wire is a good material that to make any kinds of distorted forms. It does not need further connecting installation as wire is able to twine itself which fabricates quickly and conveniently. Although wire has a high capacity in making inflection, it is difficult to be straightened.

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3. Plastic wrap and Tape

These two material are similar which both weightless and create a transparent effect. They also have good plasticity but might be too soft to be held in structure which limits some possibilities in making forms.

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3. Boxboard

Boxboard is a flexible material which could make any possible forms. I prefer using boxboard as it has a good quality in both straightness and inflection. It also would not take any crack when installing screws and enough to hold itself in place.

5. Rope

Rope is also a good material that to be wove in a web structure. It provides high quality of plasticity and high strength. It also has good tension force which able to be streched out or squeezed. I prefer the material of rope to make model. The installation and connection is convenient which could easily tie up on something to sustain the structure.

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B.6 TECHNIQUE PROPOSOAL

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Site plan: clifton hill

SITE AREAPRIMARY SCHOOL

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SITE JUSTIFICATION

1. Access convenienceThe site located in the Darlin Garden where sits in the center of housing area and easy accessed by surrounded pedestrians. In addition, the site area close to Clifton Hill train station as well.

2. Local conditionThe trees condition in this area are strong enough to hook the project and able to provide shades. It creates an ease lighting effect when sitting under the place. The site area is able to see a small kiosk in the center of garden which creates a good horizon. The local atmosphere is comfortable and relaxed.

3. UsersMost of the users are the residents who live around. Some primary schools such as Clifton Hill Primary school near Darlin Garden, therefore, to place the project here is good to attract children. It is a good opportunity for both children and adults to engage with the project.

4. Design flexibilityAs there are numbers of trees sitting randomly in this site and they create a big area for spacing distance, it allows to design some flexible and complex shape of our project. It potentially reduce some possible design limitations.

5. FunctionThe residents here used to taking some sports or social acitivities in this area, thus it’s a good place for setting the project in which offers opportunities for people to take temporary break. Furthermore, it plays as an infrastructure that improve the site environment and enhance the interaction between people and nature.

For the later project, its design idea is inspired by something beyond the conventions which attempts to explore more possibilities out of the veneer of appearances.

The implementation of parametric software has paved a way for the development of this concept. Through continually changing the geometry and adjusting the parametric value within Grasshopper, more interesting forms could be achieved in terms of using multiple digital techniques.

My technique is able to create an effect that presents a sensation of elasticity, flexibility and mobility. With the use of the developed techniques such as kangaroo, the sketch model could be continually evaluated in its performance and adapted according to site conditions during process.

Technique development

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Kangaroo provides benefits of enabling the physical property like plasticity of objects which could be experimented before arrive the final outcome.

This technique is suitable for the project which helps explore more possible forms with flexibility and fluency.

The net structure is the form I intend to design with. For the material I would like to use rope which offers the advantages of high quality of tension and elasticity. It is also flexible to be moved or stretched over. When people stand on the project, it is able to fold to create a form like a corridor which fits the desire of what I intend to create. Incorporating to the site conditions, the fabrication of rope could be easily accomplished.

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B.7 LEARNING OBJECTIVES AND OUTCOMES

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The learning objectives of Part B asks us to develop own skills through studying existing computational working practices. During the early steps, the definition of grasshopper gives a clear idea of logical algorithmic process. It better helps the formation of conceptual ideas of digital design which could be utilized it into further developed techniques. And for later steps, we are asked to discover more ways to generate possibilities and innovations.

Multiple techniques of Grasshopper such as the kangaroo components requires further developed skill. It needs continual experimentation to achieve various and better outcomes. This process enables me to gain great understanding of not only the computational knowledge but also becomes familiar with the techniques so far.

The process of prototype fabrication will be to think about the material performance and plasticity level. This embodies our conceptual ideas and encourages us to understand digital fabrication.

However, my learning techniques still needs more exploration to investigate different techniques of producing the design form.

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B.8 appendix - algorithmic sketches

ARANDA LASTCH - THE MORNING LINE

Through adjusting the parametric value, multiple forms could be achieved. Insert different brep into grasshoper could obtain various outcomes.

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Curve - Loft - Hexagon Exploration

Through trying multiple curve input to obtain different geometry. To make the surface into hexagon and set numbers of circle over the surface, a 3d forms could be achieved.

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REFERENCE LIST

1. Ethel Baraona Pohl. Green Void / LAVA (2008). <http://www.l-a-v-a.net/projects/green-void/> [accessed 25 Apr 2015].

2. John Hill. Coming in 2015 (November 20, 2014). <http://www.world-architects.com/architecture-news/headlines/Coming_in_2015_2286> [accessed 25 Apr 2015].



IMAGE CREDITS:

Fig 1: Geometry froms. From Research Field Lecture.

Fig 2: Green Void. Retreived from: http://www.l-a-v-a.net/projects/green-void/ 25 Apr 2015

Fig 3: Taichung Metropolitan Opera House. Retreived from http://www.world-architects.com/architecture-news/headlines/Coming_in_2015_2286 25 Apr 2015.

Fig 4: Gridshell Project. Retreived from http://www.karamba3d.com/gridshell-digital-tectonics-sg2012/ 27 Apr 2015.

PART CDETAILED DESIGN

C1.0 DESIGN CONCEPT

Figure 1&2: Net Hasselt and Net Linz

The initial design concept is inspired by the precedents of Net Hasselt and Net Linz. The Net Hasselt project consists of multi-layers of flexible net structure that suspended in the air which created a floating landscape. The projects seek to enhance the social interaction between people through getting away from traditional way to build an open-art social sculpture for visitors to climb in and explore.

Net Linz project is another good example that creates a canyon-like corridor space through the weight of sandbags that attached to the base. Rather than just walk across the horizontal net corridor, visitors could gently swing as they climb along the steep path.

The design concept of these two projects both embraces space, elasticity and suspension, which looks like a com-munity hammock for people to closely interact within the projects. The designers aim to create a free space in be-tween for people to lie and climb, in which is innovative

that let people get a sense like floating or walking through the air.

Social interaction is always a main theme for architects to consider during designing. For a project, to enhance the social activities between people is not simply through attracting people to come and engage in, but something beyond that which able to inspire people to explore more and figure out what happening inside. Thus, potentially increase people’s engagement within the project.

This leads to a series of question such as how to en-hance social interaction between people though engag-ing in a project or why we try to make this interaction or what the purpose is behind this design concept. The design is a process that guides us to search, explore and also criticize anything we have seen and thought, and thus forming our own design theory.

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Drawing inspiration from these two projects, our group would like to create a structure that also relevent to the themes of flexibility, free space and suspension. As in Part B I have mentioned that I’m interested in the form of plas-ticity, I aim to make something that look ‘softly’ rather than rigid.

And also to consider what our project for, we also think about the interaction between people and the project itself. We try to design a structure that could be able to let people walk, climb and even lie down, in which could perform as an infrastructure for people to rest and also closely interact with the context.

As inspired by Net Hasselt and Net Linz projects both are net structure, for the materiality, we also decide to use something that like a rope or ribbon which is elastic and good to deal with the tension forces and enough to hold the weight.

The design development of Part C requires us to think more detailed about the design in reality such as the structure, material, connection and relation to context. Therefore, there should be many possible mistakes or problems exist during the process, and what we should do is to continually find out those mistakes and consid-er how to fix them and try to explore new way or more possibilities to challenge the conventional idea.

Sometimes the design also needs to be critical. Through constantly judging our project during design process, we found that the concept becomes more reasonable and thus achieve a better form. The criticism of my Part B is that the design form lacks of deep consideration in relation to the site, brief and material, which I did not have a general concept about how the form should be and how the design could be implemented. In Part C, it draws me to think about the form, material and connec-tion progressively.

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C1.0 DESIGN CONCEPT

CONCEPT

SUSPENDED

INTERACTIVE: LYING, SWING

MINIMAL SURFACERULED SURFACE

DESIGN AGENDA:A simple suspended net containing structure within itself, that allows people to rest and climb to have a unique spacial experience.

MESH

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CONCEPT

TENSILE STRUCTURE

SEAMLESS

ABLE TO TAKE LOAD

DESIGN AGENDA:A simple suspended net containing structure within itself, that allows people to rest and climb to have a unique spacial experience.

MESH

FLEXIBLECORRIDOR

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C1.0 DESIGN CONCEPT

Fistly we trying to use mesh relaxation to create a form with space inbetween which could be able to let people come through. However we found that it is actually a closed structure which does not fit the form we want to achieve. We want to make a form which is more flexible and smooth.

Then we start to consider about a space which is open and could let people lie down. Inspired by Net Linz which creates a corridor within the project, we also make a downward space to increase complexity of the form. And another two columns-like structure is where people could access to the structure below.

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Then we use mesh t r iangu la te component to trim the surface, thus, the net s t ructure become more interesting and able to let people to climb up, in which could see the outside view from inside as well.

However, the previous design have some problems like the access is unrea-sonable for people to climb down and dif-ficult to be hooked when encounter with the site. Thus, we rethink the idea after final presentation which create a space like corridor or turnal, in which more flex-ible and imaginative rather than just sim-ply a net structure.

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C1.0 DESIGN CONCEPT

The left image is actually the model we presented in final presentation, however, after the feedback we have found many problems within the structure and thus we create a new form which is the right one.

Something should be aware through the feedback in the final presentation was the form of our design. As we want to use string to achieve a flexible and soft structure, we did not notice the messy effects the string presents.

And also the entrance is a problem that we firstly to design it in the middle of the bridge, in which is un-reasonable and the visitors might not want to access through it.

And also something important is that the net structure is very limited which means anyone could design it instead of an architect.

I have actually learnt a lot through the feedback and take a further consideration about the design. Our group decide to explore more about the form and possibilities.

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For the very final form, we improve such problems such as access, which we make it close to the site and people could easily walk through.

We re-think the structure which is extremely a open structure for people to lie down or walk through. As we changed the material from string to nylon the form looks more elegant.

Similar with Net Linz and Net Hasselt structure, when people walk in, the space would like a corridor due to the weight of people, and it is safe enough not easily geting out of the project.

The structure also cover a bits over the bridge. It creates something that sculptural and complexible, which make a sense of free structure.

It also fits our design agenda that to create a unique spacial experience for people to engage with.

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C1.0 SITE PLAN - CLIFTON HILL BRIDGE

The site we chose is Clifton Hill Bridge which near 4.08km far from city and easy to get there through train.

The reason why we chose here:1. Closely interaction with Merri CreekAs the design brief requires to build the site around merri creek, we decide to choose this bridge which directly located above the Merri Creek and could be able to let people closely interact with the creek and local environment.2. Good HorizonWhen we standing on the bridge, it’s able to look either side of the Merri Creek (photo 1&3) which create a good horizon if place the project here.3. Good Installation conditionsSomething particular for this bridge is that the structure of the set of beams (photo.2) which are good to hook the project up, so it provides good condition for our design of suspended structure.

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N

0 20m

The site we chose is Clifton Hill Bridge which near 4.08km far from city and easy to get there through train.

The reason why we chose here:1. Closely interaction with Merri CreekAs the design brief requires to build the site around merri creek, we decide to choose this bridge which directly located above the Merri Creek and could be able to let people closely interact with the creek and local environment.2. Good HorizonWhen we standing on the bridge, it’s able to look either side of the Merri Creek (photo 1&3) which create a good horizon if place the project here.3. Good Installation conditionsSomething particular for this bridge is that the structure of the set of beams (photo.2) which are good to hook the project up, so it provides good condition for our design of suspended structure.

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C1.0 SITE PLAN - CLIFTON HILL BRIDGE

4. Not blocking the transportationAs this bridge is not the main road that for people to travel across both side, there are not many people pass-ing this bridge very offten. It is about 4 or 5 people per hour, thus, to place the project here would not cause the problem of transportation.5. Perform as an infrastructureAs we could not find many chairs or other facilities around which for people to take a rest, to place the project here could perform as an infrastructure for people to take a break.6. ShadingThe trees around create a good shading for the project and the bridge itself could also project the shadow onto the project.

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N

SITE AREA

FOOT PATH/PEDESTRIAN

BICYCLE PATH

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C2.0 TECTONIC ELEMENTS AND PROTOTYPES

For the panels connection, it could simply joined with screws which is stable enough and looks neat.

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For the nylon-like net connection, we use something that like a hook or hanger which able to hang the mate-rial up and easily stuck into the wire. It is stable enough to hold the structure.

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C2.0 PROTOTYPES TESTING

Polystyrene Then we testing the material of polystyrene which is plastic and able to deflect compares to boxboard or card board. However, due to the model is joined with numbers of separate pieces through small screws, polystyrene could not be able to hold the weight which is weak to sustain the tension and shear forces. And the cold surface it creates is not the outcome we want to achieve according to our design agenda.

CardboardFor the materiality, firstly we consider to use box-board or cardboard but after we making the proto-type we found that it could not achieve the effect we want, which is difficult to deform and not suitable for our design brief.

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NylonAfter the feedback of final presentation, we re-think the materialality, in which to select one which still looks elegant, softly, elastic and able to hold the forc-es. Finally, we choose to use nylon - something that good to deal with all the problem and correspond to our design brief. For the connection, we use some-thing like a small hanger that able to hook the project up and sustained by wire.

StringWe actually think string is a good material that to deal with either tension forces or shear forces and also flexible and soft which suitable for our design brief. But after finishing the model, the effect seems a bit messy and the structure is quite simple.

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C3.0 FINAL DETAIL MODEL1:20

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C3.0 FINAL DETAIL MODEL

1:20

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C3.0 FINAL DETAIL MODEL1:20

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C4.0 LEARNING OBJECTIVES AND OUTCOMES

The whole design process during this semes-ter is generally clarified into three parts through initially guiding us to learn about the theory and practice of architectural computing. It is a good start that refreshes the traditional way that I used to think about architecture. The algorith-mic computation design techniques reflect its active capabilities during the design process and offer its benefits for users, in which could enable more possibilities and innovations in the future.

The second part brings the theory into practice through using Grasshopper to develope our own skills and then enhance the experience with computational design. During the process while engaging with some components such as Kangaroo in Grasshopper, I have discovered that it is actually a continual process of exper-imentation. Through constantly changing or attempting different values, a better outcomes will be more possible to achieve. It enables me to greatly understand not only the knowledge of computational design but becomes more fa-miliar with the techniques so far.

For the final part, the objective is to let us to seek and explore more about the design. This part needs further and deep consider-ation when the concept encounters in reality. It should be a thorough process as it requires us to think about the detail, connection and any other factors that could make the project become feasiblely in relation to the context. As computational design could only creates a geometry without any specific detail, we need to consider, deisign and fabricate the detailed connection by ourselves. This is also an ex-ploring process that draw us to get a gener-al sense of how the pieces get joined. And through testing various types of tools to find out the most suitable one.

The whole design process of the twelve weeks definitly brings me into another world of architecture. Some computational design tools such as Grasshopper and Kangaroo are somethings that I never used before. Although it is still a struggling process which makes me always feel frustrated, my techniques skill is getting much better than before.

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After the final presentation, an impressive thing about myself is that I found I did not think deeply about my design. A main concern for the interim presentation was the form. As we want to use string to achieve a flexible and soft structure, we did not think about more possibi-lites behind it. There are some problem exist in the form such as the entrance which is unrea-sonable and does not take the consideration from the vistors, and also something important is that it seems like just a net without some-thing special which anyone could design it in-stead of architects. I have actually learnt a lot through the feedback and take a further con-sideration about the design. Our group decide to explore more about our design.

We aim to find out more possibilities in the de-sign form rather than simply a net structure. Therefore, we search more precedents and inspired by Net Linz and Net Hasselt projects which create a flexible space inbetween the structure. This is something that we want to achieve, thus, we improve the overall form and attempt to create a space with something

interesting. And beyond that, able to enhance the interaction between people and the project iteself.

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Reference list

‘Numen/For Use’; URL: http://www.numen.eu/info/biography/

Image source:Figure 1: Net Hasselt; URL: http://www.numen.eu/installations/net/hasselt/

Figure 2: Net Linz; URL: http://www.numen.eu/installations/net/linz/

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final

Documents