Architecture Design Studio: Air

John Duong 540254

2013 Journal

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Expression of Interest

A Case For Innovation

6 About Me 1 A case for innovation7 1.1 Favorite Projects10 1.2 Computing in Architecture13 1.3 Parametric Modelling in Architecture16 1.4 Summary16 1.5 Learning Outcomes17 1.6 References

19 Algorithmic Thinking

Design Approach

23 2.1 Design Focus26 2.2 Case Study 1.030 2.3 Case Study 2.032 2.4 Algorithmic Challenge 134 2.5 Form Exploration36 2.6 Algorithmid Challenge 238 2.7 Techniques Development Matrix43 2.8 Fabrication of Prototype46 2.9 Technique proposal47 2.10 Learning Objectives

Contents

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Architecture as a discourse is afascinating thought. With so manydifferent aspects of a buildingwhich can be read, parametric design opens upeven more variety into the field. It, along withnewer construction techniques have allowedmore expression within buildings,allowing curves and freeform shapes to emerge. With so manypossibilities suddenly available, a newarchitectural language is emerging as architectsexplore their new found methods of expression.

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My name is John Duong. I’m an architecture student studying at the University of Melbourne doing my third year in the bachelor of Environments. Majoring in architecture, I prefer simpler approaches to architecture and elegant solutions to technical issues. I enjoy architecture because of the possible discourse of buildings. Exploring the different solutions designers had to the issues at hand whilst stil conveying their design intent is fascinating. When thinking about design, I use an approach similar to that of people in animation: working out how to reduce something to the simplest possible form while still conveying our intent, simple and clear curves and structures as well as creating focal points at which to draw observers towards. Liking the use of colours, visuals are just as important to me as function is.

About Me

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1.1 Favorite ProjectsA personal project undertaken while in my first year of University explored the

three dimensional qualities of a structure. Instead of a building though, it was to be a structure which sat on the human body.

Producing a complex geometrical shape with inspirations from nature, the end

result was made to play with light whilst also exploring the possibilities of computer

design.

Such a project explored how we can produce forms to sit on odd surfaces,

namely the body, and how they would remain there during movement. On top of this the fabrication of the design was also

explored and the methods of which the parts would remain together and in place.

Such skills may be useful when designing the Wyndham Gateway project, as it is

something which could possibly be used to explore space, form and fabrication in

urban design.

Images Below: The model I produced whilst in first year

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A movement in architecture which I like is that of the Italian Futurists. Thisgroup of young artists looked to the future, attempting to move away from architecture as it was in the early twentieth century and design structures which would be built in the future. With a focus on the raw qualities of a building, the group looked to create a new architectural language for the youth of Italy.

Admiring passion, speed, the people and the car, the futurists designed stripped back architectural statements, relying on the emotional response of a building to convey its meaning rather than ornate decoration. They also wanted, as stated, to go against tradition and do something out of bounds with the architecture at the time as new technologies arose.

This is much like us today, where even more precise manufacturing and the ability to design with a computer is possible. The same thoughts should still permeate our designs though, with the artistic potential of out buildings taking over the built form, exploring how we can create something functional whilst still being able to illicit an emotional response.

One aspect of their ideals which I feel stands out is this deep emotive response mixed with the rushed passion of design. Such a feeling could be used in the Wyndham Gateway Project, creating a sculpture which is stripped back to its raw materials, designed in a rush of passion to create a swift emotive response as our audience moves quickly by it in their cars.

Above, top right and right: Designs of Italian Futurist Anto-nio Sant’Elia

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When thinking about architecture in Melbourne, it is clear that the Pixel building by Grocon is one of the most interesting ones. With the multitude of coloured panels the facade holds up, the building was in the forefront of environmental design when it was completed in 2010. Being the first building in Australia to receive a perfect score from the Green Building Council, the highest Greenstar Rating in Australia at the time of completion and scoring a 105 out of 110 by LEED, the highest score achieved by a building thus far, adding to the discourse of architecture by demonstrating it is possible to be environmentally friendly whilst achieving cutting edge design.

In terms of computer aided design, the building employs the oddly shaped coloured panels help up on its facade as a shading device. Each of the panels have been shaped and calibrated as to be as energy efficient as possible in the Melbourne climate.

The properties which they have been designed to maximise include glare reduction, maximum daylight and shading. The colour and form of the building are a stark contrast to those of the immediate surroundings. Breaking up the horizontal and vertical lines produced by adjacent structures as well as having a strong contrast in colours, with vibrant reds, yellows, greens and blues Pixel stands out as an architectural statement.

The Grocon building is interesting because of its ability to balance an expressive and eye catching facade while at the same time being environmentally friendly. These types of outcomes are one possibility of what I envision for the Wyndham Gateway project, an eyecatching, environmentally friendly structure, using colour as a method of drawing attention and expression.

Above and right: PixelBuilding by Grocon

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1.2 Computing in ArchitectureThe Thomas Deacon Academy, by

Fosters + Partners, used a dynamicpeople flow simulation to determinethe allocation of space. By removing

the school bells, the architects ofthe Academy have tried to reducethe amount of students circulating

around the building at any giventime. Virtual simulations in this

project have allowed the architectsto predict the comfort level for

students moving between classes aswell as during breaks and movementbetween stairs. This has allowed themanagers of the project to optimize

circulation as well as reduce costs onthe project.

This academy is important in thediscourse of architecture as it tries toreinvent the school layout. The use of

computer aided design in thisproject to predict the comfort level

of students is unique for a schooland utilization of this technique in

other high usage buildings such aslarge commercial skyscrapers could

help maximize the efficiency ofworkers.

Above: Layout fo the Thomas Deacon Academy by Fosters + PartnersBelow: Interior of the Thomas Deacon Academy

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Computation in architecture is also having influence on other areas of architecture as well. With the ability to design create precise pieces for a structure, more organic shapes are possible. One such example of this is the Shell Star Pavilion, by Matsys design, created as a temporary structure for the Detour 2012 design exhibition in Hong Kong.

This pavilion is comprised of an organic form, taking influences from both the sea and the Hong Kong National Flag. The form was rigorously tested in computer simulation before anything was concretely set, another aspect of which computing in architecture is useful in design. After the simulations, a script was created, specific to the project to determine how the 1500 individual plates would be created. These plates have to hold the curvature of the form whilst also being made of a flat material. With the aid of more scripting, such goals can be met.

Computing in architecture has allowed us to explore forms which would have never been dreamed up fifty years ago. Allowing us to do precise forms and shapes, as well as being able to map out flow, the design and construction of built forms is streamlined with the advent of computing in architecture.

From these two buildings, we can see there is a link between computing and modernarchitectural design. Almost every design decision for a building, can be influenced oreven decided by a computer with the right scripts and programs.

Above: Shellstar PavilionRight: Process fo creating the Shellstar pavilion by matsys

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1.3 Parametric Design in Architecture

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A concept which is being rapidly explored in parametric design is the abstractionof nature into simpler forms, which are then used to form the basis of the form ofthe building. This such idea is realised in Zaha Hadid’s London Aquatics centre,built for the London 2012 Games. Drawing inspiration from its function and thelocal area, the form it takes is inspired by water in motion and is located to fit intothe landscape.

Taking the form of a wave crashing over the complex, the facade for the waterinspired design is drawn from natural forms and shapes which occur in nature.The S-shaped curve of the building is a simplified representation of the movementof water, using parabolic equations to find the desired curves for the building. Theroof was designed to appear as though it was floating above the stadium, something many modern architects explored. Such an expressive form would not have been possible if parametric design was not undertaken in the conceptualisation of this project.

The design also had two temporary “wings” which were removed after the games.Clearly different to the smooth structure of the main body of the building, the“wings” were plain, angular and seemed out of place. Simply designed, the temporary seating was colourful when compared to the main colour scheme of thecentre, Hadid “emphasises the permanence of the core” by juxtaposing the mainstructure and the temporary structure together.

Even with such finely tuned buildings have their issues though, with a oversight inthe design of the roof. For some 3000 seats at the venue, the view to the high divers was obstructed. This highlights the possibilities of there still being human fallacy in a design.

This type of design is another interesting method of looking at design. With thesimplification of natural forms into geometric curves, intricate details can beproduced. These such outcomes could be something of interest when consideringthem for the Gateway Project.

Left, topleft and below: Images of the london Aquatics Centre by Zaha Hadid

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Architecture is a fast moving field. However, in the adoption of techniques architecture is usually slower than those of other industries. In fact, a term commonly used in architecture, NURBS, has its origins from ship building, with the S standing for spline or a piece of wood on a boat which holds a curve by way of pegs.

This does not, however, mean that it is subpar in any way. With technology constantly being updated and new methods of expression being used, the programs themselves are constantly evolving to cater for an architect’s ever changing requirements.

Parametric design opened up many new possibilities in architecture. Alongside new fabrication technologies, the ability for an architect to express themselves has improved greatly. In some cases, it could be a complete reinvention of a well-known item, like Glenn Lynn’s blob wall attempting to reinvent a brick wall. Using curved forms, he created forms which join specifically to others to create the final form. Such attempts at such an organic form is only possible with the aid of computers and parametric design.

In other cases, however, it can be used to express something with no relation at all to architecture. One such example is CODA barcelonatech’s Jukbuin Pavilion, a temporary wooden installation. This installation drew inspiration from basket weaving and then used that idea to create a self standing structure. The pavilion has a complex geometry which was able to be rapidly tested using the Rhino plugin Kangaroo. This program has allowed the architects to simulate the properties of wood, such ashow it acts under tension and gravity through setting different parameters for how the individual components act in relation to each other, to find the most effective form. In addition to this, the Kangaroo plugin has allowed the rapid exploration of forms through rapid simulations, something which would have been difficult to do it the designer was making physical models for each iteration. The end result is a form which fully utilises the properties of the material

Below: Blobwall by Glen LynnBelow Left: CODA barcelonatech’s Jukbuin Pavilion

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I feel these projects in parametric deisgn are mostly form driven with little concern for their environment or only create a superficial link to their location. Whilst they are interesting in appearence, these structures discussed in this section of this journal, I feel, have not been addressing and surroundings, as well as the vernacular architecture of their location, to the fullest extent. These three projects, as well as the Shell Star pavilion all have a natural curvature to their designs, something which is being used in many newer architectural endeavours by designers. Because of this, new buildings run the risk of becoming similarly formed structures, with a similar emotive response by those who view the structure, thus becoming something which is not new and exciting but just blends into the background.

The London Aquatics centre has an tenuous link with it’s location with it being aligned with the river and having a form which could be interpreted as a wave. This structure, which is touted to be site specific could probably be built anywhere and still have the same appeal to it as where its current location stands.

The blob wall, whilse very creative, could be produced as a pavilion, but as a reimagining of bricks, it still has some distance to go interms of being a feasable building component. The complex forms of the components means that for each individual structure, a fine tuning of the “bricks” needs to be done, taking up much time and resources which could be dedicated to a different part of the design process.

That isn’t to say, however, that parametric design is only for creative designs. As seen in the Jukbuin Pavilion, it has allowed for fast experiments with materials for a struture.

That isn’t to say, though, that these aren’t still stunning structures in their own right. With the expression of the designer being one of the major features of architecture, these built forms certainly express it. Designed from a series of relationships between all the components of a from means having a unified structure where no piece is not playing its part in the function and form of the completed design. Parametric design is a rapidly developing area of architecture and with a bit more development, such issues can be addressed.

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1.4 SummaryArchitecture is all about expression. Expression of the designer and their intent behind a building is everything. Being able to convey this is key. The design should still, however, be site specific and respond to the external factors which may affect it. Architecture is also fast moving. With a newlanguage still being developed by architects, parametric design is opening new ways to break tradition by opening up the ability to graph out statistics of a building as well as parametrically design a facade.

The Wyndham Gateway project should take all these things into consideration. To create something which will be eye catching yet still be relevant to the environment it sits in. The cutting edge of technology is currently parametricism and the opporunity to add to the future language of architecture is possible within this project.

1.5 Learning OutcomesThrough these three weeks, I’ve learnt much about the discourse of architecture and the effects we can achieve on this discourse. Previ-

ously, I was indifferent about parametric design, but after delving into it more, the lure of the opportunity to create something which hasn’t

been built before or even dreamt up by others is exciting. It should not, hoever, detract from the teachings of the past, as many people have said to do. To create new and exciting things, it is important to

look to other influences which have already developed much more than architecture, such as origami and fine art. Parametric design is a

great new facet of architecture which can be explored further.

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1.6 ReferencesArena, L ‘Green Storeys find favour with employees’, Financial Review (2012) <http://www.afr.com/p/special_reports/sustainable_business/green_storeys_find_favour_with_employees_M0UBVoMLXApmJlwT1XsQOM> [Viewed March 20, 2013]

Grocon, ‘Pixel, Carlton’, Grocon (2013) <http://www.grocon.com/view/?gallery_name=Pixel% 2C%20Carlton&gallery_id=35&gallery_image=390> [Viewed March 20, 2013]

Arch Daily, ‘London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Archi-tects’ Arch daily (2011) http://www.archdaily.com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/ [viewed March 21 2013]

Peters, B, ‘Thomas Deacon Academy Peterborough, UK, 2003-200� Foster + Partners’ Brady Peters (Unknown Publishing Date) <http://www.bradypeters.com/thomas-dea-con-academy.html> [Viewed March 24 2013]

Matsys Design, ‘Shellstar Pavilion’ Matsys Design (2012) <http://matsysdesign.com/category/projects/shell-star-pavilion/> [viewed March 24 2013]

Mayer, A, ‘Style and the Pretense of “Parametric” Architecture’ (2010) <http://adam-nathanielmayer.blogspot.com.au/2010/06/style-and-pretense-of-parametric.html> [viewed August 8 2012]

Sharma, S, Fisher, A, ‘Simulating the User Experience: Design Optimisation for Visitor Comfort’, Architectural Design, Issue 2 (2013), pp. 62-65

Piker, D, ‘Kangaroo: Form Finding with Computational Physics’, Architectural Design, Issue 2 (2013), pp. 136-137

Solar Flare Studios, ‘Futurist Movement’ Solar Flare Studios (Unknown Date) <http://www.solarflarestudios.com/demosites/architecture/futurist.htm> [Viewed March 30 2013]

Image Sources:Page 8: http://rustnconcrete.wordpress.com/tag/italian-futurism/Page 9: http://www.grocon.com/view/?gallery_name=Pixel%2C%20Carlton&gallery_id=35&gallery_image=390Page 10: Architectural Design, Issue 2, page 1�2-�5Page 11: http://matsysdesign.com/category/projects/shell-star-pavilion/page 12-13: http://www.zaha-hadid.com/architecture/london-aquatics-centre/Page 14: Architectural Design, Issue 2, page 13�-13�

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In the first two weeks of the course, wewere given a task to complete. In the firstweek, it was to arrange a series of shapes

from larger to smaller. This task provedto be difficult as to complete it, the shapes

were to be placed side by side touchingeach other but no over lapping. To

attempt to solve this, I tried making thespacing of the midpoints of the spheresbe placed apart the diameter of the last

spheres. The curvature of the arrangement,however, proved to be an issue.

In the second week, we were set to createa pavilion from a lofted surface with

randomised pipes. In the picture below,I attempted to gain an interesting form

from this but ended up creating aconfusing one.

2 Algorithmic Thinking

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Not everythign turns out as you would expect. Here is our task from week 3. We were to create an origami structure using grasshopper. My first attempt included us-ing a long tree of shapes to try and create an origami wall. This, however, ended up wrong somewhere and the result was not as desired, see above. The grasshopper file, left, was so messy and unplanned that when I tried to go back and search for the mistake, it was difficult to determine which components were conected. Using a sim-pler build, with help from friends and the internet, hoever, a simpler solution was acquired and the result is below.

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2.1 Design Focus

When starting this project, we searched for inspiration. With an interest in tessellation my group went online to search for influences for our project and stumbled upon M.C Eschers Sky and Water. We were attracted to this because of the polarising forms of the birds and the fish coming together to produce a pattern in which there were no gaps. This integration of irregular shapes interested us and thus began our pursuit of a complex tessellation.

Tesselation in architecture is a common occurence in modern architecture. With the rise of computing, more and more complex forms are being desired by designers and tessellation of basic shapes to produce these forms is just one method of simplification to allow for fabrication. Computing in architecture has also allowed for more complex tessellations to occur,extending beyond basic, planar shapes, with projects such as the Shellstar Pavilion being an example of this, where more complex forms are packed together to create one single form.

The use of tessellation has allowed structures to span over large distances whilst also expressing a complex form. We believe this should be the route the Wyndham Gateway Project should take as there are still many possibilities tessellation can take beyond being a method of creating complex forms.

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Source: http://www.incredibleart.org/lessons/mid-dle/images/escher_sky_water.gif

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One of our inspirations was the Polyp.lux by softlab. This project uses tesselation and L.E.D’s to create a sensitory experiece within users. The shift in the tessellation creates a feeling of weight as the structure approaches the ground, even though it is light weight and moves in the wind. The movement, combined with the L.E.D’s are supposed to allow users to interact with the structure itself.

These types of ideas should be used in the Wyndham Gateway Project: User interaction, sensitory experiences and complex tessellations.

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2.2 Case Study 1.0For this study, we were given a definition of the VoltaDom in which we are meant to reverse engineer to explore what aspects we value in a tessellating structure.

Number of points of insertion: The definition begun with a series of cones with openings cut out at their peaks. The first change we made was the number of insertions, which modified the number of cones in the definition. We settled on 20 because it was a num-ber in which we could see the tessellations occuring without it becoming too muddled

by the number of cones.

Number: � Number: 13 Number: 20

Number: 2� Number: 30

Radius of Occulus: The next tranformations we experimented with was the radius of the occulus of the cones. As the occulii grow, the shapes resemble cones less and less so the radius was kept at 0.2 as to not draw away from the main area of interest: the

intersections of the cones which form the tessellations.

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Attractor Points - Cones: Here, we replaced the voronoi tessellating pattern with something more regular. The points were placed onto a regular grid with a point attractor modifying the size of the cones. Here, we selected the attractor point in the bottom right hand corner because we decided it would express the morphing intersections the

clearest.

Changing the Polygons: For there, we began to experiment with different shapes and seeing the result which came from those. Unhappy with the tessellations they

produced, we went back to the original base shape of circles.

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Attractor Points - Occulus: Here, we experimented with the size of the occulii. We placed an attractor point at the top left of the grid so that the smaller cones had the largest openings, exaggerrating the shift in size of the cones, thus pushing our

idea of a shifting tessellation.

Attractor Points - Density: Finally, we experimented with attractor points, using them to change the layout of the cones. From this, however, we decided that the regular patterning of having a structured grid was accentuating our concept the most so we did

not use any of these results.

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Here is the end result of our exploration. We modified the heights of the cones so they grow as the cones get smaller using attractor points. We believe that that would further accentuate the changes in the tessellation that we desired in a 3 dimensional

perspective.

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2.3 Case Study 2.0

We then proceeded to reverse engineer a project by the Philidelphia University Architecture and planning Department: the Tesselion. With a focus on planar surfaces and playing with light, we were attracted to this project because the goals were similar to our own.

To re-create this project in Grasshopper, we first created the base curves in rhino and proceeded to loft it in Grasshopper.

Next, we panelled the loft using the Lunchbox plugin.

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Then we mapped out various rectangular incisions into the panels.

Finally, we culled the incisions using Attractor Points to create a definition which results in a product similar to the tesselion. Differences that exist between our definition and the original is the shift in size of the incisions into the panels as well as the Tesselion being a completed work, meaning it has considered fabrication and has components such as tabs and steel joints to connect it all together. From here, however, we did not continue with modifying this project further, as we felt we were not going to get

closer to our own goals so we begun on the creation of our own definition.

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A challenge set to us by our tutors was then to create an algorithmic sketch which made a transforming tesselation. the studies we had already completed had informed us of different techniques we could use for this task, but we felt none were able to create what we desired: a seamless shift between one shape to the

next.

Finding example definitions online, we had a definition which could be easily modified as well as expressing our desired outcome

for this project.

We begun our explorations using a graph mapper to create a steadily changing definition.

2.4 Algorithmic Challenge 1

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We explored further changes which could be done with the graph mapper.

Not being happy with the tesselations the Graph Mapper was creating, we began to experiment with an image mapper to create more interesting forms within our tesselations.

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After doing these explorations, we began to think about fabrication of our model. Knowling that we had to create some form of interesting 3 dimensional representation,

we started with something simple: mapping out our definition onto a curve.

When looking at this shape, however, there were issues when it came to fabrication. Because we were only making a prototype, we wanted a simpler curve to work off. On top of that, the links between the stars were too fine for us to fabricate well using

the resources at hand so they had to be resized.

2.5 Form Exploration

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The shapes used there, we felt, were not a strong enough statement of how tesselation could be used, as well as being odd to fabricate with corners meeting straight edges. From here, my group proceeded to move in different directions. One member was working on making the forms possible to fabricate, another was trying to create interesting forms with the tesselations and I was trying to planarise the tesselation on the curve so

that it was possible to fabricate.

I began by trying to flatten the pieces on the curve by creating rectan-gular panes for the shapes to sit on. To do this, I had created a series of panels which followed the curvature of the curved surface. Then I pro-ceeded to project the tessellation onto the panels to try to flatten them. While it would make it easier to fabricate, it was still not possible as some of the rectangular panes were still not planar.

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I then proceeded to cut the panels down into triangles to create a planar surface which we could fabricate. Then I projected the tesselation onto the panels. I successfully did this but then ran into issue using these shapes to split the panels into smaller parts. Taking too much time to complete this task, there was too little time to begin to create tabs to fabricate this iteration of our project. I was disappointed as I thought this would create a captivating visual when completed. As a team, we decided to move on

with another definition which my teammate had created.

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At this point in the project, we were tasked with another algorithmic sketch assignment. We were to place notches onto a series of diamonds which had been rotated from one another. Whilst we were able to get the diamonds to be adjacent one another, we were unable to notch them and produce a structure in which wer could

fabricate.

2.6 Algorithmic Challenge 2

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2.7 Technique Development: Matrix

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Using this, we proceeded to experiment and created a matrix to record the transformations our design undertook.

Here, we tested different iterations of panel numbers. We tried to select the one which most exemplifies the chifting tesselation.

Here, we modified a graph mapper to create as much of a shift in the tessellation as possible. As we increased the scale of the tessellation, the shapes would become more star like but too far and the lines would begin to move unexpectedly. As we decreased

the scale, the shapes became more rectangular in nature.

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We then begun to experiment with different fabrication techniques. The one above follows our experiments into a tabbed structure. For this, we were searching for

an interation which exaggerated our tessellation as much as possible.

A ribbed structure was then tested. We didn’t like this as much as it didn’t do much for the tesselation and had the possibility of getting in the way of our forms and muddling

up the tessellation.

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Finally, we explored different possiblities with notches to connect up the pieces. This hit similar issues as the ribbed structure, though less extreme. Because of this, we decided to go with a tabbed structure when it came to creating our prototype for the Wyndham Gateway project.

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The final computer model: Our tesselation and the tabs together.

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2.8 Fabrication of PrototypeWith the prototype laid out onto card, we begun our creation process.

We knew that we had to create a structure which we could build so using Rhino, we created tabs onto out structure so we could put it all together.

When put together, we get a series of cells which will be connected to each other to create our final form.

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The most difficult part to put together would have been the corner of the shapes. We overcome this by creating clasps which join the the structure to allow us to join the

strips of cells together.

After the strips have been joined together, we end up with out final model.

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2.9 Technique proposal

From here, we wanted to experiment with more complex curved surfaces, allowing us to create more visually stunning pieces. Tessellation should be explored on the Wyndham Gateway project because with the current direction of modern architecture, complex forms are still being explored, and different methods of articulating these forms is still underway. Tessellation, particularly more complex iterations of tessellation can be used to further the discourse of architecture and this project can highlight this by doing

something new and exciting.

Tessellation should also be favoured because the nature of tessellation means simpler forms to deal with. Because of this, the fabrication of the materials will be simpler, thus allowing cost efficiency

whilst also retaining complex forms.

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Working out how to create a real life model whilst also making a definition on grasshopper was a challenging task. Considering how things would work in real life and not just making something interesting and looking nice was a nice change of pace for us, as until now, alot of the design work we had was to just create interesting forms.

Building our model on grasshopper has allowed us to quickly change and develop our ideas further by just adding some functions or by moving a slider. An issue with this, though, is that because we have not been working with grasshopper long, we are still learning what certain functions do and our understanding of them is still developing.

In the future, we expect to develop our understanding of these things further and create a model which will be able to answer the Wyndham gateway project brief successfully.

2.10 Learning Objectives

From the mid semester presentations, it was clear we needed to further our investigations into our design. We need to look into materials for fabrication, since up to now we have prioritised exploring forms and having a rough idea about materials.

We also have to work on justifying out work as much as possible, rather than just create something which looks nice but has no context at all. This was caused by us not fucussing on what was important with the project, answering the brief, but rather exploring what could be done in grasshopper and it’s positives and negatives.

And finally, fabrication. How will the model be fabricated. It is all fine with card and glue, but when we begin to look at real world materials, it all wouldn’t come together in the same manner in which we build our card prototype.

During this part of the course, we have developed a better understanding of how to handle a brief as well as consider real world applications of our designs.