STUDIO AIR2015, SEMESTER 1, CAITLYN PARRYJULIA EDEY

CONCEPTUALISATIONA.0 Introduction

A.1 Design Computation

A.2 Composition/Generation

A.3 Conclusion

A.4 Learning Outcomes

A.5 Appendix- Algorithmic Sketches

CONTENTS

A

4 CONCEPTUALISATION

I’m Julia, a third year environments student majoring in Architecture at the University of Melbourne.

My interests involve a love for other as-pects of design such a fashion and interi-ors. I’ve always had a firm interest in craft and design from a young age and have found that architecture is way to har-ness this creativity in a practical sense.

Personally, my interest specifically in Archi-tecture is the importance and use of interi-ors of a space. These are the areas where it allows you as a designer to connect to the us-ers and get them to experience the building.

I have found through my study in Architec-ture that you learn so many layers of knowl-edge in so many disciplines that is constantly built upon right through your learning expe-rience and I would imagine in the workforce also and I like that aspect of architecture,

that you’re constantly engag-ing and learning new things.

My first introduction to digital design was in Virtual Environments in first year where I was briefly introduced to Rhino although as it was group work it wasn’t highly needed for all of us to model on Rhino. I’ve also had experience in the use of the Adobe Crea-tive Suite which I have found highly useful to my studies. I’m interesting in furthering my Rhino skills with the use of grasshop-per in order to advance my design skills.

In terms of digital architecture, since know-ing Rhino and collaborative plug-ins such as Grasshopper I am much more aware of buildings who have implemented these skills in their designs. For example, the geometric patterns and shapes of Federa-tion Square you can see are parametrically designed with the help of digital aid.

About Me

CONCEPTUALISATION 5

The first year subject virtual environ-ments, introduced me to parametric modelling and digital fabrication in the world of architecture. We had look conceptually into the idea of a second skin and how we could protect it using a dynamic process such as a skin and bone system.

This subject opened my eyes to the idea of parametric modelling and other digital terminology such as NURBS, algorithms, panelling etc.

Also the connection between digital design and digital fabrication was realised as we designed our pieces for our model on Rhino and printed them at the Fabrication Lab allow-ing for consistency and efficiency throughout our design. I found this opened my eyes to the simplified and efficient way to making models.

I am intrigued to learn more in Rhino to further my de-signing capabilities.

Previous work

FIg.1: SECOND SKIN PROJECT , VIRTUAL ENVIRONMENTS

6 CONCEPTUALISATION

used to be; undulating sand dunes of a rural community.

Clever design and materiality contribute to this struc-ture resisting the harsh sand storms and weather conditions of the area. Also effective design planning allow the design to fit in well with the current urban landscape, helping transform a formally rural area into a functioning urban community through the use of pedestrian bridges through the structure and public space around it. As Ordos has been through a recent urban transformation, there is conflict between years old traditions and the new idea of the future1, which I believe this structure, pushes towards the boundaries of the new urban landscape of Ordos and creates a place for the community to reunite. This building ad-dresses the idea brought about by Design Futuring of implementing a sustainable approach to design through use of natural ventilation and exterior cladding that repels solar heat gain2. There’s an opportunity for this building to become a part of the new local culture.

1 Amy Frearson, ‘Ordos Museum By MAD - Dezeen’, Dezeen, 2011 <http://www.dezeen.com/2011/12/13/ordos-museum-by-mad/> [accessed 10 March 2015].2 ArchDaily, ‘Ordos Art & City Museum / MAD Architects’, 2012 <http://www.archdaily.com/211597/ordos-art-city-museum-mad-architects/> [accessed 14 March 2015].

Architectural design as a whole is vital in its contribution to culture in a large-scale sense. Paris wouldn’t be as romanticized if it weren’t for its romantic buildings and landmarks, or Rome wouldn’t be known for its historically important buildings and ruins. Architecture in current and past days is integral to culture and in terms of digital futuring, this allows this connection between culture and design to be more greatly developed through the use of new technologies and software. It also pushed the issue of sustainability in design to be addressed and design strategies implemented to move towards a resolution.

By purely looking at this building, you can see it has used parametric computer design and through that you can draw a conclusion that the firm is in a technolog-ically advanced position. MAD Architects is just that, technologically advanced. Just by visiting their website, you can see that their designs are innovative and fu-turistic. Specifically, the Ordos Museum located on the edge of the Gobi desert in China, is an ode to what

a.0 Design futuring

OrdoS museum | mad architects | 2011

CONCEPTUALISATION 7

FIg 2: ORDOS MUSEUM NEPAL, MAD ARChITECTS

FIg 3: ThE SUSTAINAbLE SySTEMS OF LALI gURANS

8 CONCEPTUALISATION

around the world. Once this building is complete there will be a huge contribution to the lives of Nepalese children and their community and the way they live. In terms of Design Futuring, Lali Gurans has been designed to encompass the four different perspectives harnessed by this, by incorporating the community and their culture as well as the ethics of the community into the design1. Ultimately this attributes to a successful design for the future. Additionally, in 2013 they won an AIA New York State Design Award for Citation for Design exempli-fying an innovative approach to design that is edge that can be used to instigate change in the industry.

1 Tony Fry, Design Futuring (Oxford: Berg, 2009).

A quirky yet ambitious architecture firm in New York show some highly innovative designs that are agreea-ble to the idea of Design Futuring. Specifically to the awareness of the need for sustainable and autonomous building types. In this particular case they have hit a home run with their orphanage at the foot of the Nepali Himalayas, Lali Gurans, which is still currently under con-struction. The design is built to be self-sustainable in all senses of the word. It will produce its own food, produce its own energy through solar panels, it harnesses rain water and its been built seismic proof. They have set an example for further implementation of similar sorts of orphanages and libraries in remote communities all

a.0 Design futuring

Lali Gurans orphanage + Library| MOS Architects | incomplete

FIg 4: ThE UNFINIShED CONTRUCTION OF LALI gURANS

CONCEPTUALISATION 9

FIg 5: RESEARCh PAVILLION AT ThE UNIVERSITy OF STUTTgART

10 CONCEPTUALISATION

a.1 Design COMPUTATION

CONCEPTUALISATION 11

Design Computation in Architecture is creating move-ment and innovation in the design industry. Compu-tation has many benefits and edges over traditional design methods that allow for higher levels of effi-ciency and innovation. As brought up in the lecture addressing computation in design, it can be said that “a designer’s creativity is limited by the very programs that are supposed to free their imagination” 1. I agree with this statement to a degree, firstly the idea of computation inhibiting creativity I feel is true in the sense that the design process has changed through the use of computation as it extracts the hands on work that is associated with sketching and brainstorm-ing. Although it also allows for more innovative use of algorithms to create complex geometries, that are not comprehensible with the use of computation. The use of computation creates an edge in the architec-tural design industry which is exemplified through the ICD | ITKE Research Pavilion 2011, created at the university of Stuttgart. This pavilion shows how compu-tational design and fabrication can be advantageous in terms of sustainable materiality, innovative design and construction. It has used bio mimicry of a sea urchin to create the panels and structural ideas and a set of geometries that would not have been created without the use of digital fabrication. Digital fabri-cation has allowed an innovative morphology of the geometry by using thin sheeting of plywood, which allows this performance2. Structural calculations were tested on this project which creates a structural sound building before it has been built allowing the confir-mation that basic structural connections wont’ fail.

1 Terzidis, Kostas (2009). Algorithms for Visual Design Usingthe Processing Language (Indianapolis, IN: Wiley), p. xx2 ArchDaily, ‘ICD | ITKE Research Pavilion 2011’, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> [accessed 15 March 2015].

RESEARCH PAVILLION| ICD / ITKE University of Stuttgart | 2011

a.1 Design COMPUTATIONa.1 Design COMPUTATION

METROPOL PARASOL| J.Mayer.H | 2011

12 CONCEPTUALISATION

The second structure that engages well with computa-tional design is the Metropol Parasol in Seville, Spain. Known as the largest wooden structure in the world, it’s obvious this structure has used the aid of computational design and digital fabrication with its large spanning wooden pieces and parametric design. This project would be highly complex if not impossible to complete the latticed of wooden pieces. The efficiency of the digi-tal fabrication of each wooden piece has been designed to eliminate large amounts of waste material in the fabrication process. This structure was used to reengage an unused archaeological excavation in the medieval urban centre of Seville and contrast the relationship between the historical and modern urban expanse.

It is one of the larg-est timber structures built from a network of timber beams with the aid of digital de-sign and fabrication.- Mignon O’Young

“”

FIg 6: METROPOL PARASOL IN ThE URbAN CENTRE OF SEVILLE

CONCEPTUALISATION 13

a.2 composition/generation

Sagrada Familia| antoni gaudi | Incomplete

FIg 7:: SAgRADA FAMILIA ‘FOREST’

14 CONCEPTUALISATION

It’s only been in the last 20 years or so that computational design has become a thing, before that it just didn’t exist. A relevant precedent to discuss is Antoni Gaudi and the Sagrada Familia. This a good example of how architecture has made a shift from composition to generation. The highly complex project was created by Gaudi in 1892 with use of hundreds of models and plenty of intricate parametrically designed and detailed sketches is how the design was realised. Gaudi designed the church like this in order for future workers to continue his work the way he planned despite the difficulties. Parametric design has now been implemented for work on the Sagrada Familia allowing for ef-ficiency in the building process. Although we currently believe that digital computation and algorithms is accepted as a part of architecture, this wont be the case until it has stopped being discussed and it just accepted1.

1 Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Archi-tectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545>.

a.2 composition/generation

Barcelona fish pavillion| frank gehry | 1992

FIg 8::bARCELONA FISh PAVILLION’

CONCEPTUALISATION 15

This particular projects sits in Barcelona’s beachfront for everyone to see. Although not many people realise how momentous this structure was to Frank Gehry and the world of architecture. In 1992, this project marked the firms first use of computational design and fabri-cation, a turning point for Gehry. Now, generation

of design through digitisation in highly common al-though to reiterate the point as stated by Peters, “when architects have a sufficient understanding of algorith-mic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture”1.

1 Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545>.

16 CONCEPTUALISATION

A.3 Conclusion

A.4 Learning Outcomes

As time goes by trends and styles change in most aspects of life including the architecture that surrounds us. The styles and aesthetics are changing constantly in the current days and this can be connected to the rise in the use of digital com-putation and fabrication in design. Ultimately this is a positive step in the right direction in terms of sustainability, as it allows for efficiency and breakthroughs in sustainable materials and fabrication. Despite these positives, it is still ques-tioned as to whether through computer modelling you lose a sense of creativity.

Through the use of digital design and parametric modelling, I want to reflect a way I can create a space that interacts with the communal area and harness a sustainable outcome with the use of materials and positioning in the site. Through using parametric modelling to create a communal area, I can cre-ate an innovative outcome whilst benefitting the people who use the space.

Beginning this semester, my knowledge on architectural computing was quite brief, so completing the tutorials and readings allowed me to become acquainted with the idea of parametric modelling and computation in architecture. I was not sur-prised by the ideas brought up in week one on design futuring and the more com-mon use of computation in design and how the focus needs to be more focused on the sustainable element of the design industry. The introduction of vectors and algorithms terrified me at first and I’m still not sure I completely understand them but I have grasped the idea of Grasshopper and the basics of Rhino and how they correlate. Specifically at the start of semester the thought of parametric model-ling seemed incredibly difficult but with the practice gained through tutorials I am much more hopeful to become more fluent as I believe it will help my design abilities strengthen. The last project I did, I found incredibly difficult to create due to my lack of fluency in any computer aided design which led to what I believe was a poor design due to time spent learning programs instead of focusing on my design development. My new knowledge formed would have allowed me to innovate more in terms of designs and explore more experimental forms and ge-ometries. Overall, it’s been a big learning curve and has been highly beneficial.

CONCEPTUALISATION 17

A.5 Appendix- algorithmic sketches

5.1 CREATING AN A MESH ON CURVES

By dividing lengths of curves and adding arcs allowed a tunnel like appearence. By changing the shape of the curves and dividing by different numbers or using different axis can alter the mesh.

5.2 TRIANGULATION

Using the populate 3D tool in grass-hopper and attaching a slider gave you the option of how many geome-tries you wanted. Here I have 92, which created a more complex shape than the original example which had 40.

5.3 POPULATION ON A LOFTED CURVE

Using the populate to create geometries on a curved surface, you can change the number and complexity of boxes through altering the number of inputs.

I included these particular sketches because as a new user of grasshopper I was im-pressed by the minimal effort required to create such complex looking geometries and the ability to make slight changes that completely alter the look of the geome-try. Rhino together with Grasshopper allow architects working on projects, more time to work on developing ideas than trying to hands on build model because with Rhi-no you can digitally fabricate the complex models you create. This is highly advanta-geous to the design industry allowing more efficiency and accuracy. These models can represent the added creativity that algorithmic modelling allows despite objec-tion that it says the opposite through the interesting set of geometries shown.

18 CONCEPTUALISATION

references

Frearson, Amy, ‘Ordos Museum By MAD - Dezeen’, Dezeen, 2011 <http://www.dezeen.com/2011/12/13/ordos-museum-by-mad/> [accessed 10 March 2015]

ArchDaily, ‘Ordos Art & City Museum / MAD Architects’, 2012 <http://www.archdaily.com/211597/ordos-art-city-museum-mad-architects/> [accessed 14 March 2015]

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indi-anapolis, IN: Wiley), p. xx

ArchDaily, ‘ICD | ITKE Research Pavilion 2011’, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> [accessed 15 March 2015]

Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Ar-chitectural Design, 83 (2013), 8-15 http://dx.doi.org/10.1002/ad.1545

CONCEPTUALISATION 19

Fig.1 Julia Edey, Second Skin, 2013

Fig 2. MAD Architects, Ordos Museuem, 2011 <http://www.i-mad.com/work/ordos-museum/?cid=5> [accessed 18 March 2015]

Fig 3. Seeds of Change Foundation, Lali Gurans Diagram, 2014 <http://www.lali-gurans.org/> [accessed 14 March 2015]

Fig 4. Afasia Archzine, Lali Gurans, 2015 <http://afasiaarq.blogspot.com/2014/11/mos-architects.html> [accessed 15 March 2015]

Fig 5. ICD/ITKE University of Stuttgart, Research Pavillion, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-it-ke-university-of-stuttgart/> [accessed 16 March 2015]

Fig 6. Julia Edey, Metropol Parasol, 2012

Fig 7. Julia Edey, Sagrada Familia, 2012

Fig 8. Architectural Digest, Barcelona Fish Pavillion, 2015 <http://www.ar-chitecturaldigest.com/architecture/2014-10/best-of-frank-gehry-slide-show_slideshow_item5_6> [accessed 15 March 2015]

references

CRITERIA DESIgN 21

CRITERIA DESIGNB.1 Research Field

B.2 Case Study 1.0

B.3 Case Study 2.0

B.4 Technique: Development

B.5 Technique: Prototypes

B.6 Technique: Proposal

B.7 Learning Objectives and Outcomes

B.8 Appendix: Algorithmic Sketchbook

B

FIg 9:: PUPPET ThEATRE

B.1 research field

Puppet Theatre for Harvard’s Carpenter Centre | mos architects | 2004

CRITERIA DESIgN 23

Digital design and fabrication has created a large arsenal of design approaches within its creation. Tessellation is a particularly mallea-ble system that can be implemented to para-metric design in many different ways. “A tessel-lation is created when a shape is repeated over and over again covering a plane without any gaps or overlaps”1 therefore many different shapes can be used and transformed to create a set of complex designs and parameters.

Tessellation is a large part of the aesthet-ic and rational design in architecture in the analogue sense as well as the digital. Before the use of machines and computers, tessel-lation was implemented in a structural sense with the use of brick walls. Once the modern age hit and digital design was being imple-mented, tessellation became a very popular way aesthetically designing a structure. Also a way of form finding and creating complex geometries with the help of computer aid.

Tessellation can be seen largely in Islamic patterns and tiling evident in buildings such as Hagia Sophia and Blue Mosque although these aren’t true tessellation in the mathe-matical sense although aesthetically it is.

The puppet theatre pavilion by MOS Archi-tects shows the use of repeated shapes

1 Mathforum.org, ‘Math Forum: What Is A Tessellation?’, 2015 <http://mathforum.org/sum95/suzanne/whattess.html> [accessed 9 April 2015].

without gaps fitted together to achieve a tube like shape to set a puppet show in. The pavilion has been constructed out of 500 polycarbonate panels each unique in shape and covered in rock cap moss and held together by 2000 bolts which allow the structure to be disassembled after use1. The moss has been planned to be planted on campus after use. Through the use of parametrically designing the tessellation, it can be designed in a way that allows the opportunity for it to be disassembled and reused. A concern in terms of fabrication is the intensive labour that was used to set up this pavilion. The tessellated shapes give a sensuous experience both on the exterior and the interior creating an undulating sur-face that leads to the puppet show viewing or the opposite end where it frames a tree.

It evident through the use of moss cover-ings of the shapes that tessellation allows a tactile finish to the end product. As stated by Michael Meredith coincidently the architect of this project that it’s the “complex of the complex relationships that produce archi-tecture”2. Through this assertion I believe Meredith is addressing that the streams of parametric design and despite their im-portance they are a apart of larger web of relationships that influence a design.

1 Harvard Office, ‘Harvard Gazette: An Egg Full Of Sing-ing Puppets’, News.harvard.edu, 2015 <http://news.harvard.edu/gazette/2004/11.11/01-huyghe.html> [accessed 18 April 2015].2 Andrew Yau, Jonas Lundberg and Tom Tong, ‘Adap-tive Ecologies 3 : Composite RE-Formulation Extended Brief’, AA School <https://www.aaschool.ac.uk/downloads/briefs2010/dip16_Brief2010-11.pdf> [accessed 16 April 2015].

Tessellation

FIg.1O: VOUSSOIR CLOUD IwAMOTOSCOTT

B.2 case study 1.0

VOUSSOIR CLOUD| IWAMOTOSCOTT| 2008

Through exploration in this case study, particular systems in Grasshopper were realised through simple modifications and tests that allowed this.

The first group of iterations used input ge-ometry and playing with input points and mesh values to create various differences.

In the second group was a change in input shape again but with more of a focus on the placement of points to change the columns.

I had more ideas to test for these iterations such as changing the mesh to a different Lunchbox panelling mesh as well as retest-ing different points in different positions.

Specifically these iterations have an inbuilt, which allows a structural system that can be incorporated. The sides of the structure are open, which suits my design proposal, as the edge of the pavilion should not be blocked and is structurally held up by the columns.

CRITERIA DESIgN 25

A.

B.

C. Change of input shape Change of U & V values to create more mesh

Change of input shape Set more points Changed location of set points Changed U & V values

Change of input shape Larger scale openings Change of Z unit

A.

B.

C.

FIg.11: ThE hONEyCOMb wALL

B.3 case study 2.0

the honeycomb wall | Martin Frank, René Hansen, Mirnes Tulic,| 2005 Thomas Mortensen, Tonny Jensen & Brian Sørensen

This interactive light created by a group of Dan-ish students focused on the parameters and con-struction(socialtech). The use of Rhino modelling allowed the construction to be easily assembled.

This project shows a set of tessellated hexagons ar-ranged in an irregular shape. The tessellation of the shapes create a panelling like result. By finding a script

for a lofted hexagonal shape, it was then baked and then pieces extracted in order to create the shape.

I anticipated the difficulty in creating the inner offset shapes and despite problem solving attempts, I was unsuccessful. Despite this I attempted other ways in or-der to create the same shape which allowed me to learn other skills in grasshopper including the Lunch Box tool.

FIg.12: ThE hONEyCOMb wALL RENDER

CRITERIA DESIgN 27

The first attempt at the Hon-eycomb Wall, I searched the grasshopper forums for ideas on creating a hexagon mesh. I found a script, which I used and lofted to create the hexagon shape wall.

The curve the mesh was set on could be altered with separate points which allowed me to move the points until I got the shape I wanted. It was then baked and pieces extract to create the irregular shape of the light. The outcome was successful in creating the overall shape.

FIRST APPROACH

POINTS ThAT wERE USED AND ALTERED.

ThE gRID wAS ACTIVATED ON ThE POINTS.

hExAgONAL COMPONENT OF MESh

gRID gRASShOPPER FUNCTION

CRITERIA DESIgN 29

final product of reverse engineer

The second attempt at creating the internal offset shapes resulted in the use of the Lunchbox plugin which included a hexagon panelling tool. The attempt to offset the shapes was unsuccess-ful as well as attempt to loft the edges the way they needed to go.

DIFFERENT APPROACH Points

Curve

Hex. Panel

Loft

Bake

B.4 Technique: development

A B C

1

2

3

4

5

CRITERIA DESIgN 31

B.4 Technique: development

D E F

G H I

1

2

3

4

5

CRITERIA DESIgN 33

J

The options that have the most design potential, are the shapes that can be altered to fit to needs of the site. Such a need to have open sides to enhance the view as well as the need to be tessellated with a relevant shape. I also think some of the more ab-stract ideas are easier to change and build on.

DESIGN POTENTIAL

A B C

G H I

1

Diamond Panel

Twisted Points

U=20

V=24

Quad Panel

Flipped Points

U=32

V=40

Hexagon Panel

Twisted Points

U=13

V=27

Hexagon Panel

Low U&V values

U=10

V=5

Triangle Panel 2

Twisted Points

U=28

V=27

Hexagon Panel

Multi Points Referenced

U=30

V=28

1

FURTHER details

CRITERIA DESIgN 35

D E F

J

Triangle Panel

Points set to cylindrical shape

U=27

V=30

Hexagon Panel

Set to 2 surfaces

U=10

V=18

Hexagon Panel

Changed AMP=398

U=23

V=27

Helicoid Shape

Different Panels tested

U=40

V=40

FURTHER details

B.5 Technique: prototype

The use of thick card shaped as hexagons helps rep-resent the way tessellated shapes can be joined to-gether. An example join has been created in order to exemplify how each face of the hexagon could be join if it were to be digitally fabricated in the future.

In terms of joining the hexagons together, a hair pin like piece could be digitally fabricated to slide over the joining edges to hold them.

Through physically making the prototype, it has given me ideas how to approach digitally fabri-cated it as I can see how the joins work therefore I can figure out ways to hold them together.

JOIN OF TwO FACES OF A hExAgON

CRITERIA DESIgN 37

B.6 Technique: proposal

I’ve chosen the research field tessellation. This approach has been signif-icantly utilized in architecture especially with the rise in digital design. It is a great technique for digital fabrication as all the shapes have to touch therefore they can be altered for pavilions to make them easy to disassem-ble. For example, the Puppets Theatre at Harvard is a tessellated temporary theatre that can be disassembled after used as the shapes are in pieces.

I chose this as it creates an interesting aesthetic and it allows the use of paneling tools in Grasshopper which I find interesting trying to ma-nipulate them. I substituted different panel meshes into the mesh as-pect of the Voussoir Cloud to change the main texture of the design.

I reverse engineered a student project called the Honeycomb Light that I used panel tools and lofting to create the main shape. The prototyp-ing helped me understanding the fabrication process to creating de-signs in Grasshopper and how it needs to be carefully considered.

I would like to design a multipurpose pavilion in order to repurpose the un-der utilized space between the market and the gardens at CERES. I would like to further research a shape to be used to tessellate that relates to the site. In terms of the brief, I would like the pavilion to extend from the market to the gardens without enclosing the views on the sides, as there are gardens, which should be highlighted, not hidden. It could be used as an extended marketplace that perhaps can utilized as a used sustainable clothing market.

The Puppets Theatre at Harvard utilizes tessellation in the project de-spite being temporary I feel it was an effective project as the tes-sellated shapes allowed the theatre to be fabricated and put to-gether with precision and ease. I will utlise the way this theatre is fabricated in order to inform the way I fabricate my design.

B.7 Learning objectives and outcomes

This section of the course challenged me in terms of further-ing my knowledge and understanding of Grasshopper.

Through each of the case studies, I continued to progressively learn more about how different functions work, specifically I became fa-miliar with the panelling tools as they create tessellated shapes. I understood how I change points in order to influence the shape.

Case Study 2.0 was successful in helping to develop a varie-ty of design potentials through iterations and panelling tools.

There are still many concepts of Grasshopper that are still unclear to me but through the use of the Grasshopper forum I’ve been able to clarify a few foreign concepts such as how to make grids and panels.

The next step to think about will be how I will execute a pro-totype through the use of a digital fabricate such as laser cut-ting and how certain iterations can be fabricated.

FIg.13 VOUSSOIR CLOUD VAULTINg

CRITERIA DESIgN 39

B.7 Learning objectives and outcomes B.8 appendix- algorithmic sketches

I found the Voussoir Cloud tutorial very interesting. This inspired me to create this project for Case Study 1.0 which I was able to fur-ther my learning from the tutorial to create more iterations.

Unfortunately, my Rhino played up and I was unable to continue to progress with the Kangaroo aspect of Voussoir Cloud so I con-tinued altering the parameters and meshes to get different re-sults. I also played with the vaulting as it intrigued me due to the experience of the changes. I played around with different mesh types which included the use of the Lunchbox plugin for Rhino.

Overall I found this one of the most helpful tutorials as it fo-cused on recreating a real project, so it allowed me to see how this program can be utilised in real life.

REFERENCESFig 9. Puppet Theatre at Harvard

Cube Me, Puppet Theatre At Harvard’s Carpenter Centre, 2009 <http://cubeme.com/puppet-theater-at-harvards-carpender-center/> [accessed 6 April 2015]

Fig 10. Voussoir Cloud IwamotoScott

Bustler, SCI-Arc EXHIBITION: Iwamotoscott Architecture: Voussoir Cloud, 2008 <http://www.bustler.net/index.php/event/sci_arc_exhibition_iwamotoscott_architecture_voussoir_cloud/> [accessed 16 April 2015]

Fig 11. The Honeycomb Wall

Formakers, 2012 <http://www.formakers.eu/project-578-recity-ad-min-the-honeycomb-wall> [accessed 19 April 2015]

Fig 12. The Honeycomb Wall Render

Formakers, 2012 <http://www.formakers.eu/project-578-recity-ad-min-the-honeycomb-wall> [accessed 19 April 2015]

Fig 13. Voussoir Cloud Vaulting

Bustler, SCI-Arc EXHIBITION: Iwamotoscott Architecture: Voussoir Cloud, 2008 <http://www.bustler.net/index.php/event/sci_arc_exhibition_iwamotoscott_architecture_voussoir_cloud/> [accessed 16 April 2015]

Mathforum.org, ‘Math Forum: What Is A Tessellation?’, 2015 <http://mathfo-rum.org/sum95/suzanne/whattess.html> [accessed 9 April 2015]

Office, Harvard, ‘Harvard Gazette: An Egg Full Of Singing Puppets’, News.harvard.edu, 2015 <http://news.harvard.edu/gazette/2004/11.11/01-huyghe.html> [accessed 18 April 2015]

Yau, Andrew, Jonas Lundberg, and Tom Tong, ‘Adaptive Ecologies 3 : Compos-ite RE-Formulation Extended Brief ’, AA School <https://www.aaschool.ac.uk/down-loads/briefs2010/dip16_Brief2010-11.pdf> [accessed 16 April 2015]

CRITERIA DESIgN 41