Studio

A ir

529133

Sarah Luong

S1-2015

ContentsIntroduction

Design Futuring

Part A

A.1 Design Computation

A.2 Composition/Generation

A.3 Conclusion

A.4 Learning outcomes

A.5 Appendix: Algorithmic sketches

References

I, Sarah Luong from Melbourne am currently beginning my third year studies of the Bachelor of Environ-ments. Why architecture? You ask…Architecture is the amalgamation of science and arts, as well as craft and thought, and being a capricious person with broad interests, this is the ideal discipline for me. My main form of expression is through writing rather than visual com-munication (other than emoticons), but I like to challenge myself and hope to improve through sheer stub-bornness. Anything tech-y makes me nervous, and ironically it is the way of the future in architecture design, thus it is something that I need to embrace

or at least become familiar with.My exposure to digital design came from studies in Virtual environments, Visualising Environments and Rhino, Revit and 3d Max short courses (through RMIT and UniMelb). Unfortu-nately, due to a forgetful and absent-minded nature, I am still not very competent in these programs:(I am looking forward to learning paramet-ric and digital design and have always wanted to learn computer programing. Given that Studio Air teaches technical skills that are an offshoot to programing, I can now begin to tick it off the bucket list :)

Digital design ethicsDigital design, which arose from anthropogenic activity of technological progress, is given a heroic welcoming as a solution to prevent or at the least slow down the process of human extinction. There is a false preconcep-tion in regards to the technological advance to the natu-ral environment that exists on a continuum, whereby a progress in one is proportionate to the degradation of the other, “Whenever we bring something into being we also destroy something,” 1 There is great optimism of how a reconfigured design practice, what Tony Fry consider as “redirective practice”2, could potentially be the saviour by reversing the de-futuring condition of sustainability. Design becomes more unsustainable when it is becom-

D E S I G N

The computerisation and computation of architecture design.

ing more democratic through the facilita-tion of technology, this problem is addressed through Tony Fry’s ar-ticle whereby he pos-tulates that as a result, there is a harmful accu-mulation of superficial and trendy design is in favour of a culturally and economical sensi-tive design.2The knowl-edge-creation gap that exists in people who dabble in democratic design is considered the major condition to overcome to improve the sustainability of the design process. This could be done by breaking down the spe-cialisation of the de-sign discipline, which has created “design intelligence” that is ex-clusive to only design-ers. The dissemination of “design intelligence” can mobilise people and technology to cre-ate a system whereby creation is less un-sustainable. Thereby, closing the knowledge-creation gap that would

foster a more sustainable future. Large scale education of design sustainability is difficult to achieve, however we are laying foundations for this “dissemination of de-sign intelligence” to occur, by teaching first principles of sustainability in early education such as primary schools.

Sustainability and digital design aesthet-icsThere is tension between ecology and technology, most notably in terms of digital design’s attempt to be more in-clusive of biological systems. If is not the answer to re-versing the anthropocene to a holocene timeframe, but a facilitator to how to balance between the two. This is usu-ally expressed with adoption of natural environments in a contained space eg. Green roofs, an contained aquarium etc…A deep understanding of the underlying ecological and biological system is only reserved for those who are aware of design intelligence3, for example, parametric de-sign has embraced bio-mimicry and nature’s fractal system as a process of design that expresses in the performance rather than just the aesthetic nature of a building.

Digital design aestheticsThe aesthetics of digital design can be seen as a stylistic device, and is considered avant-garde in the present as it is still at its beginning stage, therefore does not have the theoretical and philosophical discourse to give it legitima-cy.4 This is problematic as it augments a superficial appre-ciation for digital design from lay people, or those who are in the field but are out of date with current practice. Method for critique has not been disseminated beyond the disci-pline of architecture, thus only contained within the archi-tecture profession, resulting in promoting an elitist culture.A self absorbed elitist mindset is a hindrance to elliviate or at the best, eliminate the the gradual process of de-futur-ing.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg). pg.42. 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg)3. 4.Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley),

F U T U R I N G

This project epitomises the efficiency of materiality and constructability, which could only be achieved if it is done correctly in the initial stage of design. By adopting cur-rent technological programs to ensure the constructabil-ity of the building before it actually materialises, Foster + Partners have saved the cost of waste, and has also mainstreamed in the assem-bly of the external cladding, therefore the erection of the building was a quicker pro-cess than traditional con-struction methods. 1 It also has adopted principles of environmental building systems by implementing double skins and installing PVC panels to one side of the building, to achieve not just textural roofing aesthetics, but also to offset its emis-sions, as the project aims to be carbon zero.2 This project is the epitome of the applica-tion of “design intelligence” and is the beginning of critical design whereby reducing the emissions of the building, has allowed it to meet the problems of climate change due to carbon emissions.

1. http://www.fosterandpartners.com/projects/masdar-institute/2. http://www.archdaily.com/91228/masdar-institute-foster-partners/

A.1 Design ComputationThis pavillion opposes the conventional idea of technology, not only for the facade, but can be adopted in other aspects of architecture. The significant and defining feature of the pavilion is the organic flow of the timber mate-rial that is used inside. This could only eventuate within the advanced techno-logical time that we are currently in, as the timber redifines itself as a material used for construction. The curve linear form was digitalised, and construction was only possible with the milling pro-cess of 3D modelling.1,2 This project is an exampler of how the fabrication pro-cess has caught up with the designer’s complex form finding intent. Architect’s in the past have always been able to further their knowledge in the field of aesthetic and design research and experimentation. The resulting products are of complex, and valuable, however the construction process in thwe past made it un-feasible for these designs to eventuate into built form. This has lead to an array and acceptance of “paper architecture” in the discourse of architecture. Hitherto, imagination could not be physically expressed, and the advances in fabrication technology has opened a plethora of new avenues in of built forms.

1. http://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion2. http://www.dezeen.com/2011/11/01/norwegian-wild-reindeer-centre-pavilion-by-snohetta/

Tverrfjellhytta, Norwegian Wild Reindeer Pavilion

Snøhetta

The Knowledge Centre, Masdar Institute of Technology Foster + Partners.

A.2 Composit ion Progress of fabrication technology has augmented the importance of technol-ogy in architecture, however design-ers was one step ahead through utilis-ing parametricism to improve design outcomes. This is an example of using algorithms to create detailing for a fa-cade rather than the use of parametric design to generate an architectural form. This seemingly complex geometry that surrounds what is simply three boxes adjoined, was created by a simple algorithm and constructed with standard aluminium, which al-lows for a more complex and layered approach to designing a building.1 The pattern was created with the in-tent of framing city views within the social space of the building, but also a pattern that would successfully re-flect light to the surrounding buildings.2 A reliance of the parametric script it-self was favoured over the process of just selecting the most appropriate ma-terials. Herzog & De Meuron utilised “parametric script that translated two-dimensional elevation designs into a three-dimensional model replete with all fabrication information, allowing fast revisions during design development.also allowed more control over light .”3

1. http://www.herzogdemeuron.com/index/projects/complete-works/201-225/213-messe-basel-new-hall.html2. http://www.archilovers.com/teams/109713/herzog-de-meuron-architekten.html#projects3. http://archrecord.construction.com/projects/portfolio/2013/05/1305-Basel-Convention-Cen-ter-New-Hall-Herzog-and-de-Meuron.asp

Herzog & De MeuronMesse New Hall, Basel.

GenerationThis project was produced by SOFT-lab for the annual San Gennaro Festival.It was a multidisciplinary approach, as the designers were in need of spe-cialist fields such as engineers and the materials fabrication company to erect the structure.1This epitomises the use of parametric design as a specialist tool that architects used to lead the construction team.The parametric design, is not purely created arbitrary for an aesthet-ics purpose, but is sensitive to the surrounding area as it is site spe-cific. The San Gannaro North Gate, could only be placed in this site as there were specific mathematical constraints that are uniquely present within the site. This structure would fail if it was to be erected elsewhere as the tensive rope that holds it in place would not be able to fit else-where as it is reliant on the surround-ing building to keep it in place.2

Creating a structure within the physi-cal site parameters, has lead more legitimacy to this project. It looks impressive and innovative, but it also is aware of its surrounding. The installation ismade of 4224 laser cut panels. Each panel is a unique shape and printed with acus-tom color. The panels are connected using over 6,000 aluminum grom-mets.3

1. https://www.behance.net/gal-lery/2357886/San-Gennaro-North-Gate2. http://inhabitat.com/nyc/softlabs-colorful-sculpture-brings-a-modern-twist-to-little-italys-san-gennaro-festival/san-gennaro-north-gate-by-softlab-10/3. http://softlabnyc.com/portfolio/san-genarro-north-gate/

San Gannaro North GateNew YorkSOFTlab

A.3 Conclusion

Architectural computerisation has been well em-braced already in the field as a necessary tool that helps with drafting and promoting efficiency in the conventional design practice. New software available has now become a game changer and has re-invent-ed architectural practice by allowing an alternative method of faster generative design.Generative designs differs from conventional de-sign methods as the final product is created from an analysed process, instead of the designer having a preconcieved idea of a design. Forefathers of gen-erative design, such as Antoni Gaudi, Frei Otto etc...had to rely on analogue methods of researching and discovering new forms.New technology has enabled a digitalised version of the generative design process to keep up with the experimentation and design analysis.Out of the method of digital generative design pro-cess, parametricism enables the designer to rapidly create many different options to be customised to the brief and the site. Producing also a greater number of results, that are also better designed due to its precision. Parametricism has allowed generative de-

sign to flourish through the dependence of scripting and algorithmic thinking. As a result, iterations could be rapidly created and customised and more pos-sibilities, that are beyond the architect’s imagination, could be realised.Parametricism goes beyond the being canonnised as just another “style” and “ism”, it is more than mere looks. It can confidantly participate in the architec-tural discourse as a legitimate method to respond to a context and performance demands. It is up to the designer and their intentions to take parametricism and turn it into a legitimate design.The new wave of digitalisation of architecture, and specifically parametricism, allows innovative and performance driven design to be realised into built form. No longer is there debate over the old adage of form follows function, as the most successful feature of parametric design is that it does not compromise form for function. It enables the designer to indulge in both! Picturehttp://www.suckerpunchdaily.com/wp-content/uploads/2013/08/maquette-1_FRONT.jpg

A.4 Learning outcomes Upon my commencement of Studio Air, I have no theoretical knowledge of parametric design. My misconceptions derived from my exposure to parametric design through only on a visual basis and was not motivated into delv-ing deeper into the subject matter. I wrongly believed that it was a shortcut to produce a “wow factor” and was not substantial enough in its own right. However, through the readings and the study of the precedents, I have become aware of my ignorance in parametri-cism and generative design. This is the “design intelligence” that people lack as fore mentioned. I have always struggled with finding iterations for my design, and with coming up with a design arbitrarily. Had I have known about gen-erative design, I would be able to work at a faster rate in my previ-ous studio designs. The technical skills are immensely important, as it is an essential tool in communi-cating my ideas across.

Left picturehttp://www.suckerpunchdaily.com/2014/10/30/plyground/#more-37820

A.5 Appendix:Algorithms ReferencesFront Coverhttp://www.suckerpunchdaily.com/wp-content/uploads/2014/10/1_FRONT.jpg

Introduction pictureLuong, Sarah. At Nara. 2015.

Design Futuring

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-453. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wi-ley), pp. 1-28

A1. Design computation1. http://www.fosterandpartners.com/projects/masdar-institute/2. http://www.archdaily.com/91228/masdar-institute-foster-partners/3. http://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion4. http://www.dezeen.com/2011/11/01/norwegian-wild-reindeer-centre-pavilion-by-snohetta/

A2. Composition/Generative1. http://www.herzogdemeuron.com/index/projects/complete-works/201-225/213-messe-basel-new-hall.html2. http://www.archilovers.com/teams/109713/herzog-de-meuron-architekten.html#projects3. http://archrecord.construction.com/projects/portfolio/2013/05/1305-Basel-Convention-Center-New-Hall-Herzog-and-de-Meuron.asp4. https://www.behance.net/gallery/2357886/San-Gennaro-North-Gate5. http://inhabitat.com/nyc/softlabs-colorful-sculpture-brings-a-modern-twist-to-little-italys-san-gennaro-festi-val/san-gennaro-north-gate-by-softlab-10/6. http://softlabnyc.com/portfolio/san-genarro-north-gate/

Studio

A ir

529133

Sarah Luong

S1-2015

PA R T B

Contents

B.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 outcomes

B.8 Algorithmic sketchbook

References

B.1 Research f ield

Bio-mimcry

The development of biomimicry in architecture was initially concerned with form finding and rep-licating the existing curves of nature as an stylistic device. The middle stage of bio-mimicry con-cerns itself with utilising natural structural principles, such as the self supporting structure of the shell, to engineer built structures. The next stage, which is within the current era, evolves into morphogenesis that works in parallel with computational design. Morphogenetics is the process of adoption of material systems that responds to evolving environmental conditions. The four features of the transfer of biological to biomimetics, according to Achim Menges are:1.Morphogenesis as feature based2. Constraint driven3. Process based, and 4. Feedback based.

Bio-mimicry’s process of design differs greatly from traditional design process and is more aligned with biological design process. Biological systems are designed by evolutionary theory, whereby the weakest designs are culled due to their inability to adapt to new environments. This correlates to the process of morphogenesis whereby the parameters of site specification and material con-straints guide the process of narrowing down the best suitable design. The variables of site conditions allow for morphogenesis to produce a complex and sophisticated design project that is environmental responsive, therefore inceasing the longevity of the design.Due to the technicality and the initial stages of research into biomimetics, it has not been adopted broadly. This needs to be addressed and improved, as there are potential for architecture to move further away of the Vitruvian method of design towards an unpredictable architectural future.

Biomimicry for aesthetics

Brunel University GatewayMinamiforms

The project uses the structural principles of a water lily in com-bination of biological centred aesthetics. The cellular struc-ture is composed of a variety of convex and concave cells in which they expand and contract to enhance the user’s experi-ence of walking along the water. The uniqueness of this project is its adoption of a water lily as a structural form, in particular it’s optic hairs and structural fibres to formulate its overall form. This has allowed the gateway to organically float, and fit into its difficult reflective pool site. Biomimicry, in this case, is not only adopted as an aesthetic style, but also as a performance mechanism. This is the perfect

combination of how biomimicry completely resolves tension be-tween aesthetics and functional-ity. Nature, should no longer be overlooked as it has provided resolved structural form that de-veloped through evolution, and trial and error that architecture can avail upon.

Biomimicry for performance

New research is beginning to be conducted into how mate-riality and natural form could enhance the performance of built structures. Architecture can benefit greatly from the knowledge and technology that is available.The Hydroscope is founded on a 5 year research by Steffen Reichert and Professor Achim Menges on the properties of wood that would enable it to be responsive to changing humid-ity levels. By just applying materials to a built project does not produce would not work. There was great thought and experimenta-tion put into the whole form that would maximise and perform a physical reaction to changing humidity levels. Reichert and Menges, were able to design a form that would be able to

work with the material, of which provided a set of parameters to deal with. They were able to create a structure that was able to work with the chosen mate-rial to reach their morpogenesis goal. The geometry was para-metrically designed and was cut precisely for its assembly to be achievable. The result was a structure that physically and passively responds to the changing humidity levels within its enclosure. The only machi-nary involved was the humidi-fier controller. The Hydroscope is an adaptive design that does not rely on artificial forms of inputs (such as a human or electronic controller) to make it adaptive to a changing environ-ment. This project has raised the optimism for built forms to respond to climate change,

Hydroscope, Centre du PompidouSteffen Reichert and Professor Achim Menges

B.2 Case study 1.0 Fractal Tetrahedron AA Aranda Lash

B.3 Case study 2.0 Office banque

1. Square using the polygon tool 3. Divide the surface into grid points2. Polygon into a surface 4. Create lines from the points 5. Loft between the lines

The advantages of this algorithm for reverse engineering Office Banq:

By starting with the polygon function in grasshopper, the overall shape that carries out the section was able to be adjusted freely without impacting too much on the overall sections.

Case study 2.0 shape shifterschanging u and v inputschanging lengths changing radius

B.4 Technique development Voussoir cloud + off ice banque

My design concept revolves around lessening the impact of degradation by the transition of humans.The materiality and shell like structure of the Voussoir cloud is applicable to the direction of my design, there-fore is suitable to be adopted as the main form of my walking path. The reverse engineering project of Office banq in case study 2.0 has potential for me to customise a pathway catering for the two speed cyclists and walk-ers.

Using attractor points along the center of the pathway.

Advantages:Allows light to filter through into the plantsThe tendrals allow for minimal impingement on the environment

Disadvantages:Inadequate surface area for riding and walking in the one path.

Tessalation with shell

Advantages:Stable structure without impinging on the environment, and allows walkwaysLarger surface area for the walkers and the cyclists

DisadvantageDoes not allow light to filter through

B.6 Technique proposal

Combination of Shell tesselation with contouring top surface

Advantages Minimal impact on the areaAdequate surface areas for walkers and cyclistsAllows light to infiltrateFinalisation objectives- Materiality (aesthetically juxtaposes but sustainable)- Detailing- Structural performance using kangaroo plug in- Safety

Site analysisThe Rotunda Wetlands is a part of the Merri Creek that could be accessed via Esplanade Rd.It is a re-vegetated area with native local plants, however its main purpose is to treat stormwater runoff into the Merri creek river. This allows filtration and decreasing the rapid flow of stormwater down into Merri Creek, whilst providing nutrients and water to the indigenous flora.

There exists a shared path, which allows walkers and cyclists to cross the area. Although the area was regenerated, the current path is not as environmentally friendly as it could be, as it imposes on the natural flow of the stormwater down-stream and it impinges on the re-vegetated flora and habitat for local fauna.

B.7 Learning outcomes

My design intention was clear however, with the technical skills being the predominant method of realising my design, I need to work on furthering my technical skills.At this stage, I feel I still need to further understand and improve working with grasshopper. I find scripting the most difficult and struggle on experimenting with it. I believe that my approach to studying grasshop-per has let me down, as I was trying to acquire all of the technical skills and not focusing on a specific and related set of skills.Hopefully, I would be able to improve, to progress with the subject and to express my design concept.

References

1. http://www.biomimetic-architecture.com/2010/fiber-composite-adaptive-architecture/2. http://www.biomimetic-architecture.com/2010/jellyfish-house-by-iwamoto-scott/3. http://www.biomimetic-architecture.com/2011/gateway-structure-for-brunel-university-by-minimaforms/4. http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/5.Menges, Achim.(2012) Biomimetic design process in architecture: morphogenetic and evolutionary computational design. Bioinspiration & Biomimetics. 7.6. AD.Material computation: Higher integration in morphogenetic design. Volume 82. Issue 2. 20127. Figure 1: Bicycle Snake. Copenhagen, Denmark.DISSING+WEITLING Architecturehttp://www.archdaily.com/522669/bicycle-snake-dissing-weitling-architecture/8. Figure 2: Skycycle. London, United Kingdom. Foster & partnershttp://www.archdaily.com/463363/norman-foster-designed-scheme-aims-to-transform-london-into-cycling-utopia/9. Figure 3: Danish pavilion. Shanghai, China.BIG.http://www.archdaily.com/57922/denmark-pavilion-shanghai-expo-2010-big/

Precedents

The precedents which are most related to my vision of the Merri-Creek shared trail encompasses a two speed lane for cyclists, as shown in Bicycle Snake, Figure 1. This two laneways would separate recreational cyclists from the se-rious cyclist who use the lane as a primary mode of transport. The lanes would be named as the scenic route cycling track and the express cycling track.Given the main concern for this project centers around minimising the impact of built form on the environment, it is necessary for the pathway to have little contact with the ground as possible. An example is Skycycle in Figure 2 sug-gests that raising the pathway would prevent impedence to local habitat. Merri-Creek’s topography presents potential use of the path to envelope the natural terrain of the site. The result-ing form would be sensitive to the specific site, and would be predominantly curvacious with varying slopes as in the Danish pavilion in Figure 3.

Figure 1: Bicycle Snake. Copenhagen, Denmark.

Figure 2: Skycycle. London, United Kingdom

Figure 3: Danish pavilion. Shanghai, China.

PART CDETAILED

DESIGN

Contents

C.1 Design Concept

C.2 Tectonic Elements and Prototypes

C.3 Final Detail Model

Conceptualisation inspired by biomimicry

Biomimicry can be a method of designing a bridge that is less intrusive to the environment.The study of the golden ratio between the surface area and the legs of an insect is applicable to the bridge structure, as it needs to account for heavy loading with minimal contact on the ground.The curvature of the legs, is utilised to lessen the impact of the load, hence could be adopted into the design.Due to the little units of the insect, they could be uniformily placed to form a particular shape, and could be adopted to the topography of the site.

Site Analysis

C.1 Design Concept The selected idea and technique chosen was appropriate to the conceptual idea of biomimicry inspired and environmentally bridge.

There are combinations of different techniques utilised to build the form to

I

Sectioning technique.

Divide into points Build Arcs between opposite sides.Build polygon base of four

Join centre of arcs (to stabalise the structure)

Build arcs between adjacent sides

Building Gridshell

Build planes in center of arc in x direction

Build planes in center of arc in y direction

Tesselation technique used to form into the site.

Set form to one brep Create plane at center of brep

Use “orient” to place brep onto the curve of the contour line

Set contour line as curve

Cell studiesResponding to vegetation density

Responding to soil typeThe scale of the bridge needs to respond to the variable soil conditions within the landscape.

In wet ground, the bridge would be smaller, so there would be a large number of bridge units, and closer to the ground.

In dry ground, the bridge would be at its “normal scale”

In rocky conditions, the bridge would be larger, hence less bridge units are needed. This creates larger spacing, and higher units to avoid the impact of the rocks.

Where there is more vegetation, the thickness of the tubing needs to be smaller, for lesser impact on the flora of the site.

This is achievable with the pipe radius (PR) of the algorithm and offset of pipe (0).

Large amount of vegetation

Small amount of vegetation

PR=2

PR=2.6

Wet Soil

N=3

N=5

Rocky Soil

O=2

O=0.5

Responding to sunlight and shade

CC=6

CC=2

CC=11

The contours of the bridge within the shellgrid form responds to the amount of sunlight that is exposed at specific sites.

The closer the sections are from each other, the shadier the particular area of the site is, and vice versa.

To change the varying degree of thickness and distance between each section, the contour count (CC) and the Factor of the algorithm could be adjusted accordingly.

F=3.412

Application of cell structures to site analysis

1

2

3

4

5

PARAMETRIC DESIGNED, BIOMIMETIC INSPIRED AND, ENVIRONMENTALLY FRIENDLY SHARED PATHWAY

It is imperative for materials of the bridge to be selected before details of joints could be explored further.Given the biomimicry direction of the design, it is important that the structure is consistent with the theme, naturally timber is the most preferred material to construct the bridge.The most sustainable timber that is available and has a long history in vernacular architecture, that is extensively used in Asia, is bamboo.Bamboo is a suitable material for the construction of the bridge, and it is interesting how a material that is steeped in tradition and history ties with contemporary digital design practice.

Pipes system

I have created many trials of a piping system through Rhino, however, due to errors in the file, it could not be printed any larger than the model that was exhibited at the final crit.This method of joinery, is aesthetically pleasing, and utilises another material for the for the pipe. The material needs to be waterproof and strong to withstand the elements outdoors. A different material would make the joinery details to stand out, especially if the pipes are made from inorganic materials.Constructability of these pipes would require much thought into the design to suit the specific nature of how two curved bamboos meets, and to allow curvature in its form.

C.2 Tectonic Elements and Prototypes

Nuts and Bolts

This is the most secure form of joinery.It offers many different options for joining complex and curved structures. It is commonly used, hence do not require custom made joints, nor special labour to install the joints into the system.

Ties system

Ties have been commonly used throughout Asia to construct bamboo bridges. Although it is the most simple form of joinery, it is not has stable as the other options. The use of ropes, especially, is prone to deterioration faster than the other joinery.

Final detail model

The most preferable joinery details that I prefer to utilise, is the combination of a piping sytem with heavy duty steel wire. It combines the durability of the piping with reference to an updated traditional practice of tieing.

Studio Air has contributed momentously to my architecture studies. I remain a beginner in Grasshopper, but have learnt enough to allow my expression of ideas to be formulated. If I was unbounded by technical shortcomings, I would like to explore Kangaroo, and Ladybug applied to my design for a more rational support. Learning a new software is quite challenging given the short amount of time that was given, but to compound it with learning the whole Adobe CSS suite was like climbing Mount Everest. Despite the challenges, I thoroughly enjoyed the studio as it has pushed the limits of developing my technical skills.The most time consuming aspect of the Studio was not only learning how to use Grasshopper, but to create files and designs that are technically constructable using the latest technology. There were a lot of setbacks that I have faced, including time and money, to ensure that my file is ready for 3d printing.The amount of times I had to review my joint details to ensure that it could translate into a physical element is uncountable, and all for no show! Testing the constructability of my design took just as long as designing the bridge itself.The most meaningful lesson that I have taken from Studio Air, is the beginning of how to visually communicate my ideas in the most simplest manner. In the past, I have skimmed over things which needed more explanation, and my ideas were visually presented in a very disorganised way. Now I learnt the value to hierarchy, and break components of my ideas into parts to allow a better understanding for my audience.Overall, I believe that Grasshopper is useful in some circumstances, especially applicable where there are lots of variables that need to be considered for a design project. It is useful for culling down design possibilities and iterations to find the best solutions to mach the brief. Its shortcoming is that it can not create a specific ambience that a human eye can detect and experience, therefore is linked to unsoulful designs. This is most evident in the criticism of digitalised heavy designers such as Zaha Hadid. It would be interesting to link parametricism with phenomenology, to gain more acceptance in the architecture community.

Learning Outcomes