Rommel julia 735077 finaljournal

studiodesign

air

Julia Rommel

S2 2015

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“Designers are not driven by their knowledge

but by their curiosity.”

Gregory Missingham

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Contents

INTRODUCTUON

PART A CONCEPTUALISATION

A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning outcomes A.6. Algorithmic sketchbook References

PART B CRITERIA DESIGN

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 Objectives and Outcomes References

PART C

C.1. Design Concept C.2. Tectonic Elements and Prototypes C.3. Final Detail Model C.4. Learning Objectives and Outcomes

REFERENCES

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INTRODUCTION

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I’m Julia, a 21years old exchange student from Ger-many, and finished five semester of Architecture at the University of Stuttgart. This semester, I’m in my second one at the University of Melbourne, and I’m curious to see how architecture is taught in Australia and learn new knowledge and experi-ences. At my home university I’ve already learned 3D programs like Rhino since semester one, but I never got the chance to use ‘Grashopper’ or any other parametric design tools. So, with the ‘Design Studio AIr’, I finally saw my oppor-tunity to work with digital design and to gain this new skill which is nowadays inevitable in the wide world of architecture. With this digital design skill, I hope to enter a new area of realizing architecture.

INTRODUCTION

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PART A

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ABOUTINTELLIGENT ARCHITECTURE.

When I am thinking about ‘Design futuring’, I think about something really intelligent, regarding energy efficiency and sustainability. And when I first saw this building, I was wondering why the shape looks like it is. But actu-ally, there is a well thought-out idea behind that extraordinary form. So, basically, with my wide spread knowledge of the past, one could refer to the famous phrase ‘form follows func-tion’ (Le Corbusier).

The Bionic Tower in Abu Dhabi, designed by LAVA, is the creation of a “fully integrated intelligent façade that responds to its surrounding environment to create maximum energy efficiency and user comfort. The tower proposes a naturally occurring system of structural organisation that generates a building embodying efficiencies found within natural struc-tures and architectures.Just as nature organically regenerates, so the building proposes a natural system of organic restructuring and reorganisation.

Bionic Tower, LAVA, Abu Dhabi, Feasibility Stage 2007

A.1 DESIGN FUTURING

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“Architecture has to perform as an ecosystem within the organic tissue of the city.”

There is a unity in the structure, space and architectural expression, similar to cathedrals, and any natural system.”Regarding future buildings, I would imagine that architects will ‘copy’ and reconstruct the nature even more.Nature is intelligent, adaptable to the environment and efficient, just as architecture strives for these characteristics. Using nature combined with advanced computing, enables LAVA to create structures of incredible lightness, efficiency and elegance.Technology makes that phenomenon possible: By parametric modelling of the behavioural logic the system is constantly optimised. The tower’s systems and skin depart from tradition and are controlled and responsive to external influences like air pressure, temperature, humidity, air pollution and solar radiation.

A.1 DESIGN FUTURING

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Pavillion, Daniel Libeskind, Italy 2015

A.1 DESIGN FUTURING

ABOUTSELF CLEANING.

The corporate pavilion for Vanke China explores key issues related to the theme of the Expo Milano 2015, “Feeding the Planet, Energy for Life”. The concept for the Vanke Pavilion incorporates three ideas drawn from Chinese culture related to food: the shi-tang, a tradi-tional Chinese dining hall; the landscape, the fundamental element to life; and the dragon, which is metaphorically related to farming and sustenance. All three of these concepts are incorporated in the Vanke Pavilion’s exhibition, architecture and program.

The design features a sinuous geometrical pattern that flows between inside and outside. A grand staircase, clad in warm grey concrete, carves through the red serpentine form and guides visitors to the upper level. A roof-top observation deck with a planted garden will provide stunning views of the lake and near-by Italian pavilion.

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The pavilion is clad in more than 4,000 red metalized tiles that Libeskind designed with the Italian company Casalgrande Padana. The geometric ceramic panels not only create an expressive pattern that is evocative of a dragon-like skin, but also possess highly sustainable self-cleaning and air purification properties. The three-dimensional surface is coated with a metallic coloration that changes as light and viewpoints shift. At times it will appear as deep crimson, then a dazzling gold, and even, at certain angles, a brilliant white. The tiles are installed with a state-of-the-art cladding support system that gives a rhythmic pattern and mathematical form to an otherwise supple, torquing shape. Two spiraling stairs, echoing the form, ascend the pavilion to the south, and to the north from the Lake Arena entrance, serv-ing both as circulation and seating..

A.1 DESIGN FUTURING

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ABOUTCONSTRUCTION

Thinking about design computation, a similar form to the “Cellular Tessellation” pavilion for the 2014 Vivid Light Festival, Sydney, comes to my mind. I like the combined way between using the paramet-ric structure as construction. It is not only intelligent but it also looks unique in its appearance. The com-plex structure, made of 380 unique cells that each perform a different function and make the surface curve in different directions.

“Cellular Tessellation” pavilion for the 2014 Vivid Light Festival, Abedian Architecture academic staff Sydney,

A.2 DESIGN COMPUTATION

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COMPUTING.

Digital tools allow architects to let their ideas grow and complete spe-cifically on a computer. Architecture as a digital output en-ables to create mathematically cal-culated patterns/forms. Some peo-ple argue that digital creativity is a ‘fake’ one, because its not created by humans, but I disagree; Computa-tion is a sufficient digital tool that works as a partner, for the human designer and fulfill his visions.

“The building was analog in design and digital in production”

Rivka Oxman And Robert Oxman

“The project is designed using Rhino and Grasshopper, and is an exploration in geometric resolution of a complex surface, subdivided using a variation of the Voronoi tessellation. The project employs alucobond sheeting, acrylic, and HDPE plastic to create 380 individual cells, all nested to create the overall pavilion.” Cellular Tesselation is a prototype that used comlexe geometries for future architecture, regarding the construction, with digital tools.


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ABOUT

“Voussoir Cloud explores spatial, material and experiential im-plications of questions of perception, weight and structure.” The form is the output of the opportuniy to produce computational origamy to create curved folds, tested through both hands-on ma-terial prototyping and computationally optimized geometries.

The clever constructed design illuminates the space underneath in pleasant light with an unique atmosphere, by saving material at the same time.

Voussoir Cloud, IwamotoScott ArchitectureLos Angeles 2008

“For me, this architecture represents design of the 21st century.”


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“The project investigates a lightweight minimum surface solution balancing structural forces and material aggregation through its vaulted geometry and gradient module porosity. The resulting space shifts the viewers perception between ty-pological heavyness and material lightness, utilizing a micro-laminated wood that itself shifts between opaque and translu-cent depending on the light fo day. The curvature of each petal is dependend upon its adjacent voids.”


Even if its an installation, I can imagine this structure being used in a building with more than one floor, made of timber, so that the columns run through ceveral floors and look differ-ent depending on what floor one stands. This represents a future convinient computation prototype.

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Serpentine Pavillion, Toyo Ito and Balmond, 2002

A.3 COMPOSITION/GENERATION

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Serpentine Pavillion, Toyo Ito and Balmond, 2002

ABOUT COMPOSITION.

The Serpentine Pavillion by Toyo Ito and Balmond, is based on parametric composition to find its form. It is a form of Performance theorie and impresses with its generative approach in the design process.

The younger generation of architects rely on algorithms as a tool to invent research-based innovative design, whereas some people critic this new way of designing. However, the architect still give the computer the algoti-hms as well as the inputs, resulting the digital output. Regarding that this was in 2002, the software still is working on improvement to generate more and more complex future projects.

A.3 COMPOSITION/GENERATION

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The future

The future is all about experimenting with new forms, materials, structure by using a tool that de-signers didn’t have before: the Computer.

I learned so many things about the history in ar-chitecture, beginning from decorated Columns of ‘Palladio’ ending with ‘Frank Lloyd Wright’s’ so called ‘modern’ buidings.

But- I never gained knowledge about the era of ar-chitecture we are living NOW. I mean, what could be more important? The future. Because, the architecture students of today are the creators of our future.

A.4 CONCLUSION

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New dimension

Learning to handle parametric design tools is like entering a new dimension of architecture. That knowledge allows me to produce innovative, new and sufficient design projects. The next step of this project will let me dive more into the wide world of parametric de-sign and where I will focus on one topic that I will explore to create a future prototype.

A.5 LEARNING OUTCOMES

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Producing PATTERN:The attraction point

A.6 APPENDIX - ALGORITHMIC SKETCHES

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by moving the point to different spots, the pattern changes from small circles near the point, to bigger ones with grow-ing distance.


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1. Gregory Missingham, Subject ‘Design Workshop’, ppt 1

2. Bionic Tower, LAVA, Abu Dhabi http://www.l-a-v-a.net/projects/bionic-tower/

3. Pavillion, Daniel Libeskind, Italy http://aasarchitecture.com/2014/05/vanke-pavilion-expo-2015-daniel- libeskind-2.html

4. Cellular Tessellation” pavilion for the 2014 Vivid Light Festival, Abedian Architecture academic staff, Sydney http://architecture.bond.edu.au/CELLULAR-TESSELLATION-VIVID-SYD NEY-2014

5. Rivka Oxman and Robert Oxman, Theoris of the Digital in Architecture p. 1

6. Voissoit Cloud, IwamotoScott Architecture, Los Angeles http://www.iwamotoscott.com/VOUSSOIR-CLOUD http://architizer.com/projects/voussoir-cloud/

REFERENCES

Part A

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PART B

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Geometry.

B.1 RESEARCH FIELD

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Serpentine Gallery, Alvaro Siza Vieira, 2005

B.1 RESEARCH FIELD

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B.1 RESEARCH FIELD

Serpentine Gallery

The Serpentine Gallerym, designed byAlva-ro Siza Vieira in 2005, is basically a grid made from short planks of timber which are folded down at the edges to form the walls.The squared space between the grid is filled with panes of polycarbonate, whereas the wood is constructed with mortise and tenon joints, which are strenghtened by a bolt. All in all, the Pavillion got inspiration from its surrounding nature, the trees, meaning the curves are formed after them.

This aspect gave me the intention to make some-thing similar, to design by being led by nature.

Although the construction method is quite basic, the design has been created with digital tools. Parametric design made it possible to be very precise in engineering and the fact that ev-ery piece of wood and every pane of polycar-bonate is different.

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B.1 RESEARCH FIELD

Geometry

Geometry is such a broad research field, not only regarding parametric design.

Indeed, parametric design is mostly dominated by geometry because you cannot design digital-ly without having a geometry in the end. That is what people already noticed centuries ago, with the golden ratio, or the impressive geometry of gothic cathedrals.

With parametric design new fature is added, it is about relationship between different param-eters, rather than about the pure shape. “Parametric approaches aim at representing change.” (Taylor & Francis Group, 2005)

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The morning line

The morning line, by Matthew Ritchie and Daniel Bosia, is an experimental de-sign which form was created “to explore the interplay of art, architecture, cosmol-ogy and music.” (arandalasch.com)Its mutable structure, with multiple ex-pressions and narratives intertwining in its physical structure, is like a drawing in space.

B.2 CASE STUDY 1.0

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Experimenting with the given Grasshopper file of the morning line project, showed me how you can easily achieve a totally different shape by only changing one parameter. As soon as you change the actual geometry, a trian-gle or rectangular etc, the whole structure changes as well. With that, one can design a variety of dif-ferent shapes, which are limited to symmetricy.

B.2 CASE STUDY 1.0

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The parametric constructed geometry melts with the surrounding nature. That creates a blurry effect, comparable to a tree or a cloud.

B.3 CASE STUDY 2.0

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Fujimoto used a three-dimensonal grid of about 40 centimetres modules made of steel poles, to create a parametric constructed geometry that fits well into the surrounding environment. The result is a blurry shape that integrates with the nature. Walking through the design arises a space within both interior and exterior. Using the fragile steel pole elements to shape a design that kind of melts with the nature worked well. The research field is ‘Selforganising’ a struc-ture within a given space.

Serpentine Pavillion,Sou Fujimoto

B.3 CASE STUDY 2.0

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B.4 TECHNIQUE - DEVELOPMENT

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B.4 TECHNIQUE - DEVELOPMENT

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Using the selforganiz-ing method within a grid, I culled modules out of the grid using different charges.

B.5 TECHNIQUE - PROTOTYPES

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There are three main lay-ers including the first layer on the bottom that goes down the hill towards the creek, including a path and interactive areas, followed by the second one with the path and lookouts, and lastly, the finishing layer with inte-grated lookouts towards the ceiling.

Different layers

B.5 TECHNIQUE - PROTOTYPES

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Site analysis.

B.6 TECHNIQUE - PROPOSAL

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In the area around the Merry Creek a broad variety of native vegetation and native wild-life can be experienced. The 21km long trail makes the creek accessable for the public - for people who wants to enjoy nature not far from their home, including kids, bikers, jog-gers, people who walk out their dog or people who just wants to relax in the nature.

Merri Creek


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Pollution

But there is also a negative aspect of the creek. 2011, the Merri Creek was named as the most polluted waterway in Melbourne, caused not only by industrial pollution, but also by us individuals through waste pollution, especially plastic bottles.

From then on, a lot has been already changed in a positive di-rection but there are still opportunities to improve the situation.

With my design, I want to make the people aware of environmen-tal pollution and encourage them to change that.

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Material: Plastic bottles + Joint

Put-it-in system


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My design proposal

For my design I am using a three-dimensional grid based on modules made of plastic bottles and a joining point. The sphere shaped joint has holes inside where the caps of six water bottles can easily be put in, whereas the ends are joined by another zylindrical shaped piece of a water bottle.

Problem: rubbish in the creekClient: local people, visitors, kids, dogs...Approach: to make people aware of environmental pollution (especially through waste)


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To make the installation accessable for the people, a path breaks down the strict structure. It is orientated towards the nature and opens up for trees and the creek to emphasise the view to the environment. This methos is based on parametrically placed charges to get rid of certain bottles.

When people are walking through the design, not only the path is being culles parametrically, but also ‘lookouts’, which frame the view, just like a window or a painting.

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plan

section


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elevation

perspective


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With all that, I have created a transparent installation that fits well into the surround-ing environment, even if it is made of artificial plastic, the material actually comes from the surroundings.

Another feature is the light, that creates an in-teresting pattern when the sun shines through.


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Inside the grid


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Working through this process, I have learned a lot about using parametric design, using grasshopper, However, I feel there is still so much to discover regarding computational design.

I am looking forward to go deeper into that process., and push my design proposal further into parametric design.

B.7 LEARNING OBJECTIVES AND OUTCOMES

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1. image: Serpentine Gallery, Alvaro Siza Vieira, 2005 http://www.serpentinegalleries.org/sites/default/files/images/2.VI_.14.SD__1.jpg

2. ‘2005 Serpentinge Gallery”, AlvaroSizaVieira.com 2015 http://alvarosizavieira.com/2005-serpentine-gallery

2. “Parametric Modeling”, Taylor & Francis Group, an informa business 2015 http://cw.routledge.com/textbooks/9780415779876/parametric.asp

3. image: The Morning Line, Aranda Lasch, 2008 http:/www.neo2.es/blog/wp-content/uploads/pavtml_810px.jpg

3. “The Morning Line”, Aranda Lasch http://arandalasch.com/works/the-morning-line/

4. image: Serpentine Pavillion 2013, Sou Fujimoto https://standardfact.files.wordpress.com/2013/08/photo-306.jpg

5. image: Serpentine Pavillion 2013, Sou Fujimoto http://www.styleofdesign.com/wp-content/plugins/wp-o-matic/cache/775b7_51ae2a08b3fc4b225b0000b4_2013- serpentine-gallery-pavilion-sou-fujimoto_serpentine_sfa_2740_press_page-528x352.jpg

6. “I tried to create something melting into the green”-Sou Fujimoto Ashleigh Davis, Dezeen magazine, September 29th, 2013 http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimo to-on-serpentine-gallery-pavilion-2013/

7. “Serpentine Pavilion / Sou Fujimoto”, Daniel Portilla, archdaily, June 7th 2013 http://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto

8. image: Google maps

REFERENCES

Part B

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PART C

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Criticism

The criticism after the interim presentation motivated me to push my design further, regard-ing digital tools. I have changed my previous design to a more flexible and improved version by using bottles with different shapes and sizes and a shape that can be applied specificaly to any site. Basically, I have altered the grid from a static rectangle to a site specific, organic form, and transformed the whole shape because I have changed the angles between the single bottles, by rearranging the holes in the joint. Furthermore, I added ornamental spikes to the plastic joint to increase the attention.

Also I encourage people to add to the structure by themselves what they can easily do because of the simple construction.

C.1 DESIGN CONCEPT

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Having used manly plastic bottles from the site, the design is a criticism of rubbish pollution with the attempt to create public awareness and the intention of change.

C.1 DESIGN CONCEPT

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C.1 DESIGN CONCEPT

MatrixUsing straight lines as grid base

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C.1 DESIGN CONCEPT

most successfulRegarding the actual site, this result fits its surrounding best and is led by the position of trees and the creek.

Using curved lines as grid base

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Disturbing transparency.

C.1 DESIGN CONCEPT

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My design is completely made of plas-

tic, using plastic bottles and designed

plastic joints. It is a criticism of environ-

mental rubbish pollution with the at-

tempt to create public awareness of how

polluted the environment is, caused by

us people.

The aim is to plant the thought in peo-

ples’ brains how pollution is still a prob-

lematical issue and has impact not only

aesthetically, but more importantly, on

the vegetation and wildlife.

The people can walk through my almost

transparent design and still experience

the nature as the plastic bottles are see

through, but at the same time they pro-

duce a blurry view. Exactly as the rubbish

disturbs the pure beautiful nature.

C.1 DESIGN CONCEPT

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Module1 plastic joint6 plastic bottles

C.1 DESIGN CONCEPT

Adding modules

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The Joint is an eight centimeter in di-ameter plastic sphere and has six holes, on each direction one, where the caps of plastic bottles can be put in easily. Compared to my previous design pro-posal, the joint has now extending spikes to create an effect of ‘danger’ to strenght-en the fact that rubbish pollution is an environmental problem.

Due to the fact that the majority of all caps have the size same, the joint suits to bottles with different shapes and sizes.

I then add the same module by connect-ing the ends of the bottle with a cylindri-cal shaped plastic detail, which is cut out of a bottle itself. Adding more and more modules together, the installation grows to a rectangular 3D grid with the mea-sures 8x5x3meter. The ending joint makes the design flex-ible in adjusting the lenght by how far you put in the next bottle.

The simple production allows the public to build this installation by themselves. It can be done during an event where the people collect the bottles first, directly from the location, and put them together. Building it by your own, increases even a bigger impact of awareness.

C.1 DESIGN CONCEPT

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C.1 DESIGN CONCEPT

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C.1 DESIGN CONCEPT

The given nature decides how the grid is shaped. Therefore, the trees act like parametric charges and transform the rectangular base shape by being narrowed and ex-pansed.

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C.1 DESIGN CONCEPT

layer 1path

layer 2path

layer 3path + lookouts

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C.1 DESIGN CONCEPT

layer 4path + lookouts

layer 5path + lookouts + ceiling

layer 5 + surrounding

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C.2 TECTONIC ELEMENTS AND PROTOTYPES

Joint

After a few experimental tests with the size of the holes, this was the result with 90desgrees angles between each cut.

prototype module

prototype joint

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C.2 TECTONIC ELEMENTS AND PROTOTYPES

Joint

Besides the ornamental spikes, the new joint has holes that are now ad-justed, based on the organic shaped 3D grid.

Because of that, every joint looks sligth-ly different as in the image below shows.

plan view

perspective

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C.3 FINAL DETAIL MODEL

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C.4 LEARNING OBJECTIVES AND OUTCOMES

During the semester I have learned how I can use parametric design in ev-eryday life. Using already an existing everyday ge-ometry, a plastic bottle, I could produce an innovative installations by letting the fixed bottle shapes self-organise parametrically within a given 3D grid. With that strategy it is simple to adjust the whole shape to any site.

The strenght of this project is the sim-pliness of construction taht can be eas-ily done by every person. The weakness lies on the end joints, where only bottles with the same size can be added, whereas the sphere joint tempts with flexibility because every cap of different bottles fits

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