Bae seongho 605311 part b

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DESIGN STUDIO

AIR 2014 Journal

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SEMESTER 2, 2014 SEONGHO BAE, 605311TUTORIAL 2, WED 1.15-4.15, BRAD ELIAS

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CONTENTINTRODUCTION

4 ABOUT ME

5 EXPERIENCE

CONCEPTUALISATION

8 A.1 Design Futuring

14 A.2 Design Computation

20 A.3 Composition & Generation

29 A.4 Conclusion

30 A.5 Learning Outcomes

31 A.6 Algorithmic Sketches

32 A.7 Bibliography

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My name is Seongho Bae and I am from Seoul South Ko-rea. My tertiary studies in Korea were in the field of Mechanical Engineering. Af-ter arriving in Australia in 2007, I completed a Diploma in Automotive Mechanics and was employed in this field. However, I later realized that my true passion was Ar-chitecture and enrolled in the Bachelor of Environments program at Melbourne Univer-sity.

From a very young age I have been interested in creative design and construction. As a child, I used to spend hours with my Lego set designing and building houses and city scapes. I hope to one day turn this childhood passion into a career to continue on to a Masters in Architecture to achieve this dream.

INTRODUCTION

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My previous studies in Korea has provided me with an inter-mediate knowledge of AutoCAD but my exposure to paramet-ric design software has been rather limited. I am looking forward to learning programs such as Rhino, Grasshopper, InDesign and Photoshop this semester.

Through the course of my Bach-elor of Environments degree I have been exposed to design, construction and modelling through “Construction envi-ronments” and “Construction design” subjects. Examples of my designs are illustrated next.

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A

Part A

CONCEPTULISATION

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A.1 Design Futuring

A.2 Design Computation

A.3 Composition & Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Algorithmic Sketches

A.7 Bibliography

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A.1 DESIGN FUTURING> Tony Fry <

Human civilization is fast ap-proaching a perilous moment in its existence whereby the hu-man-centered “auto-destructive mode of being” of treating the earth as an unlimited resource at human disposal is taking the future away from ourselves and all other species that inhabit earth. Tony Fry terms this pre-carious situation of unsustain-ability “defuturing”.1

However, Fry argues that humans possess the unique ability to “prefigure what we create be-fore the act of creation” known as “design” which can be har-nessed to secure and reclaim our future.2 This idea of securing the future through sustainable design that minimizes negative impact of human construction on the environment is what Fry

terms “design futuring” as sus-tainable modes of living. According to Fry, design fu-turing needs to accomplish two primary goals.3 Firstly, slowing down the current rate of defu-turing. Secondly, envisioning more sustainable modes of liv-ing. With the advent of com-puter modeling software and the development of new technology the realm of possibilities has vastly increased in terms of de-sign futuring.

An interdisciplinary approach whereby artists, architects, engineers, and climate change/renewable energy specialists come together to develop sus-tainable, energy efficient de-signs and ways of living.

1. Tony Fry, Design Futuring: Sustainability (Ethics and New Practice, Oxford: Berg,2008), p. 1.2. Fry, p. 2.3. Fry, p. 6.

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A.1 DESIGN FUTURING> Supertree Grove <

This architectural project by Grant Associates consists of a grove of vertical tree-like structures 25 to 50 meters in height which are designed to mimic the environmental func-tions of trees.4 Like trees they provide shade during the day. Moreover, these Super-trees are embedded with photo-voltaic cells that harvest so-lar energy throughout the day, which allows them to light up at night which mimic the pho-tosynthesis process.

Just as trees absorb rainwa-ter for growth, Supertrees harvest rainwater for use in irrigation and aesthetically pleasing fountain displays.5

These Supertrees also take in and expel air as a part of the cooling system. The trunk of Supertrees are also covered by planting panels which form a living skin of over 162,000 plants covering more than 200 species of ferns and tropical flowering climbers.6

Fig 1 : OCBC Skyway bridge at Supertree Grove computing design by Grant Associates

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Fig 2 : Gardens by the Bay energy recycle concept diagram

Fig 3 : Supertree Grove entire view by computer image

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An essential design concept to emerge from this piece of infrastructure art, which re-lates to design futuring, is an example of a self-sustaining architectural piece that mini-mizes human impact on the en-vironment while adding to the aesthetic appeal of the city scape.

This architectural project, which emphasized sustainable design, received multiple awards and accolades includ-ing World Building of the year award in 2012 for cooled con-servatories at the World Ar-chitectural Festival of 2012 an the BCA Green Mark Plati-num Award for environmentally-friendly buildings.7

It has also become a primary attraction of Singapore add-ing value to the city scape. The Supertree grove project shows that self-sustaining.Aesthetically pleasing designs can largely add value to city scapes while minimizing the carbon footprint and fossil energy usage.

4. Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attrac tions/supertree-grove.html> [accessed 20 August 2014]5. Gardens by the Bay6. Gardens by the Bay7. Gardens by the Bay

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A.1 DESIGN FUTURING> Generating Energy Floor <

- Pavegen -

Pavegen has designed a floor tiling system which converts the kinetic en-ergy from footsteps into electricity that can im-mediately power pedestrian lighting, GPS systems and advertising signage or be stored in a battery.

The topmost surface of the flooring is made from 100% recycled rubber and base of the slab is constructed from 80% recycled materials. The system can also easily re-place existing flooring.8

The Pavegen is most suited to high urban environments with high foot-fall and provides a tangible means for urban dwellers to en-gage with renewable energy generation.

Fig 4 : Sustainable Dance Floor installed in gallery (Top)Fig 5 : Diagram of kinetic energy to electricity (Bottom)

8. Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

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Pavegen has already launched the flooring sys-tem in a subway station, office complexes and in a sustainable dance floor environments in which the floor reacts and interacts visually with the dancer who generates kinetic en-ergy.9

Pavegen is currently look-ing into minimizing costs associated with the design in order to maximize util-isation and accessibility of the design so that they can be used widely in re-

tail and public spaces. The sustainable floor design provides great potential for energy self-sufficient cities in the future and en-visions a green city that is powered by those who walk in it.

This design could poten-tially counter the energy resource depletion effect associated with popula-tion growth given that more people walking in the city would mean more energy be-ing generated.

9. Pavegen System.

Fig 6 : Variety application with Pavegen systems

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A.2 DESIGN COMPUTATION

Architectural design is an activity that requires both analytical and cre-ative intuitive thinking to provide solutions to problems.10

The primary benefit of using computers in this process lies in the op-portunity to combine the creativity and intuitive thinking of humans with the superior analytical and memory capabilities of computers to create a “Symbiotic design system” that provides more effec-tive solutions to archi-tectural design problems.11

To this end, computational systems have been devel-oped to provide design-ers assistance in vari-ous stages of the design process from software to aid in drawing geometri-cal shapes to parametric shapes. Nowadays, three dimension computer design programs provide more so-lutions to designer.

10. Kalay. Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2.11. Yehuda. p. 3.

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A.2 DESIGN COMPUTATION> DORIC COLUMNS <

Fig 7 : The world’s most complex architectural columns

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Michael Hansmeyer argues that computational algorithms not only assist humans but vastly expands the range of design pos-sibilities and redefines the realm of conceivable and achiev-able geometrical shapes. For example, Hansmeyer demonstrates how a computer algorithm can be coded to fold a basic three dimensional cube in repeatedly which results in 400,000 sur-faces within 16 iterations.12

12. Michael Hansmeyer, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_build ing_unimaginable_shapes> [accessed 20 August 2014]

Fig 9 : example of how he built the columns

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Moreover, by specifying the po-sition of the fold and folding ratio within algorithm astound-ing physical forms can be cre-ated. In this instance, the architect does not envision or design the final form but rather the process that generates the form. This allows the architect to produce forms that are at the very edge of human visibility and conception which are impossible to draw by hand.

Using these algorithms, Hans-meyer has managed to create ex-tremely intricate pillar con-sisting of 16 million facades and 2700 layers which would be impossible without computation-al models.13 Though Hansmeyer’s project is still in the purely conceptual stage, it sheds light on the incredible ways in which computation processes can revo-lutionize architectural design processes and redefine practice.

13. Hansmeyer.

Fig 8 : close shot of complex architectural columns

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A.2 DESIGN COMPUTATION> Fiera Milano <

The “New Milan trade fair build-ing” designed by Massimiliano Fuk-sas is a built example of how com-putational tools have been used in the design process. The 700 million dollar architectural project con-sists of a Fiera that encapsulates a 2.1 million square feet area and stretches over nearly a mile.13 Giv-en the sheer size of the building, computational tools played a crit-ical role in preserving the conti-nuity of the fluid canopy structure that stretches the entire length of the building.

This freestanding canopy which appears to float over portions of the building swoops down to the ground level in a parabolic vortex. Moreover, the building fuses multiple geometric shapes, curvilinear facades poised on tree-like columns with triangular planes as well as flat parts with rhomboidal panes. The massive scale of the design, the conti-nuity of the design over a large area, fluidity of shapes within the design have been achieved us-ing computational tools.

Fig 10 : Swoop down canopy at Fiera Milano Fig 11 :Fiera Milano main street view

13. Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair- studio-fuksas/> [accessed 20 August 2014]

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Fig 12 :Fiera Milano bird eyes view

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A.3 COMPOSITION & GENERATION

The increasing use of computa-tional tools in the design pro-cess also marks a shift towards parametric/generative design thinking rather than focussing on the composition or organisa-tion of geometric elements into planes like in compositional ar-chitecture.

Parametric design begins with an initial set of parameters and generates geometry based on the relationships between these pa-rameters. Algorithms are used to generate a hierarchical struc-ture of geometrical relation-ships which permit generation of designs which explore the entire range of design solutions that the initial set of parameters al-low.14

This process is heavily support-ed by the use of parametric mod-

elling software such as Rhino and Grasshopper. This shift in design thinking added an experimental flavour to the design process as a younger generation of archi-tects began to use algorithms to explore design possibilities.

Moreover, new design tools were also introduced to bridge the gap between the virtual design space and the physical fabrication pro-cess which enabled computer driven manufacturing. This allowed for a seamless transition between the design and manufacturing process-es which has rendered computation in architecture an “integrated art form”. Biomimicry constitutes a dynamic new are of parametric design which attempts to emulate naturally occurring forms and structures to produce sustainable design solutions that are in sync with the natural environment.

14. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, eds 2014), p. 2.

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A.3 COMPOSITION & GENERATION> The Dragon Skin Pavilion <

The Dragon Skin Pavilion in Hong Kong is an example of parametricism in practice. The pavilion is constructed from an innovative, environmental-ly sustainable material called “post-formable plywood” which can be easily bent without ex-cessive heat.15

Computational design tech-niques were used to generate the dragon skin design and dig-

ital fabrication methods were used to execute the construc-tion process without the need for conventional architec-tural communication methods such as plans and drawings. A computer programmed 3D master models generated the cutting files with algorithms enabling precise calculation of slots within each rectangular com-ponent so that the components could slide into each other.

15. Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pekka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-showcase/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by- emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

Fig 13 : The Dragon Skin Pavilion in Hong Kong by Night

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Moreover, gradually shifting po-sitions and angles needed to be incorporated into the design so as to give the final assembled pavilion a curved form. This was accomplished using computationaltools and parametric techniques.

The final product was a free-standing light-weight structure accomplished entirely through digital design, fabrication and manufacturing technology.16

Fig 14 : processing of each dragon skin plywood panel

16. Singhal.

Fig 15 : Interior perspective images of Dragon skin pavilion

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A.3 COMPOSITION & GENERATION> C Wall <

Fig 16 : Hexagonal honeycomb pattern wall in biomimicry shape

25Fig 18 : Design process of C-Wall

Fig 17 : Hexagonal honeycomb model

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Fig 19 : use Voronoi component to create smooth finished joints to developed design

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The C wall is a honeycomb shaped design that readily adapts to different spatial needs. The ma-terial used in the design is a mixture of plaster and elastic fabrics which renders the entire structure highly pliable.17

Computational tools are used to adapt the structure to physical needs. For example, the paramet-ric software generates a cloud of points which are then turned into 3D cells. The Cells are then transposed on to two-dimensional sheets and cut using CNC technol-ogy and reassembled in a larger size.

The key feature of this design is the underlying concept of biomim-icry. Taking a cue from bee hives which freely adapt to the spatial restraints of their environment. The C wall uses honeycomb-like structures to form a flexible wall that adapts to the space in which it is located.

17. Susy Di Monaco, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate? sl=auto&tl=en&js=y&prev=_t&hl=en&ie=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_ar chive.html&edit-text=&act=url> [accessed 18 August 2014]

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“When architects have a sufficient under-standing of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for archi-tecture.”

BRADY PETERS

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A.4 CONCLUSION

In line with the design fu-turing ideology, sustainable designs that minimize the neg-ative impacts of human con-struction on environment and promote more sustainable mode of living will be a primary focus of my design approach. Given the LAGI 2014 emphasis on infrastructure art with generating clean energy.

I will also attempt to incor-porate energy generation ele-ments into my design taking a cue from public artworks like the Supertree Grove. Adopting the computational approach to architecture which encourages a symbiotic relationship be-tween the human designer and

computational algorithms to facilitate and enhance the design process, paramet-ric modelling computation-al tools such as Grasshop-per will be used achieve a design solution that meets the specifications set out by the LAGI initiative.

I will also attempt to learn design from nature and use biomimicry parametric tech-niques to produce a design that takes into account the unique environmental fac-tors of the Copenhagen site and blends into while add-ing value to the Copenhagen city scape.

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A.5 LEARNING OUTCOMES

During last 3 weeks, I learnt about algorithms and paramet-ric design and the reasons why designers and architects need to be able to use parametric software for their prospec-tive design projects. Before I started this subject, I did not know how to use paramet-ric designs with composition.

In previous studio subjects, I relied heavily on hand drawing and geometric model making in the design process which was restricted to geometric shapes such as flat, triangular or rectangular surfaces. A major limitation of this approach was that I was limited to geometric shapes in my designs and was not able to incorporate curvilin-ear elements into my designs. Therefore, I am very keen to learn software such as Rhinoc-eros with Grasshopper which would enable me to do this.

For the past three weeks, I have been learning basic Rhi-no and Grasshopper which is a

sub-program for Rhino to de-sign complex an accurate forms.A primary area of difficulty for me has been generating vec-tor concepts in 3D as I have no prior experience in this area. However, I am gradually gaining confidence in combining differ-ent forms and using curvilin-ear elements in complex design.

The weekly readings have provid-ed me with a clear understand-ing of design concepts and how a carefully thought-out concept underlies every major design.

From the outset of this sub-ject, the course readers and program tutorials have helped me improve my design skills and critical thinking skills required to transform design concepts into design projects. Therefore, I believe that this subject will help me develop my design skills immensely and I am looking forward to learning more sophisticated technolo-gies within the next nine weeks.

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A.6 ALGORITHMIC SKETCHES

So far, I achieve this stage from nothing but this is just begin of un-derstand about parametric software. It is very different concept com-pared to what I know about design programs. Basically, start with scale and depend on dimention to desigm something but Grasshopper is not the limited of scale so I just start

with design and reform to what I want scale by adjustable sliders. Also could save so much time when fix the size or change to different form. I am looking forward to explore and discover the possibilities of param-eties software to generate design which is linking to efficiency.

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REFERENCES

Brady, Peter., ‘Computation Works : The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 8-15.

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

Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attractions/supertree-grove.html> [accessed 20 August 2014]

Grant Associates, ‘Gardens by the Bay – Competition’, Grant Associates (2012) http://www.grant-associates.uk.com/projects/gardens-bay-competition/ [accessed 15 August 2014]

Hansmeyer. Michael, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> [accessed 20 August 2014]

Monaco. Susy Di, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate?sl=auto&tl=en&js=y&prev=_t&hl=en&iWe=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_archive.html&edit-text=&act=url> [accessed 18 August 2014]Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair-studio-fuksas/> [accessed 20 August 2014]

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

Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pe-kka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-show-case/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by-emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

Yehuda E, Kalay., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aid-ed Design (Cambridge, MA: MIT Press, 2004)

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Part B

CRITERIA DESIGN

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B.1 RESERCH 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 ALGORITHMIC SKETCHBOOK

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B.1. RESEARCH FIELD> BIOMIMICRY <

Benyus18 defines the emerging dis-cipline of biomimicry as “learn-ing from and then emulating natural forms, processes and ecosystems to create more sustainable designs.” The field is founded on the idea that nature has already solved many design issues that human civili-zation is still grappling with, therefore nature can serve as a mentor in the human design process. In other words, biomimicry can be thought of as an applied sci-ence that attempts to provide de-sign solutions to human problems by deriving inspiration from natural designs. Kenny et al suggest that the attraction of biomimetics for architects lies in the potential to generate more holistic designs by integrating form and function more closely through biomimcry informed design.19

The most basic and straightforward level of biomimicry is the emulation of form and function of natural de-signs.20 The key question associated with this level of design is “what is the design?” which requires paying at-tention to the physical shape of the design, patterns and structures that can be transferred to human design. For example, Karapanou simulated the physi-cal shape of a natural spider web in infrastructure design as a parametric model made using Rhino software and the Grasshopper plug-in combination with Kangaroo.21

A more advanced level of biomimicry involves emulating the processes that occur in nature. The central question associated with this level of mimcry is “how is it made?” and pulls apart the materials, assembly and chemical processes that play a part in natural design.

18 Janine M. Benyus, Biomimicry, (New York : William Morrow, 1997), p. 18.19 Desha. Kenny at al, Using biomimicry to inform urban infrastructure design that addresses 21st century needs. In 1st International Confer-ence on Urban Sustainability and Resilience: Conference Proceedings, (UCL London, London, UK, 2012)20 A. Karapanou, Spider web design:“Research and development on the application of spider silk and web typology in the building industry” (Doc-toral dissertation, TU Delft, Delft University of Technology, 2012).21 Karapanou

37(20)Gecko sticky robot

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B.1. RESEARCH FIELD> BIOMIMICRY <

A key obstacle for Karapanou22 in actualizing the aforementioned spider web inspired design was fabrication concerns associated with materials that emulate spi-der silk not being commercially available. However, Meyer and colleagues23 argue that the field of bio-inspired materials design is rapidly expanding and that with continued effort, knowledge gained from the study of natural materials can be applied to man-made structures and designs. Bio-inspired materials design employs material science and mechanics methodologies to insert synthetic materials and processes to im-prove structural capability while preserving key features of natu-ral materials. Notable examples of bio-inspired material design include Velcro which was inspired by the fastening properties of plant burrs, antireflective sur-faces of solar panels inspired by insect compound eyes and self-cleaning surfaces inspired by the water proof surface of the lotus leaf. An example of new bio-inspired fabrication methods is the gecko foot-inspired adhesive tapes which use carbon nanotubes and polymer nanopillars to repro-duce the structure of the gecko’s foot.24

A third, deeper level of bio-mimicry deals with mimicking of the systems that occur in nature. This deals with the question of “how does it all fit”. Everything is interconnected in nature and examination of processes reveals how systems co-exist and feed each other. For example, the process of self-assembly, whereby pre-existing components of a pre-ex-isting system reorganize to form a new system is a fundamental prin-cipal of nature. Nanotechnology imitates this strategy of self-as-sembly and creates novel molecules with the ability to self –assemble into supramolecules.25

22 Karapanou23 M.A.Meyers, McKittrick, J., & Chen, P. Y. Structural biological materials: criti-cal mechanics-materials connections. Science, (vol 339,no. 6121, 2013), p.773-779.24 Meyer et al.25 Neal. Panchuk, An exploration into biomimicry and its application in digital & parametric architectural design. (University of Waterloo, Library, Canada, 2006), p. 35.

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B.1. RESEARCH FIELD> ICD/ITKE Research Pavillion <

The Stuttgart Pavillion reflects form, function and process levels of bio-mimicry. When architectural re-searchers were analyzing different biological structures they realized that the skeleton of the sand dollar (a sub species of sea urchin) provided the most fitting model for the pavilion structure. The shell of a sand dollar consists of a modular system of polyg-onal plates which are linked together by calcite protrusions that resemble fingers. This geometric arrangement

of plates and joining system creates a design with high load bearing capac-ity. Therefore, these design elements were transferred over to the pavilion structure. Polygonal timber plates made using plywood sheets that are 6.5, thick create a domed structure that emulate the skeleton of a sea urchin. Thereby reflecting the biomimcry of form. The exterior plywood panels are also slotted together using finger joints, mimicking the way small protrusions of a sea ur-chin’s shell plates slot into one another.

(21)ICD/ITKE Research Pavillion

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B.1. RESEARCH FIELD> The Esplanade theatre <

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The Esplanade Theatre aerial view The Esplanade Theatre internal view

Durian

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The Esplanade theatre situated within the commercial district of Singapore designed by DP architects and Michael Wil-ford takes cues from the mul-til-layered durian fruit for both form and function. The Durian plant utilizes a semi-rigid pressurized thorny skin to protect the seeds inside. Emulating this form func-tion combination, the Espla-nade building exterior forms an elaborate shade providing layer which adjusts throughout

the day to allow sunlight in while protecting the interi-ors from over-heating. This is achieved through responsive multilayered facades with photorecactors that open and close depending on the rays of sun that land on the building which controls the level of sunlight and heat that enters the building.This is an ex-ample of biomimicry purely at the form and function level.26

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26 Stephanie Vierra, Assoc. AIA, LEED AP, Biomimicry: Designing to Model Nature, WBDG National Institute of Building Sciences, 2011, <http://www.wbdg.org/resources/biomimicry.php> [accessed 21 Sep 2014]

The Esplanade Theatre internal view The Esplanade Theatre external shell skin

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B.2 Case Study 1.0> BIOMIMICRY <

- The Spanish Pavilion / FOA -

The Spanish Pavilion FOA in Japan, External cladding

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The Spanish Pavilion was con-structed by Foreign Office Ar-chitects for the 2005 World Ex-position held in Aichi Japan. The theme of the exposition was “Nature’s Wisdom” which focuses on ways in which the knowledge, wisdom and beauty embedded with-in nature can be emulated for human design with national and corporate pavilions expressing themes of ecological co-exis-tence, renewable technology and wonders of nature. The Spanish Pavilion interprets this biomimetic theme of “na-ture’s wisdom” both in the sense of physical form emulation and in the more abstract sense of efficiency of construction. In terms of the physical form the Spanish Pavilion mimics a bee-hive; exhibition rooms are orga-

nized in a honeycomb structure within the perimeter enclosures. The cladding around these inter-nal structures also emulates a bee hive with hollow hexagonal components used in alternation with solid hexagonal components. The cladding is constructed from ceramic and apainted in the vi-brant colours of the Spanish flag.27 At an abstract level, emulating a beehive design pro-vides efficiency of design and construction. The hexagonal geo-metric pattern is the most ef-ficient way to spread cladding over multiple surfaces. The hex-agonal pattern completely en-velops all five visible sides of the pavilion but internal ver-tices are shifted by groups of eight tiles to create irregular-ity of patterning.

27 Anna. Siria, Spanish Pavilion Expo, Foreign Office Architects, (Aichi, Japan, 2005), p. 109.

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B.2 Case Study 1.0> The Spanish Pavilion / FOA <

Detail image of the Spanish Pavilion cladding

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Experimentation using the Spanish Pavillion Design as a starting point. The Spanish Pavilion uses a basic orthogonal grid in Grasshopper to create al-ternating hollow and solid hexagons for the irregular pattern discussed above. During my experimenta-tion with grasshopper I changed the parameters of the hexagons that had been originally used. Specifi-cally, I experimented with the length of the polyline edges using X and Y vec-tor units in Grasshopper. This generated a variety of shapes that deviated from the original hexagon shape while retaining the origi-nal six polyline cell. Just

like the original hexagonal pattern, the patterns I gener-ated could be spread out over large surface areas without the problem of empty spaces in between.

In addition, I also used the “image sampler” tool in Grass-hopper to create a pattern of black and white images where-by black images showed solid cubes and white images showed hollow cubes. In my experi-mentation, I also used the “offset function “ to adjust the thickness and hollowness of the cubes. I also used the “point charge” function with an “evaluate field” manipula-tion to make changes in the volume of certain parts of the overall shape.

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B.2 Case Study 1.0> MATRIX <

DIFFERENT IMAGESSPECIES

Flat surface Curved surface

1

A

B

C

D

E

2

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Jitter pattern on curved surface

Extrude polyline on curved surface

Extrude polyline on sphere

Extrude polyline on pipe and attractor point at one end

3 4 5 6

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B.2 Case Study 1.0> 4 selection <

1.A

4.D 6.B

3.B

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The first species like the original consisted of a flat surface. Five dif-ferent images were cho-sen from multiple sources (self-drawn, logos etc), and superimposed on to a flat surface consisting of hexagonal shapes. 1A was chosen as the most suc-cessful iteration because it was image that had the most aesthetically pleasing balance of solid and hol-low elements in the group. Moreover, I was experi-menting with a snake skin design for the solar kart track’s tunnel-like outer surface. 1A was considered the design that most close-ly resembled a snake skin.The second chosen species consisted of experimenta-tion with a floating sur-face with an uneven jitter pattern. The jitter pattern function of grasshopper was used to make parameter changes. 3B was chosen as the most successful itera-tion because this version created the fewest num-

ber of problematic empty spaces within the design while achieving a satis-factory balance of hollow and solid elements. The solid elements could po-tentially house the solar panels while the hollow elements could allow sun-light in.The third species chosen was extruded polylines on a curved surface. This involved creating a floating curved surface with a series of extru-sions using the “extrude curve” function of grass-hopper. 4D was considered the most successful iter-ation because it consist-ed of a mixture of hol-low cubic and solid cubic components which could easily be adopted for the proposed design concept. The hollow components would bring sunlight into the design while the sol-id components would house the solar panels. This would create a mixture of open air and occluded

elements creating an aes-thetically pleasing final outcome.The fourth species in-volved attempts to manipu-late the “attractor point” and extrude polyline points on a pipe shape. The “point charge” tech-nique was used to create bulges or volume changes within the shape. This allowed me to create an expanded form at the outer ending of the pipe shape. 6B was chosen as the most successful iteration be-cause this consisted of the highest number of hollow cubic components. I felt that this was the closest iteration to the design concept.

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B.3 Case Study 2.0> The ICD/ITKE research Pavilion <

- Introduction -

The project selected for the purposes of the second case study is ICD/ITKE research Pavilion at the University of Stuttgart discussed in the research field section below. The design intent underlying the project was to explore the architectural transfer of the biological principles un-derlying a sea urchin’s plate skeleton on to an experimen-tal pavilion design. The key design feature of interest was the geometric arrange-ment of polygonal plates on

the sea urchin’s shell with joining system that resembles fingers which provides high load bearing capacity to the design. The ICD/ITKE pavil-ion was extremely successful in its biomimetic design and managed to capture the core design features it set out to recreate. In order to achieve this task, computer-based design and simulation tech-niques were utilized as well as computer operated manufac-turing processes.

(29)

computer generate graphic of tension force Side view of the pavilion

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(28)

(30) (31)

single element detail of dimension

Side view of the pavilion Internal view of the pavilion

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B.3 Case Study 2.0> Reverse-Engineer the project <

1. Create one sphere surface to start the ICD/ITKE Re-search Pavilion base shape.

2. Project hexagonal grid onto sphere surface.

3. Placed centre points at each hex cells.

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4. Offset the centre points to out of the hex-agonal cells

5. Used point extrude tool for all hex grid cells to make hexagonal pyra-mid.

6. Final outcome that Trimed the extruded at specific high then deleted bottom half of the sphere. Trimmed area cover with planar.

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B.3 Case Study 2.0> Reverse-Engineer the project <

- Vector linework -

Sphere Adimension

30 mm

Projecthexagonal

grid

Sphere Bdimension

38 mm

Projecthexagonal

grid

Sphere Cdimension

32 mm

Cut bottom half ofsphere

Cut bottom half ofsphere

Sphere Ddimension

40mm

Loft sphere C and

sphere D

Centre pointsat

each cells

Extrude cellsto

centre points

To m

ake

hexa

gona

l pyr

amid

To make solid bow

l shape

Solid trim to cut off hexagonal pyramid by solid bowl shape

Boundary surface at trimmed area then cut rest bottom half of primary sphere

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B.3 Case Study 2.0> Grasshopper diagram <

In the original design hex-agonal cells had different dimensions with alternations between larger and smaller hexagonal cells. My design does not reproduce this ef-fect. Similarly, some hexago-nal polygons of the original design had a pattern of six empty spaces within the cell to ensure that sunlight comes through while others were solid. I was unable to recre-ate this effect. Another key difference is the hollow arch spaces within the overall dome design that the original

design managed to achieve. My design retains the overall dome shape of the original but does not include the hol-low arches that enables entry to the pavilion from multiple points as well as sunlight and ventilation. In terms of similarities, my design rec-reates the overarching dome shape of the original design as well as the sea urchin shell-like protrusions. I would develop this tech-nique further by trying to create different scaled po-lygonal within the design.

Moreover, I would try to manipulate the hollow spaces within the cells to create novel shapes. Currently, all the lines within my designs are geometrical straight lines, therefore, I would try to achieve smooth curved lines that mimic contours of natural objects. The out-lines of the designs I have created are somewhat rigid, in future designs I would try to incorporate fluid shapes that do not follow the sur-face shape of the ground level.

> Difference between my work and original <

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B.4 Technique Development

U - 13, V - 12Geometric by Morph Box


UV value decrease

U - 13, V - 12Square surface lay on

curved surface

U - 47, V - 46Square surface lay on curved surface

UV value change

U - 25, V - 36Twisted box on the surface

rotated module


UV value change



UV value change


Height change

1 2 3

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7 8 9

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random scale

U - 120, V - 120Image Sampler

create circle+expression


create circle+attractor point

Contour distance 0.686 angle star geometric

Contour distance 0.68extrude curve to Z-unit : 0.5

Contour distance 0.68attractor point+extrude curve

Contour distance 0.68lofted Y-unit direction

U - 37, V - 39, circle=(0.25*x)+0.02Image Sampler

create circle

U - 37, V - 39, circle=(0.25*x)+0.02Image Sampler

create circle + extrude line

10 11 12

151413

16 17 18

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U - 8, V - 9Morph Box with geometric

south side open shell


hollow cylinder

U - 13, V - 16Hexagonal grid

extrude : 0.1

U - 13, V - 16Hexagonal gridpipe : 0.1 radius


pipe : 0.1 radius+extrude 1.0 to Z

U - 13, V - 16Y-unit contour

nuts

U - 13, V - 16Geometric on square grid

nuts


east side open shell


half coverd each cell

19 20 21

242322

25 26 27

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pipe : 0.1 radius+extrude 1.0 to Z

U - 10, V - 10Square grid with Extrude Point

Upside down by Flip

U - 10, V - 10Hexagonal grid with Extrude Point

down forward

U - 10, V - 10Hexagonal grid with Extrude Point

upforward

U - 13, V - 16Geometric on square grid

nuts

U - 25, V - 25Boundary Box & Map to Surfacebase hex grid+pipe : 0.1 radius

Rectangular created by Series and Cross Reference components

height controled by Curve Closest Point componet

limited height by Expression


Sphere on the grid points

U - 10, V - 10Square grid with Extrude Point

solid trim above the average plane

U - 25, V - 25Boundary Box & Map to Surfacebase hex grid+pipe : 0.1 radius

extrude to Z-unit : 1.0

Rectangular created by Series and Cross Reference components

height controled by Curve Closest Point componet

28 29 30

333231

3435 36

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U - 5, V - 5Surface Closest Point componentto creat different scale by a point

location

U - 5, V - 5Curved line change to pipes

use attractor point to adjust scale

Used Range + Graph MapperDivide curve : 29

Cull pattern : true, false


Cull pattern : true, false, false


Cull pattern : true, false, false, false, false

U - 12 V - 16Voronoi with Jitter to break

the order of pattern for unexpect-ing outcome

U - 12, V - 16Extrude No. 41

U - 5, V - 5Flipped No.37

U - 5, V - 5Replaced O’ring shape

with Np. 37

37

43 44 45

40 41 42

38 39

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Sound Barrier WallUsed Sound Capture componentwhich is could find in lunch box

add-on

5049

47 4846


Cull pattern : true, true, false, false, false, false


Cull pattern : true, true, false, false, false, false, true, false, false, true,

false, false, false


Cull pattern : true, false, false, true, false


Cull pattern : true, true, false, false, false, false, false, false

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4

31

25

38

63

I experimented with numerous shapes that could potentially be adopted for the design of the proposed kart racing track. This process generated several different models that suited the pur-pose

Firstly, number 4 was created using the morph box component. I first de-signed a single geometric cell using Grasshopper and then applied this on a curved surface using domain. This is a very convenient way of generating com-plex surfaces when two or more surfac-es are joined. Therefore, this could be a potential solution that could be used to cover the bended loft area.

My second choice is number 25 which is a simple extruded hexagonal grid. This is an efficient structure that could be used as a semi-structure frame or skin because of the strength of the structure. Compared to other geomet-ric shapes, this is the most resistant to compression and shear force. Fur-thermore, this has the fewest number of partitions for a wide, thin plane structure. Therefore, I would like to adapt this pattern for the skin struc-ture. This pattern would completely envelop the entire structure and allow

for changes in volume of surface and curvature

Third selection is number 31 which is a square section with hollow piles raised from the surface to sky. However, not all the piles have the same length and they are controlled by one curved line. The brighter areas contain curved lines to reduce the length of piles around that area. Using the curve closest points function in my de-sign could change larger surfaces in the proposed design compared to just controlling a smaller area us-ing the attractor point function.

The final selection is number 38 which uses deep square shapes with reduced scale. This proved to be the first time in my experimenta-tion process where I was able to use more than one control point for a single object. Prior to this, I thought it was only possible to use only one control point for each object. This design will be use-ful for opening up spaces where the surface contains a bending point, especially compressed areas with curved lines.

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B.5 Technique: Prototypes

65

I tied model in 1;1000 scale with contour up hill and integrate into the ground.

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B.6 Technique: Proposal> Site Analysis <

LEGEND

: SUN PATH

: SITE

: WIND

: ENTRY

SUMMER JULY

WINTER DECEMBER

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The LAGI site where is located industrial zone in Copenhagen. There was used to house of shipyard owned by Burmeister and Wain till 1997. After that there is become warehouse area. Over there one site called LAGI is very flat large empty plane and it is located very important area as surround by harbour and industrial zone. Therefore, there should consider that sur-rounding landscape and social recreation for local people.As the brief, a three dimen-sional sculptural form that stimulates and challenges visi-tors, should design sculpture in

dynamic floating surface and open area to intergrate with local culture rather than just en-closed and standing overthere.LAGI is very open area so greate effect to gain sun light to generate renewable energy. However, it must be well con-sider to apply on the design to avoid strange outcome such as just put on curve area with flat solar panels.

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The design brief calls for a three dimensional sculptural form that stimulates and challenges visitors. In order to satisfy the require-ments of the brief, I propose ser-pentine tunnel shaped sculptural form that envelops a solar panel kart racing track. However, this innovative sculptural form is dif-ferent from a tunnel in that its walls will not be solid but rather consist of large hollows embed-ded in the design allowing sunlight and air to flow freely. This solar panel kart racing will extend in a snaking path covering the entire site for an approximate length of 950 meters. This design is innovative in that it is not only a sculpture to be viewed but also experienced in a more active sense. This is the key aspect of the sculpture that would be emphasized in the interim pre-sentation. Moreover, the interac-tive nature of the sculpture will be an excellent way of motivat-ing children and adolescents who

may not be attracted by a passive sculpture viewing experience. This would provide an excellent oppor-tunity to stimulate and challenge the minds of young people and raise awareness about renewable energy sources in a fun and interesting way. The site of a sculpture with a large number of solar panels and solar panel kart with large solar panels overhead would naturally generate discussion about renewable energy generation and use.

A key limitation of the proposed design lies in its technical com-plexity. As next pape images show, the proposed solar panel kart racing track consists of a long tunnel shape that overlaps in the middle to create a complete tour of the site. However, this has proven difficult to design using assigned parametric software. Further con-ceptualization and design efforts needs to be put into resolve these issues.

B.6 Technique: Proposal> Design for sculpture form <

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SOUTH SIDE ELEVATION VIEW

AERIAL VIEW

DETAIL VIEW AT MOST CURVED AREA

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B.6 Technique: Proposal> Energy generation <

A key component of the brief is that the proposed design should “capture energy from nature, con-vert it into electricity and store or transmit this energy”. The proposed energy generation tech-nique for the current design is the use of solar panels in the exterior surfaces of the tunnel-like structure, which constitutes the solar panel kart racing track. Solar panels, also called photo-voltaic panels will be mounted on the external surfaces of the tun-nel shaped solar panel kart rac-ing track to capture energy from the sun and turn it into direct current (DC). The direct current from the entire sculptural form

will be stored during the day and then turned to AC power using an inverter housed in a safe exter-nal location and at night time to produce an array of lighting for the sculpture. The solar panel karts travelling inside the sculp-ture will be self-sufficient in terms of energy generation and will be powered by a large solar panel mounted above the kart as below image shows. The use of so-lar power generation means that no pollutant gasses are emitted from these power generation activities satisfying a second requirement of the brief.

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B.7 Learning Objectives and Outcomes

I feel that Air Stu-dio has involved a mas-sive learning curve for me in developing skills related to parametric modeling software. I feel that I have pushed myself to achieve compe-tency in using the Rhino software with the grass-hopper plugin within a short period of time in order to achieve learn-ing outcomes for this subject. I believe that through this subject I am actively building a repertoire of computa-tional techniques. How-ever, I find that my confidence and fluency in using these software need to improve tremen-dously.By generating mul-tiple iterations for designs closely follow-ing an original design and then deviating from this design to produce a large range of innova-tive design prototypes, I feel that I am fast developing the abil-ity to generate multiple design possibilities

for a particular brief. I have also been required to choose from among multiple self-generated design and make a strong case for my choices both in the form of a proj-ect proposal and interim presentation. The studio Air subject also required me to create a physical prototype of the proposed design which required familiarity with three dimensional media such as 3D printing software.The last my interim pre-sentation was several things issue that poor skill of render and lack of communication about design explanation and difficult to understand what I want to present with sliders due to not enough text. All this thing will re-consider for my final presentation and journal.

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B.8. Algorithmic Sketches

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REFERENCES

Benyus, Janine M., ‘Biomimicry’, (New York : William Morrow, 1997), pp. 18.

Karapanou, A., ‘Spider web design:Research and development on the application of spider silk and web typology in the building industry’ (Doctoral dissertation, TU Delft, Delft University of Tech-nology, 2012).

Kenny, Desha. at al, ‘Using biomimicry to inform urban infrastructure design that addresses 21st century needs.’ In 1st International Conference on Urban Sustainability and Resilience: Confer-ence Proceedings, (UCL London, London, UK, 2012)

Meyers, M, A., McKittrick, J., & Chen, P. Y. ‘Structural biological materials: critical mechanics-materials connections’. Science, (vol 339,no. 6121, 2013), p.773-779.

Panchuk, Neal., ‘An exploration into biomimicry and its application in digital & parametric archi-tectural design’. (University of Waterloo, Library, Canada, 2006), p. 35.

Siria, Anna., ‘Spanish Pavilion Expo’, Foreign Office Architects, (Aichi, Japan, 2005), p. 109.

Vierra, Stephanie., Assoc. AIA, LEED AP, ‘Biomimicry: Designing to Model Nature, WBDG National Institute of Building Sciences’, 2011, <http://www.wbdg.org/resources/biomimicry.php> [accessed 21 Sep 2014]

Bae seongho 605311 part b

Documents

design computationa

design computation20

design futuringa

design futuring14

creative design

construction design

twisted box

design studio air