Contents:

IntroduCtIon

Part a: ConCePtualIzatIon a.1 design Futuringa.2 design Computationa.3 Composition & Generationa.4 Conclusiona.5 learning outcomesa.5 Work Citeda.6 algorithmic Sketches

Part B: CrIterIa deSIGnB.1 research FieldB.2 Case Study 1B.3 Case Study 2B.4 technique: developmentB.5 technique: PrototypesB.6 technique: ProposalB.7 learning objectives and outcomesa.5 Work CitedB.8 algorithmic Sketches

Part C: detaIled deSIGn C.1 design ConceptC.2 tectonic elements & PrototypesC.3 Final detail ModelC.4 Work Cited

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IntroduCtIon

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Born and raised in dubai I was very fortunate to witness – first hand – how a small city grew into one of the world’s leading international cities.

In 1967 my father was part of a large group of Palestinians that were exiled as part of the ethnic cleansing after the 6-day war. My grandfather decided to take the family and settle in dubai. With the entire family living in a studio apartment, he worked hard towards building a new future for his family.

My first experience with urban growth was living in our first home. When the family first moved in, the house was considered to be on the outskirts of the city. there were no roads or lighting on the streets and the closest convenience store was 7 km away. However with-in 8 years, the suburb became the ‘perfect location’ the city center.

Seeing the city grow through great architecture and innovative designs, whilst still maintaining its culture

and charm inspired me. Fortunate-ly enough, dubai’s geographical location allowed me to travelled a lot. at the age of 12 I was fascinated by the architecture in Florence and Barcelona – and that is when I was sure I wanted to become a designer.

after living in dubai for 20 years, I feel like I understand its vision. dubai was the underdog, the city with no oil wealth but a lot of ambition.

PrevIouS Work

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My father’s job allowed me to gain a wide range of experiences. at the age of 13, I interned in the dutco Balfour Beatty llC joinery office where I first began experiment-ing with autoCad later on, learnt how to operate a CnC machine.

My second experience was working as visual merchandiser for the de-partment store Harvey nichols dubai. over there I learnt how to use adobe Photoshop and Illustrator to create large ‘theme designs’ for the display windows located around the store.

during high school I decided to take IB higher level visual art. My chosen theme was focusing on my culture, and the meaning of identity. I exper-imented with a wide range of medi-ums to create paintings, sculptures and digital posters. By the end of

my course I was offered to sell 3 of my works to the dubai Bastakia art Museum and 5 to a private collector.

In the year 2012 I was fortunate enough to work for a local architect for 2 months. I learnt a lot in these few months since I was treated as his pupil and began understanding his design process and the ways of a ap-proaching a new design brief in rela-tion to the client and design outcome.

Finally this last december I worked full time for the Japanese architec-ture firm nikken Sekkie as an archi-tect trainee for 2 months. this was the best experience so far. I was working in their temporary dubai office, designing their new Middle east head-office. after being in the Melbourne university architecture program I felt that – this time, I was

much more prepared. I was able to contribute more in this work experi-ence than I have ever had. I worked with the dubai team on designing detailed joinery work, preliminary MeP drawing on autocad, and then modeling it and creating my own 3d renders of the proposed de-sign through 3d Studio Max. I was fortunate enough to also be in-cluded in meeting various contrac-tors to assess and decided who we would hire to execute our design.

through my university and past work experiences I have learnt how to approach a design brief and tack-le design problems. I am very for-tunate to have grown up in dubai with the family that I have, because I believe my experiences only made my love for architecture, build-ings and design grow even more.

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BurSt* 008 ern arta.1 design Futuring

Museum of Modern art - new Yorkdouglas Gauthier & Jeremy edmiston

the Burst project was very interesting in terms of its technical workflow and project execution. the Burst project is much more sophisticated and unique to a simple prefabricated home or such. through comput-ing design the shelter can be more unique to fit the users purposes and location. the use of technology allows the designer to expand a range of architectur-al forms for domestic and inexpensive construction.

Since the project was designed in 2008 it was not considered radical at the time. However, because of carefully calculat-ing or nesting the use of materials prior to prefabricating the structure, the project had less than a 5% waste factor.

this prefabricated ‘shelter’ was indeed built, but not in-tended for a long life. It is very important to see how the

project was followed through and constructed to value its efficiency after creating a computer model or a prototype.

I believe that this method of construction will only grow and continue being appreciated. not only does it allow for rapid buildings, however its flexibility allows it to become a more unique alternative to cheap housing.

It engages in many ethical and social issues. By prefabricat-ing the designers can monitor and change the skin of the shelter to create passive ventilation. another issue is that

there are many projects built in the same prefabricat-ed method, however the reason this is very unique is its simplicity. the entire project is completely prefab-ricated and is built like clipping lego pieces together.

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Museum of Modern art [1]BurSt* 008 ern art

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GuGGenHeIMMuSeuM

a.1 design Futuring

Frank Gehry - Bilbao

Frank Gehry’s work contributed a lot towards the con-temporary architecture and modern designs. His way of thinking was very abstract and poetic; he created this mu-seum to also be a part of the art that it was protecting.

His work was definitely revolutionary, as his designs were built during a time when technology did not contribute – to the design as much as it does today. the elegance of his design by curving, folding and bending gave a since of fluid motion. this motion was also exaggerated through the reflection on the titanium mirror skin and its waterfront positioning.

the material choices in the project were contributed to its fluid theme . the reflective panels merge togeth-er with the reflection of the calm waters making the user question the site, its movement and ambiguity.

the reflections also allows the design to interpret the mood. the weather and sunlight change the experience of the site everyday creating a unique spectacle everyday.

although the design is highly valued today, its de-velopment was criticized . this is due to the fact that Gehry’s design was different and aimed to challenge the users. the movement and elegance makes the design morph or change from various view points .

the design was built and will continue being appreciated for a long time. It beauty, elegance and fluidity radiates a since of harmony – which many modern architects follow. the site is still used today in the same way, however people’s ap-preciation of the design is like art, only grows over the years.

the movement of building elements, smooth joints and curving features are found in the works of zaha Had-id. Her modern and elegant designs contain many sim-ilar features to those found in Gehry’s works. the new modern elegance has a lot to do with the rapid improve-ment and influence of digital softwares on the design.

Gehry’s work made the world appreciate simplicity and his work will continue to be regarded as what it is - art.

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GuGGenHeIM MuSeuM [2]Frank Gehry

d-14 toWera.2 design Computation

reiser + umemoto & Ysrael a Seinuk - dubai

at first glance, a designer would no-tice the influence of digital comput-ing on this building. d-14 tower is a traditional building with an outer skin exterior that creates it ‘uniqueness’.

digital computing has really changed the design processes as, through parametric algorithms, the technology minimizes a lot of the human work. In this case for instance the shell was created on a computer, and with algorithmic rules understanding and maintaining the structure and forces, circu-lar cutouts were removed from this shell.

Computing has definitely redefined the practice in many ways. although it lacks the creativity of a human, through technol-ogy designers have managed to minimize the design time significantly while maxi-mizing the outcome. through the use of a program like revit for example; architects and engineers can easily collaborate online to work on floor plans, structural drawings and MeP plans; and the program can then automatically model the plans, sections and elevations to create a 3d prototype.

Computing and parametric design al-lows designers to push the boundaries. Modeling the design allows architects to work with geometries that are hard to understand or illustrate without it. It gives the designer a lifelike sense of the project before it built, allowing the de-signer to better understand the space. It is the interaction between the design’s potential with the material fabrication

the d-14 tower is very appealing to many people, however by understanding its ele-ments, it is very easy to see that the tech-nology did most of the work. the para-metric algorithms inputted can simply formulate the exterior shell of this building.

d-14 toWer [3]reiser + umemoto & Ysrael a Seinuk

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d-14 toWer [4]reiser + umemoto & Ysrael a Seinuk

WeSt queen WeSta.2 design Computation

alsop architects - toronto

tively translating them into innovative architecture.

the problem with digital computing is that it does not leave much to the imagination. the algorithmic rules can simply create what may seem as a complicated or exhausted design; where in fact, it is very redun-dant. at what point does the design stop being the architect’s work and only the product of technology?

In this case for instance, we can see how comput-ing was used to push the boundaries – rather than simplifying them. looking at Will aslop’s previous works allowed me to understand how these ar-chitects respected Will aslop’s design process and themes, and with digital aided designing they were able to exaggerate the geometries even further.

this design by alsop architects has many similar fea-tures to the d-14 tower. the West queen West building also has an outer shell creating its ‘charm’ or design idea. the use of digital computing is also very evident in this design as well; however adding multiple elements to the design by diversifying the materials, colors and geome-try adds much more to its quality, uniqueness and style.

Similar to the d-14 tower the West queen West build-ing’s exterior was designed on a computer by cre-ating algorithmic rules and cutting out circular sec-tions from it. However the architects maintained Will aslop’s continues style through the use of flashy colors and varying geometries. aslop unique style is determined through his use of architectural textile. His work is described to demonstrate a considerable amount of unexplored architectural textiles and effect

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WeSt queen WeSt [5]reiser + umemoto & Ysrael a Seinuk

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kartal- PendIk MaSterPlana.3 Composition & Generation

zaha Hadid architects - Istanbul

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algorithmic rules simplify the design process: By cre-ating laws prior to designing. this way the architect can design with the guidance or constraints of the laws he created – as they work in the background. Parametric design is not meant to take the role of the architect but serve as a guide the architect and create a transition through a smoother journey.

With parametric designing zaha Hadid adopts a similar fluid and smooth style as that of Frank Geh-ry. We can see how plotting the fabricated materi-als and geometries on Cad softwares can exhaust the design and push its boundaries to develop an even greater sense of elegance and flexibility.

this master plan proposal by zaha Hadid architects is aimed to give the client an understanding of the intended design brief. the master plan includes the buildings and infrastructure’s outer skin only, and they are plotted on the large piece the site. Its pur-pose is to understand the site, and to show the cli-ent a prototype of the intended finished project.

the initial master plan (image below) was very minimal. through the use of Cad the architects create this simple design to plan the port - interms of where the primary el-ements would fit on the site. I believe this development in the design process is more successful and elaborate than what it used to be. the process starts of ‘zoomed out’ then slowly works its way to the details after care-fully understanding the brief and the client’s needs.

kartal - PendIk MaSterPlan [6]zaha Hadid architects11

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SPanISH PavIlIona.3 Composition & Generation

eMBt - Shanghai

of steel framework and trusses. a wicker mesh was weaved into the steel framework to create a new mod-ern style of weaving elements together.Parametric design has benefited architects greatly and revolutionized the design processes. However it is very important to understand that these parametric designs are only mean t to guide the designer; the designer must understand the generated algorithms to communicate his idea to the client.

this design is a prefect example of the success and elegance that can be achieved when using parametric designing. this complex structure would have been very difficult if not impossible to plot and understand without the use of technology.

the site is erected through the use of carefully pre-fabricated trusses that have been calculated digitally through the use of algorithms. Its complex geometry and lightweight volume was created through the use

SPanISH PavIlIon [7,8]eMBt

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a.4 Conclusion

a.5 learning outcomes

I found comparing precedence in relation to the reading, questions and algorithmic work really important. By doing so I could better understand the progression of design process and the impact Cad softwares have had on the design thinking.

one great example was the common themes between Frank Gehry’s work and that of zaha Hadid. they both have that fluid and elegant theme, yet - because of the Cad softwares - the different design processes are evident in the final design product.

the change in design processes have benefited both the designers and the clients. the designer can explore more ideas and push the boundaries through the help of technology, and the client can have a better understanding of the proposed design by visualizing a 3d prototype.

Part a of the assignment was really helpful, I feel much more confident using rhino and Grasshopper 3d than I have when I first joined the class, I can imagine this will ease me through the next part of the assignment.

as I progress in this course, I can see how my designing skill would keep on improving. I am very confident with autoCad and 3d studio Max, however I have never used rhino 3d prior to this class. It was a bit of a challenge learning the basics of the program, but I got the hang of it.

Having never used Grasshopper before as well, I found it really interesting to see how algorithms can be used to improve my design. I will keep on exploring the use of algorithms and matrices to create a complex design.

once I started comparing my work on rhino 3d to the precedent studies, I quickly noticed the evident use and reliability of technology in today’s design processes. the d-14 Building for example, looked a lot more complicated before I tried to copy it on rhino 3d.

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Work Cited

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detnk.com,. ‘Fabricating the Modern dwelling |Museum of Modern art’. n.p., 2015. Web. 11 Mar. 2015.upload.wikimedia.org,. ‘Guggenheim Museum Bilbao’. n.p., 2015. Web. 12 Mar. 2015.

acdn.architizer.com,. ‘d-14 tower’. n.p., 2015. Web. 15 Mar. 2015.

karMatrendz,. ‘o-14 tower By reiser + umemoto’. n.p., 2011. Web. 22 Mar. 2015.

arzumanyan, ani. ‘architextiles’. Issuu. n.p., 2012. Web. 15 Mar. 2015.

zaha-hadid.com,. ‘kartal Masterplan - Masterplans - zaha Hadid architects’. n.p., 2015. Web. 18 Mar. 2015.

arzumanyan, ani. ‘the new Structuralism’. Issuu. n.p., 2012. Web. 18 Mar. 2015.

dezeen.com,. ‘Spanish Pavilion 2010 Shanghai expo’. n.p., 2015. Web. 18 Mar. 2015.

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a.6 algorithmic Sketches

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StalaCtIletessellated Manifolds

B.1 research Field

Marcelo Spina, daniel Carper & ken tracy

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this beautiful design by Marcelo Spina, daniel Carper & ken tracy, clearly demonstrates the defi-nition of tessellation. the pattern created moves fluidly and connects with the next ‘scale’ or ge-ometry with precession. the pattern could have been created through complex algorithms that would plot the chosen area, then divided its components to accommodate the design mesh.

the designs elegance is also highlighted with the choice of colors and materi-als. the materials allow for light to pass through the design and reflect the chosen colors.

20StalaCtIle [1]Marcelo Spina, daniel Carper & ken tracy

voltadomSkylar tibbits

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voltadoM [2]Skylar tibbits

this tessellated design by Skylar tibbits, captured my attention straight away due to its fluidity and elegance. the design does not feel crowded, yet has depth. the domes or arches create a sense of motion as the user pass-es through. the exaggerated contrast between the white and black, adds to charm and elegance of the design.

as my skills in grasshopper continue to improve, I slowly begin to better understand these de-signs. the use of algorithms and vectors are apparent is the way these arches are captured and trian-gulated. the Beauty of this design is that the ‘triangles’ are fluid and organic. this means that a lot of work, and understanding went into creating, developing and mapping these prefabricated elements.

voussoir CloudIwamoto Scott & Buro Happold

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vouSSoIr Cloud [3]Iwamoto Scott & Buro Happold

SPeCIeS & IteratIonS

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B.2 Case Study 2.1

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32CanoPY [4]united visual artists

CanoPYunited visual artists - toronto, Canada

B.3 Case Study 2.0

reverse engineering the Canopy

to begin reverse engineering the design chosen, I wanted to start by creating a similar and simple mesh that could be used to repli-cate that found in the design.

I began by drawing the curves, then joining them together in grasshopper and convert-ing them to a mesh.

By doing that I can later use this mesh in a box morph, with the hope of replicating the design.

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Stage 1 Stage 1Creating a surface Subsurface devided by a domanin with a slider for

the u & v components to adjust the grids

Stage 1 Stage 1Creating a Surface box linking the Box morph that contains the extruded

mesh to the Surface box

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IteratIonS & exPloratIon

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as I am progressing with this criteria B, I decide to introduce another definition to my working design. I wanted to somehow find a way to incorporate Biomicry elements into the design to try to achieve a more complex yet fluid design.

I will be explore the impact certain patterns have with light and studying how my pattern can create and influence shadows on the site.

B.4 technique: development

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With this experiment I tried to push the boundaries after us-ing 3d voronoi. I initially created a rectangular box, then used grasshopper to link the voronoi pattern.

after that I tried my best to simplify the structure as much as I could so that the lowest and the top parameters were con-nected and getting rid of any unnecessary chunks.

this created a weird but smooth outcome where ‘chunks’ appear to be floating for certain positions.

this design was successful because it did exactly what I was aiming to do. I wanted to create a lofted surface and ‘dress’ or cov-er it with a mesh that I have created, after a couple of failed attempts, I have completed the task I wanted to.

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I chose this as one of the successful designs because the out-come was not intended to be this way, or planned.

I was experimenting with decomposing vectors and came to this.

this was done by connecting the divided surface to a decom-posit vector. after that the z-outcome (z-axis) of the decompos-it vector was attached to the surface box.

By doing so the surface box ‘s height would change based on its position in relation to the z-axis, making every box’s size different, and allowing for the skin to morph and move.

StruCture

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B.5 technique: Prototypes

as I still haven’t developed all my paneling skills, I decided to create two separate prototypes. one to highlight the structure, and the other one would focus more on the pattern and mesh shell to be added.

this prototype gave me a better understanding of the shape I wanted to create. I knew that I wanted to focus on creating a lofted surface then working from there to better the design.

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the aim of this prototype was to begin un-derstanding the fabrication process and to understand the effect of light on my design.

Creating the pattern was challenging, however after the cut out was made, I started to play around with the light and try to achieve the outcome desired.

this prototype really helped me focus on the next step, since I knew that shad-ows had to play a big part in my design.

Pattern & MeSH

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HeYdar alIYev Center [5]zaha Hadid architects49

Heydar aliyev Centerzaha Hadid - azerbaijan

B.6 technique Proposal

draGon SkIn PavIllIon [6]university of tampere

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this design inspired many of my earlier experiments in Case study 1 & 2 and was one of the biggest reasons why I wanted to try to incorporate the biomicry and tessellated definitions together.

the dragon skin design fits well with my idea of fluidity and elegance, and its sharp geometry adds depth and a sense of strength to the design outcome.

this was my attempt to try and create a link be-tween zaha Hadid’s Heydar aliyev Center and the dragon Skin pavilion.

I started off by created the lofted geometry, and then went on to add the mesh to the design by createing a surface frame for the mesh to be in.

dragon Skin Paviliontampere, Finland

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SIte analYSIS: MerrI Creek

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ProPoSal 1: draGon SkIn

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ProPoSal 1: HexaGonal

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I was pleased with how both of my proposals turned out in the end. Both proposals were created from the same lofted curves, however they differ greatly due to the mesh associated with them.

Proposal 1 was meant to mimic the idea of the dragon skin, the mesh I created however had an opening to allow light into the site. this was not the case in the end, the mesh did not connect well to each other and gaps were missing. due to that, I baked the lofted surface and the mesh was then connected to a surface rather than floating around. although the shadows I wanted were not created in the first proposal, I believe the smoothness, sharpness and depth of the design make it a success.

Proposal 2 was much more successful in my opinion. although creating the mesh was much more difficult in this case, the design portrayed light and darkness in the way I planned for it to be shown.

this pavilion is a small scale project, yet it is meant to serve as a retreat from the industrial power lines running above Ceres. the use of shadows was chosen to hide the shadows of the overhanging lines and serve as a shell protecting the user.

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In this criteria I believe that I have developed my digital skills far more than I have earlier. the experiments with different iterations and species really helped push the boundaries and push me to understand the use of certain functions and commands.

I have always been really influenced by fluidity and elegance in design, and I appreciate the freedom in this criteria which allowed me to peruse this path. My approach was to try and create a pattern however incorporate it with smooth and continues curves so that the user would not know where the design begins or ends.

Working on the proposals was very interesting since after all the buildup in the past few weeks, I had to come up with a finalized idea. after many failed experiments I finally was able to create my design. after Baking the grass-hopper design, I exported the results to 3d Studio Max and used vray to create my final renderings of the designs.

B.7 learning outcomes

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Work Cited

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archinect.com,. ‘Student Works: Stalactile, tessellated Manifolds | Features | archinect’. n.p., 2015. Web. 2 May 2015.

designplaygrounds,. ‘voltadom By Skylar tibbits - designplaygrounds’. n.p., 2011. Web. 2 May 2015.

archivenue.com,. ‘’voussoir Cloud’ By Iwamotoscott With Buro Happold - archivenue’. n.p., 2015. Web. 1 May 2015.

designplaygrounds,. ‘Canopy By united visual artists - designplaygrounds’. n.p., 2010. Web. 1 May 2015.

France-Presse, agence. ‘zaha Hadid Wins design of the Year 2014 For Heydar aliyev Center’. aquila Style. n.p., 2014. Web. 2 May 2015.

designplaygrounds,. ‘dragon Skin Pavillion - designplaygrounds’. n.p., 2012. Web. 2 May 2015.

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B.8 algorithmic Sketches

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CereS & deSIGn relatIonC.1 design Concept

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the CereS environmental Community is located near the Brunswick terminal Station. Power lines run above the site giving this “environmentally Conscious Community” an industrial presence.

My challenge and aim is to try and create a design that lets the user forget about the Brunswick terminal station, and instead link him to the nature. the Shelter I will create will use light and a mesh pattern to erase the shadows cast by the power-lines and manipulate more and natural ones.

Moving forward from Part B, I need-ed to develop a more complex de-sign that would demonstrate my progression with Grasshopper.I also would refer to the ICd/Itke re-search Pavilion at the university of Stuttgart as a precedence case study.

CereS envIronMental Park [1]Images obtained from Sydney Morning Herald and Melbourne

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ICd/Itke reSearCH PavIlIon [2]university of Stuttgart

Mesh development

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experimenting with the Spanish Pavilion’s Mesh:Changing the Cell options, Bitmap Image, numbers in Cell count + Points equations

offsetting the Mesh, ‘Grafting’ the two boundaries and creating a solid difference

extruding the new Geometry

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Creating a lofted Surface with 2 Curves. after that I projected the Mesh onto the lofted surface - along the z axis

extruding the Projected lineworks

design development

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Changing the curves to mimic the topography of the lakethis was done by converting an image of the creek to 2d. after that I created these new curves

dividing the curve then creates arcs between the points to finally develop a smooth lofted surface between the curves

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after projecting the mesh onto the new curved surface, I ex-truded the linework along the was successful for this curve as it gave the design a smooth and fluid consistency with the curves

the design was lacking structure and depth, I therefore created a hexagonal pattern on the lofted curve. after that these lineworks were also extruded onto the z-axis. this allowed for a structure to better support the extruded mesh while still allowing light the enter the design.

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Plan: design on Site

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FaBrICatIonC.2 tectonic elements & Prototypes

as I began planning fabricating the design, I began to understand the required geometries, widths and spans for the powder 3d printing. to eliminate my issues with the maximum allowed span (1:4) I began experimenting with the lofted sur-face. after a couple of iterations, I decided to extrude a Hex geometry from the lofted curves. By doing so the light entering the space would cast an interest-ing shadow as well as it would provide my pavilion with the necessary structure.

WeaverBird was used later on to give the design a solid structure and depth. the extruded wireframe was converted to a mesh and then thickened by the Weav-erBird Mesh thickener - this was also done to the Hexagonal Cells. the thickness of the extruded mesh is slightly wider than that of the Hex Cells, this was done to add strength to the primary structure as well as add depth and levels to the design.

this pavilion is a small scale project, yet it is meant to serve as a retreat from the industrial power lines running above Ceres. the use of shadows was chosen to hide the shadows of the overhanging lines and serve as a shell protecting the user.

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Preparing the Stl Files for 3d Printing

Join Mesh Surfacesview naked edgesJoin edges Create 2mm thick Base (for added strength)Convert to MeshJoin design Mesh to the Baseexport as Stl (Geometries only)

Possible Issues of this design with Powder 3d Printing: using Cutting Plane tool I discovered that at this scale certain ver-texes of the base geometry are 0.78mm or 1.63mm and the recom-mended minimum thickness for the 3d powder printing is at least 2mm

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Preparing a Second Prototype

due to the Powder 3d Printer limiting the maximum geometry to 150mm x 150mm x 170mm I created a section cut through my model in order to create an enlarged segment of the design to satisfy the minimum base geometries of 2mm

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South elevation

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Site Plan

Section a

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Hinges & Joints

the joints for the individual hexes are grooves engraved in the woodwork. By cre-ating these joint sit allows the panels to be fixed together and support its own weight as the tongues and grooves are all placed and attached together.

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the first prototype had multiple cracks that were able to be fixed by gluing the pieces back together. all the cracks occurred where the geometry was below 2mm

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renderS & SCHeMeSC.3 Final detail Model

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after establishing the de-sign I began further developing the color and material choices.

the final design would be created from timber and jointed together. the Primary thicker structure (mesh surface) would be attached together by using grooves and tongues allowing the individual hexes to sit and support each other.

Since the hexagonal patterns are lin-ear and individual sheets they would be attached to the structure us-ing concealed nail plate. this would provide the necessary addition-al support and very easy to erect.

the guidelines to 3d printing limited the design, however with the use of a strong material in the final design; the elements of the hexagonal extrusions can be smaller to allow more light inside and give the design a transparent edge.

the timber would not be left in its nat-ural state. Instead the material used would be painted with a solid-color veneer coating. the coating would pro-tect the timber from water/moisture and weathering . However the primary reason for the use of solid colors in-stead of the natural wooden pattern was chosen in order to ironically mim-ic the industrial and man-made el-ements related to the Ceres Park in a more beautiful and adaptive nature.

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Color Scheme experimentation

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the choice for this color was decided due to the relationship to the Water and nature. the blue color also evoked a sense of peace, fluidity and harmony to the design. this was the intent from the start and after experimenting with various color ranges this shade of Blue achieved the best possible outcome.

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Work Cited

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McCormick, linda. ‘Coffee and Chooks at CereS Community environment Park, Mel-bourne’. eco traveller Guide. n.p., 2012. Web. 5 June 2015.

Icd.uni-stuttgart.de,. ‘ICd/Itke research Pavilion 2011 « Institute For Computational design (ICd)’. n.p., 2015. Web. 7 June 2015.

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