Little aaron journal by Aaron Little

STUDIO AIR 2014, SEMESTER 2, TUTOR: PHILIP BELESKY AARON LITTLE

Introduction I am currently studying my third year of the Environments Bachelor, majoring in Architecture. I have come to Architecture from an unconventional pathway having previously completed a Bachelor of Commerce at Monash University and worked in finance. Despite my change of focus to pursue a long held interest and passion for Architecture, I continually draw on multi-disciplinary skills and knowledge in all tasks at hand both academically and personally. I have developed a bad dose of the travel bug over time that has fuelled a passion of exploring as much of the world as I can. I find discovering new places far removed from my own to be thrilling and inspiring as well as the most effective way of learning about yourself. In terms of design ethos, I draw on many personal experiences as inspiration and am constantly on the look out for designs which engage with their users and create a place where people really enjoy being. I have a particular interest in bio-mimicry, and the lessons, complexities and efficiencies of naturally occurring structures, and how these can be applied to built form. I see Architecture as the stage on which life plays out, and my drive is to contribute to make that stage as humanly responsive, inspiring and sustainable as possible.

Table of Contents A1 - Design Futuring

Landscape is communication

Fresh Kills Coaster

A2 - Design Computation

A3 - Composition/Generation

Mikimoto Ginza 2 Building

ITKE Research Pavilion

Interim Conclusion 18 Part A Learning outcomes

Part A Appendix 20 Part A Bibliography

A1 - Design Futuring Design futuring cosiders the role of design in shaping the world of tomorrow. Designers are charged with enourmous responsibility as they are the ones responsible for creating the built form for the generations that will suceed them. Whilst never forgetting the importance of function and form, the most monumental problem facing the world is that of sustainability. Currently humans are treating the planet as if it were an infinite resource and this extravogant means of living must be curtailed. Designers are in a unique position of authority and possibility to play a huge role in facilitating this coomplex shift in behaviour. Two case stsudies from the 2010 and 2012 LAGI competition entries will be examined to critically analyse their design credibility in terms of â&#x20AC;&#x2DC;design futuringâ&#x20AC;&#x2122;.

DESIGN FUTUTUTING

Landscape is communication This submission makes an interesting and bold contribution to the field of ideas within modern architecture. It focuses on the notion of ‘biomimetism’, which is extremely clear, both aesthetically and functionally. The main structurally supporting arms of this large structure are shaped like tree trunks that extend into the canopy of 31,000 sunlight concentrators in a ‘mocarab’ pattern2.

There are several technical elements to this design that aid the sustainable functionality of this structure, the first being the solar collectors on the roof. These parabolic dishes have surfaces, which absorb sunlight and allow the harnessing of natural energy. Interestingly the sculpted shape of these dishes not only allow exposure to the suns rays across a large spectrum of its solar pattern throughout the day, they also act as funnels to collect rainwater3. This rainwater is then drained internally down the ‘trunks’ of the structure to storage units below, and recycled through the building. In these ways, the designers recognise and mimic some of the complex efficiencies of nature, which is the sublime inspiration and example of sustainability.

A fundamental success of this design is that it has been conceived with sustainability forming the very fabric of the building. This sets a positive precedence for future design projects in terms of developing sustainable design that drives the form of a building. This shifts away from the more traditional pattern of sustainable features being integrated later or ‘tacked on’ in many cases. The organic physical form of structure also lends itself nicely toward Computer Aided Design (CAD) in terms of its complex shape and construction. CAD would allow the designers to accurately create and construct the intricate forms, as well as experiment with any potential alternatives that could be efficiently modelled.

Unlike other submissions in the LAGI competition, as well as most built form, this structure challenges the conventional canopy form to shape a large open-sided ‘hypostyle hall’ public space is also quite revolutionary on this scale with it being able to cater the huge number of users. Leaving the boundary open allows users to easily relate to their visual landscape and reduce the impact of the built form on the environment. Possible negative implications of this would be vast exposure to the elements that would greatly complicate the climatic control of the space, particularly wind and temperature. This form would however allow greater flexibility and variation is usage options, as it would lend itself more easily to a very diverse public activities.

One of the most revolutionary design ethos’ to be explored is the ‘Chameleon’ concept of adaptation based on human interaction. This means that the design is highly dynamic and variable to suit the certain conditions of human interaction with the structure. This concept would be realised through allowing users to touch screens on the lower parts of the ‘trunks’, and their impact would be reflected via the lighting of the roof interior6. This particular aspect grabbed my attention was that this interaction and novelty would feel as if they were apart of the sustainable functioning of the building, and thus draw connotations to the greater sustainability plight of modern design.

Despite this design never being physically eventuated or awarded, I found it to be highly effective at boldly grappling with important sustainability and design ideas with creative innovation. There are many practical and technological barriers, which impede this designs potential, however the concepts raised such as biomimicary and enhanced human interaction have enormous development potential in future designs.

Fresh Kills Coaster

This design is both revolutionary and controversial in its approach, but hinges on the idea of participatory energy production that is a relatively new and progressive idea with large potential going forward. This coaster uses a pedestrian surface that has strategically placed â&#x20AC;&#x2DC;Pavegenâ&#x20AC;&#x2122; kinetic energy converters on the surface to further enhance energy production9. The long spanning steel bands supporting the concrete coaster base are clad in solar cells which would harness the suns energy to further enhance the sustainable generation of the design10.

One of the most revolutionary ideas of this design is the way in which the shape and multi faceted curves allow solar exposure across all spectrums of the suns path. This is uncommon in practice and the thin ribbon bending on seemingly random axis is an initiative to achieve this highly efficient outcome. An obvious flaw in this concept however, is the location of the site in Finland, which, like most of Northern Europe, receives very limited sunlight exposure.

This building is based on the notion of personal contribution that encourages the psychology that people can make a difference by their own physical action. By extension, the revolutionary concept in encouraging fitness as its form of interaction is fascinating. However the shape, scale and steepness automatically discriminates against those who are less physically able as they wouldnâ&#x20AC;&#x2122;t be able to interact and utilise the design. The useability of the structure would also be reduced due to the traditionally poor weather and hours of sunlight in Finland acting as a further limitation.

The technology generated in kinetics and solar harnessing which has been adapted in this design have huge potential to generate further research and inspire even more creative and effective sustainable solutions. For example if the idea of kinetic movement could be applied to regular and large scale human movement such as busy city crossings or vehicle movement, this would apply the designers concepts in a more practical sense. I raise this point as the efficiency of kinetic energy relies on large-scale volume, which in practice, may well be quite underwhelming due to the likely patronage of the coaster.

The submission also allows the site to generate a positive and sustainable contribution to the region more so than ever before, which allows the local community to feel a direct relationship, and ownership of the positive contribution the structure is making to the environment on a local and global scale. A further controversial design aspect is the verticality of the structure which creates an iconic perception, allows panoramic views and frees up useable ground below. However conversely locals may likely complain of the visual disruption caused by the tall oddly shaped form. It is worth noting also that the creation of a hub of fitness and intrigue would create a space for local place of social gathering and community not previously conceived.

Despite this coaster never being realised, I find it to be very interesting and progressive in the ideas it boldly introduces. The ideas of participatory kinetic energy generation and using multiple curved facades to maximise sunlight exposure strike me as having immense design futuring potential.

Design computation Design computation considers the continuing momentum of technologies impact on the design process. computer aided design has in many ways revolutionised design over the past fifty years. It has both unlocked remarkable benefits and economies, however has equally attracted much controversy as it can be seen to deny traditional design practice and theory. This section will analyse how computer aided design has influenced each stage of the design process and refer to several case studies demonstrating this influence. DESIGN COMPUTATION 12

Over the last couple of decades computing technologies have revolutionised the design world in phenomenal ways in which architectural practice wasn’t able to anticipate13. Basic developments began in the 1970’s and 80’s, which allowed the initial benefits of accuracy and easy manipulation, as well as efficient repetition. Since then the power and prevalence of computation has grown exponentially with the contemporary ethos of sustainability being an important driver.

Computation has vastly changed the ways in which designers approach the design process. One of the most important conceptual changes is a tendency for designers to utilise algorithmically predicted outcomes and information to maximise the buildings performance14. This deviates away from the traditional methods of aesthetics and form driving the design ethos. An example of this is the use of BIM in the Council House 2 development that “Permitted the interactive testing of design solutions early on, rather than relying on precedence based knowledge”15. Therefore computation has affected the design approach in terms of bringing modelled information to the forefront and driving the design ethos of a project.

The immeasurable potential of information sharing has allowed students, design professionals and even those outside the field, access to previously unimaginable precedence in built form, concepts, materials and systems16. This has revolutionised the efficiency and comprehensiveness of the design explorative stage rather than relying on more traditional means of stored experiential knowledge or printed media.

Once inspiration and original ideas are formulated, the exploration, manipulation and refinement of the design ideas are enhanced by parametric means19. This form of design allows rapid simulation of large volumes of adjustments and manipulations. An example of this is the wave-based acoustic simulation of concert hall acoustics that “Allows for fast and flexible generation of spatial geometry”20. The 2010 redevelopment of Melbourne’s Hamer Hall utilised this technology to refine and optimise the acoustic performance of the space.

Production and constriction which forms the last step in the design process has also been greatly revolutionised by CAD. Oxman singles out machine-driven precision cutting of components based off computer data as a growing example of the ‘file to factory’ concept21. Greg Pasquarelli demonstrates the potential economic and time savings of the ‘file to factory’ concept by retelling on his ‘Porter House’ project that computer modelling sized and cut hundreds of uniquely sized panels to clad the facade completely bypassing the need for individual shop drawings. The modelling was also able to predict that cladding panels were going to be out of dimension when lifted into place. This allowed corrective adjustment to be made and estimated to have saved huge amounts of time and money22.

Despite the overwhelming benefits of computation discussed, there are drawbacks. Firstly, Computation creates very complex design and constructional problems, which often can only be solved by, further technological development. This complexity can take immense time and resources to resolve. Moreover, modern designers are potentially loosing touch with traditional ‘bread and butter’ concepts by cutting straight to computational design and neglecting a proper basis of design theory. Finally, it is possible that some designers design elaborately for the sake of it, i.e. ‘blob’ architecture. This may prove the capabilities of computation, however at the expense of practicality, longevity and quality design. “Nothing ages faster than yesterday’s vision of the future”23.

Therefore after considering these examples and concepts raised, the introduction of computer aided design continues to bring with it immense efficiency of simulation, representation and construction. It also provides limitless potential as an experimental design and optimisation tool. That being said, there are several draw backs valid in any critical analysis.

Composition / Generation Composition / Generation considers two fundamental and encompassing strategies in the design process. Compositition can be understood to be a design process where the overall design product is under the control of the designer. Generation differs in that this process involves the overall design product being determined by a computer, within certain constraints set by the designer. This section will analyse interesting studies of parametric architecture to represent these concepts.

COMPOSITION/GENERATION 25

Mikimoto ’Ginza2’ building This landmark Tokyo building designed by Toyo Ito and completed in 2005, provides a fantastic example which utilised generative design via parametric modelling to produce its striking and unique façade. The apparently fluid openings wrapping the buildings elevations are not based on “Pure geometry, nor does it follow a structural expressionist approach”26. Ito utilised Structural analysis technology known as ‘Finite element analysis’, this uses variational methods to provide design solutions to ‘boundary value problems’27. Therefore the designers would have set logical parameters for the openings such as minimum quantity or maximum size, and utilised the parametric modelling to generate a number of possible outcomes from which they then chose from. This design team also utilised algorithmic thinking in order to evaluate the predicted performance of the structural elements to the building28.

The parametric design software grasshopper was also used to model the façade and this representation was used to inform the construction details of the components. This particular pattern selected for the design represents ‘quasi-crystaline’ geometry that references the Mikimoto’s business which is retail jewellery. A drawback to be considered in this design process is the notion that the designers have limited themselves to the parameters of the computer output, and therefore denied the possible contributions the natural creativity of the designers themselves without being blinded by the relatively limited computed possibilities. One cannot deny the extraordinary breadth of creative thinking and contextual design capable of the human brain, and it is quite possible valuable considerations were compromised due to the influence of generative computation.

ITKE Research pavilion Completed in 2011, the design ethos and history of this geometrically beautiful pavilion boasts the notion that â&#x20AC;&#x153;Form finding and structural design are closely interlinkedâ&#x20AC;?31. Inspired by the biological principles of sea urchins, this design borrowed off the natural structural principles of these naturally occurring phenomena. Designers employed parametric modelling to generate a very complex and particular geometric arrangement, optimised to efficiently distribute loads along the intersection points of its polygonal plates32. Evidence of this is seen where there are far fewer openings around critical load paths around the largest entry openings. The result of generative scripting cultures being utilised proved the building could be constructed using very thin sheets of plywood at only 6.5mm33. An example of the parameters programmed into their modelling process was that three plate edges must always meet together and just one point which ensures the resistance of bending movements.

In keeping with the original ethos of the design, the formulation of an “Optimised data exchange scheme” existed to link the output of the computed simulations, model and finite element information. This scheme therefore improved the comprehension and modification of “Critical points of the model”35. This allowed for effective and accurate analysis of optimisation data and design alternatives, as well as the precision digital construction and fabrication.

Despite the complex achievements of this form of generative design process, it is prudent to recognise that this computation also generates extremely complex design and constructional challenges. The immense time, expense and effort that goes into solving these problems must be factored into the efficiency of the project as there is a point at which an opportunity cost arises between the resources consumed in the design process and the benefit derived from the perceived value of such manufactured complexity.

Conclusion After researching and considering the theories and case studies in this assignment, my understanding of parametric design has depened significantly. This understanding has particularly strengthened in the context in which parametric desing is taking place, such as sustainble solutions and design experimentation. Computer Aided Design has captivated the design world in a whirl-wind kind of way as its rapid introduction and applied development is racing at an extraordinary pace if you consider the historic time frame of previous design technologies. This technology is manipulating the design approach and outcome to every design process as it has the capability to efficiently produce a plethora of design options and variations for the optimal result. This being the case, it inherently affects how designers initially approach a design problem, and consequently the end result. This has produced some amazing feats of design, however is not without significant controversy as many traditionalists claim it is at the expense of fundamental design principles. Therefore Computer aided design is an extremily powerful yet controvertial tool that is being utilised more widely and in increasingly complex ways throughout the design world.

Learning outcomes In pursuing my deveoping architecture studies and career I regard paramtrics as a critical theory that will only grow in prominance and usefulness into the future. This view has been extended as a result of this research and I am constantly contemplating the practical application of this technology not only in my university studies but career going forward. I think a solid understanding of what Paramtric design is now critical to a young designer as it really will shape the future of design and without it one would quickly get left behind. By extension of this, the case studies which utilise these technologies can help to understand the most efficient ways of utilising this technology for certain elements of the design process and therefore produce the most effective economic and resource efficient outcomes for the design and the client. Therefore I feel I have developed my understanding of what parametric design is in theory, how it is continually challenging the traditional design processes, and finally a comprehension of the beneficial outcomes this technology can provide.

Appendix

Bibliography 1. T. Kelly, 2014, ‘Earth Day week’ – The modules at Temple Town, viewed 12 August 2014 <http://www.themodulesattempletown.com/?page_id=34.> 2. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 3. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 4. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 5. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 6. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 7. Landscape is Communication 2010 - Land Art Generator Initiative, 2010 portfolio, Viewed 9 August 2014 <http://landartgenerator.org/LAGI2010/680kms/> 8. Fresh Kills Coaster 2012 – Land Art Generator Initiative, 2012 portfolio, Viewed 9 August 2014 < http://landartgenerator.org/LAGI-2012/XWWXWW11/> 9. Fresh Kills Coaster 2012 – Land Art Generator Initiative, 2012 portfolio, Viewed 9 August 2014 < http://landartgenerator.org/LAGI-2012/XWWXWW11/> 10. Fresh Kills Coaster 2012 – Land Art Generator Initiative, 2012 portfolio, Viewed 9 August 2014 < http://landartgenerator.org/LAGI-2012/XWWXWW11/> 11. Fresh Kills Coaster 2012 – Land Art Generator Initiative, 2012 portfolio, Viewed 9 August 2014 < http://landartgenerator.org/LAGI-2012/XWWXWW11/> 12. Research Materialisation, 2012, University of Stuttgart, Viewed on 20 August 2014, <http:// icd.uni-stuttgart.de/icd-imagedb/Web_ICD_Research_Materialisation.jpg> 13.

Kolarevic, B, 2003, Architecture In The Digital Age, Taylor & Francis, Oxford. pp.3

14.

Bielefeld & Khouli, 1991, Arriving at design ideas, unknown, Pp.70-71

15. Toth, et al, 2009, Modelling sustainable and optimal solutions for building services integration in early architectural design: Confronting the software and professional interoperability deficit, Proceedings off Cumulus 38 Degrees South, Hemisphere Shifts Across Learning, Teaching and Research, Melbourne. Pp.77 16.

Bielefeld & Khouli, 1991, Arriving at design ideas, unknown, Pp.70-71

17. ‘Council House 2 - Melbourne’, Archdaily.com.au, viewed 19 August 2014, available at: www.archdaily. com%252F395131%252Fch2-melbourne-city-council-house-2-designinc%252F%3B528%3B350 18. Hamer Hall interior, Melbourne symphony Orchestra, viewed 19 August 2014, available at: https://melbournesymphonyorchestra-assets.s3.amazonaws.com/assets/Image/93.jpg

19.

Oxman, R & Oxman, R, eds (2014), Theories of the Digital in Architecture, Routledge, London. Pp 4.

20.

Oxman, R & Oxman, R, eds (2014), Theories of the Digital in Architecture, Routledge, London. Pp 4.

21. Robinson, P et al, 2014, Concert Hall Geometry optimization with Paramtric modelling tolls and wave-based acoustic simulations, Building Acoustics, Aalto University, Aalto. Pp. 55-57. 22.

Oxman, R & Oxman, R, eds (2014), Theories of the Digital in Architecture, Routledge, London. Pp 5.

23.

Deans lecture series 2013: SHoP Architects – Greg Pasquarelli, Melbourne University, Melbourne.

24. Image - ‘Porter House’, Flickr.com, viewed 19 August 2014, available at: https://c2.staticflickr.com/2/1056/530210581_4f624e3c1e.jpg 25.

Liu, Y, 2007, Distinguishing digital Architecture, Die Deutsche Bibliothek, Basel. Pp.18

26. Rybczynski, W, Parametric Design: What’s Gotten Lost Amid the Algorithms, Architect Magazine, Architectmagazine.com, July 11, 2013. <http://www.architectmagazine. com/design/parametric-design-lost-amid-the-algorithms.aspx> 27. Image, 2014, CDN Architect Network, Viewed 20 August 2014, <http:// cdn.archinect.net/images/460x/g0/g0jwgb5id1elzdi8.jpg> 28.

Liu, Y, 2007, Distinguishing digital Architecture, Die Deutsche Bibliothek, Basel. Pp.18

29.

Bathe, K, & and Wilson, E, Numerical methods in finite element analysis, 1976, Volume: 6-12. Pp 71.

30.

Liu, Y, 2007, Distinguishing digital Architecture, Die Deutsche Bibliothek, Basel. Pp.18

31. ICD/ITKE Research Pavilion, 2012, Archdaily.com. Viewed on 18 August 2014 < http:// www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> 32. ICD/ITKE Research Pavilion, 2012, Archdaily.com. Viewed on 18 August 2014 < http:// www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> 33. ICD/ITKE Research Pavilion, 2012, Archdaily.com. Viewed on 18 August 2014 < http:// www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> 34. ICD/ITKE Research Pavilion, 2012, Archdaily.com. Viewed on 18 August 2014 < http:// www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> 35. ICD, ITKE Research Pavilion, 2011, Institute of computational design – University of Stuttgart. Viewed 16 August 2014 < http://icd.uni-stuttgart.de/?p=6553> 36. ICD, ITKE Research Pavilion, 2011, Institute of computational design – University of Stuttgart. Viewed 16 August 2014 < http://icd.uni-stuttgart.de/?p=6553> 37. ICD, ITKE Research Pavilion, 2011, Institute of computational design – University of Stuttgart. Viewed 16 August 2014 < http://icd.uni-stuttgart.de/?p=6553> 38. ICD, ITKE Research Pavilion, 2011, Institute of computational design – University of Stuttgart. Viewed 16 August 2014 < http://icd.uni-stuttgart.de/?p=6553>

PART B

Biomimicry Biomimicry stands out as one of the most interesting and potential filled phenomenon in modern arhcitecture, it is also uniquely placed to be a powerful tool in the sustainability cause. Biomimimry can be understood to be â&#x20AC;&#x153;Innovation inspired by Nature; Which studies natureâ&#x20AC;&#x2122;s best ideas and then imitates these designs and processes to solve human problemsâ&#x20AC;? (Biomimicry institute ). This movement is in some ways a paradox as it is a relatively new frontier in practical application, and yet it is based on millions of years of evolution. Therefore despite its application in the construction industry is still developing, the principles on which it is based are stead fast in their efficiency and reliability. The idea of being able to harness already optimised systems is a great advantage to designers in quickly finding ideas without wasting time on trial and hypothesising. There is significant challenge involved however in successfully adapting these systems to the practical built form as they could never be perfectly replicated, rather their principles are interpreted into the built environment. This means that the structures have no need to aesthetically resemple those elements of nature, rather their functioning systems may be based on those found in nature. The great potential for biomimicry lies in helping find efficient ways of creating greater levels of sustainable structure, built processes and human behaviour. This is arguably the worlds most challenging problem across all scales of time and consequence, and it is incredibly exciting that bimomicry holds the potential it does to influence our built future in such a positive way.

Biomimicry precedent projects

VoltaDom 2007

The Morning Line 2008

Victoria College of the Arts 2001

Spanish Pavilion 2005

Maple Leaf Cannopy 2010

ITKE Research Pavilion 2011

ZA11 Pavilion 2011

Case Study 1.0 - Volta Dom iteration matrix

Selection Criteria for discussion In terms of selection and analysis of my exploration in manipulating the form of the Skylar Tibbits â&#x20AC;&#x2DC;VoltaDomâ&#x20AC;&#x2122; design, I would like to focus on the following principles:

Individuality The selected designs would need to each respresent individuality from each other and describe their own benefits in comparison to others.

Sympathy with biomimicy As I have selected biomimicry as my research stream, I would like my selected designs to be able to blend themselves to the processes and potential of biomimicry.

Buildability Selections would need to be reasonably feasible in their practical buildability and construction.

Visually striking/appealing I would like my selections to be aesthetically appealing and intreauging which attract peoples attention and inspires the mind.

Bold My selections must be iconic in nature and push the convention to represent revolutionary and individual design.

â&#x20AC;&#x153;This instllation by Skylar Tibbits also resembles a cell group that will multuply and grow in relationship of interdependance between cells, to build a solid render. As a selfreplicating system, adaptable to a given spaceâ&#x20AC;? - Archi20

election justification This selection interested me due to the way its elements overlap and interesect , which provides an amazing geometry which is applicable across a large spectrum of scale. Its curved, conelike facade gives it a softer feel which has a familiarity with naturally occuring land form such as mountain ranges. I also like the play between the consistent cone shape an the inconsistency of the arrangement in plan.

This design utilises a more common hexagon shape, however complicates itself through offsetting and repetition. I like this design as the offsetting creates interesting cavities and segregtion of place from what is a basic shape. The repetition of wall like structure also makes the design feel strong and stable by insulating the core with multiple perimeteres.

This design is very individual and strikes me as tall cathedral like pinacles. This form is also suitable across a large spectrum of scale from small scultutres to skyscraper. I like the juxtaposition between the subtle curvature at the base, and the jaggered drama of the pointed upper storey. This design reminds me of a growing plant or landform that relies on the strcuture of other elements at the bottom and then individually reaches out at the top.

This final selection is beautiful and intreaguing due to its complex circular form. Because of its constructional and material complexity, it is not common to use spheres in the built form which adds a novelty factor to this form. Mutiplied over and over, these spheres partly absorb each other which provides a sense of bonding and adhesion between the elements. I like the association of both the â&#x20AC;&#x2DC;infinite loopâ&#x20AC;&#x2122; and perfection of a spherical form. Light also plays very interestingly across the curvature of the fascade.

Speculation I feel this form would have a sympathetic relationship with its surrounds should it be placed on undulating topography. The slope and curve of the form would lend itself to biomimicry in such ways as water collection along the roof joins or solar harnessing on the multi fasceted roof cannopy. In terms of function this design could serve a large scale building well such as a large office building or sports stadium.

This form is practical from a construction point of view as flat fascades could be reasonably easily duplicated. I feel this iteration also provides interesting potential for the divison of space for a large building, and prescribing a circulating movement, both of which are consumate with a public gallery or office building typology.

Construction theory would suggest the line of repose of this building would allow for quite tall and stable bult form. The way in which individual cone elements are reaching up provide potential for interaction with wind or water as biomimic systems in the upper region. I feel this form could suit a large tower. Alternatively the narrative of aspiration, growth and stature of these cones could suit religious or educational architecture forms.

This final iteration would lend itself well to a large public building, not too disimiliar to AAMI Park stadium or Southern Cross Station in Melbourne. The circular forms would provide interesting challanges and potential to experiement with materiality, and integration of biomimic systems. Depending on the scale of the hypothesised built form, the side profile of the form would lend itself nicely to a streetscape with the curvatious ethos bringing a harmonising feel to the buildings integration wiht its environement.

Maple Leaf Cannopy United Visual Artists have created this fascinating installation which is both strikingly beautiful, and has intreaguing biomimic poetry. This 90 metre long cannopy suspended above the streetscape at the entry to a large tower mimics the effect and emotion of a person walking through dappled light in a forest (Design Playgrounds). This experience is created by a conglomerate of some clusters which allow transparency for day light to filter through, and at night time artificail particles of light are created which travel through the grid. The light particles navigate their path, and ultimately disappear based on the sweeping variability of energy across the structure (Design Playgrounds). â&#x20AC;&#x153;Mass production and precise fabricationâ&#x20AC;? (Design Playground) have alowed the grid to take the nonrepeating pattern it does, to further reflect the variable sequence of natures events and structures. Similar to so many experiences that nature can provide where humans emotions are awed with delight and fascination, walking through a forrests dappled light has been brought to a traditionally bland and concrete clad urban jungle. This glimpse of beauty amognst the juxtapositional environemnt serves to inspire those who experience it, and I feel there are few better judges of good architecture than one which is able to evoke the feelings and emotion that naturally accompany the afinity humans have for nature.

CONCEPTUALISATION 35

Re-engineering

Diagram of parametrics

Sketching it out

Similarities & Differences In comparison between my re-engineered version and the original several differences do exist, however I was very happy over all with the result. From the rectangualar surface boundary I used the veronoi component to try and achieve the â&#x20AC;&#x2DC;maple leafâ&#x20AC;&#x2122; shape which was fairly succesful, however my re-engineered leaves tend to be a bit wider and larger than the original. A further point is that the models are similar in that the surface of the leaves are multi-facted, however the original is much more uniform and consistent in the leaf surface pattern, whereas mine are highly variable and often result in cuts forming many angles across the surface. I managed to succesfully devise three cull patterns which each varied the angle of the raised corner, forming a tilted surface for a leaf. I then experimneted with different cull patterns to vary the three paterns across the whole of the design. This was quite successful and is consistent in theory with the original, however the actual tends to have clusters of leaves which tilt toward the centre forming a flower like form. The original also has patches where no leaves are and it remains flat, I was able to mimic this by using a cull function which left a simlar pattern of absence.

Potential This re-engineered design carries with it a lot of potential for furture development. Due to itâ&#x20AC;&#x2122;s multiple segments of different varitions it could be very interesting to take a portion of leaves and work with them on a smaller scale. This could also involve increasing and decreasing the scales of the varying leaves to create interesting forms and functional spaces. Although I have a natural afinity or order, sequence and repitition, I feel the â&#x20AC;&#x2DC;chaosâ&#x20AC;&#x2122; and irregularity of this structure is undeniable, and provides an interesting challenge for my design skills! I also feel there is potential to further analyse the topography of the site and try to either juxtapose or harmonise with it by varying the scale, size and angles of the leaves. I am a devout fan of green roofs which are a nice way of integrating to the site I would imagine to be building the leaves into the round and cladding parts with greenery.

Re-engineered iterations (B2)

This process of manipulation to create a matrix of iterations was an honest one which found sucesses and failures, as well as many dead-ends along the way! I tried to run with the designs which were proving interesting and taking form. I was able to manipulate the base surface geometry, vary the points, angles, heights etc of the cull patterns tilting the leaf surfaces. Probably the most effective manipulation tool for this design was adjusting the base voronoi pattern. This allowed me to control the number of leaves on the surface and mke interesting experiences with scale. The conjunction of all of these variables were combined, scaled and seperated to produce the many varied results.

Re-engineered iterations (B2) This example intreagues me due to its similarities to the form of a boat with large pointed sails. The momentous shape and extension into the sky would be inspiring from the ground plain. The significance of nautical form to the site is high given it is on the banks of a busy channel and boats dock at the site itself. Interesting shading and lighting could also be experiemented with these large fascades.

I chose this example as it looks like a beautiful structure with a smooth disposition. The long elongated leaf form captures my thoughts as it could be used as a graduated entry, a tunnel underground, a wayfinding tool or even just a curve which aids the harmonisation with the natural topography.

This example is probably one of the most daring outcomes. It is quite amazing due to its complex repitition with subtle offsetting which culminates in large ridges of shapes. This design is flawed in my view due to construction complexity, and functionality of space that would be possible within the building. It draws parallels with a skeleton or some form of shell.

This is likely to be more constructable and practical than others, however is does have a fair degree of complexity in the variation of its slopes and angles. I feel this design would lend itself very well to a cannopy covering a large open space, or segregated rooms. The way in which the sloped surfaces vary seem to cancel each other out in a sense and leave quite an un-intrusive form which is quite beautiful to look at. It also holds more true to the original leaf idea than many results.

Materialisation

I have always enjoyed the model making process and feel it is a very valuable way of experimenting with form. In this case I first wanted to explore the shape of one cluster of ‘leaves’. I used thin card which I scored and bent to form the panelled surfaces and shaped them into place. I found that despite me cutting them different sizes, when put together they look quite similar in size which suggests if I want to achieve a visual difference in scale I must use large differences to make it clear. Light cast an interesting shaddow on the underside of the canopy, and I discovered that due to the elongated and pointed form, much natural light enters underneath making that space quite plesant and useable. I experimented with texture by using fake grass to clad two of the leaves and make it match the ground plain. This form of disguise was evident and I really see the potential to blend the ground plain and a leaf surfce that people can walk on. The model accentuated the ‘camouflage’ I had created. The alternating orientation of the leaves on the ground produced and interesting shape which I quite like, however would change when I experiement further with the scaling up and down of some segments.

This model was designed to experiment with the placement of the clusters on the site as a whole. Working in Rhino it is difficult to get a feel or accurate perception of the scale of these creations in relation to the site. I tried a few different configurations but settled for now on the folowing which allows one cluster to meet the jetty straight away, and the others to be placed as stopping points along the journey into the town. I would like my design to facilitate a cultural transition from first arrival, and then into the town. Like an adjustment faze to aclimatise into the new surrounds with extremily interesting history and present day opportunities to explore. I also experiemented with the idea of how to direct the flow of people around the site and particularly between these clusters. I devised a shallow trench which would be a subtle sculpting of a track through the land form from one cluster to another. I feel this is a subtle yet effective wayfinding measure topography can control movement very effectively without creating unwanted and intrusive extra infrastructure.

Experiementing with solar behaviour

When testing the solar behaviour, the plastic surfaces acted like mirrors to relfect the light from their surfaces. It was often hard to determine where the focus of this refelected light was bouncing too, however the sides of the light box provided some indication. It did seem that depending on the variable light source only ever some panels where in full reflection, meaning that in order to achieve intense solar exposure the light focus must be quite focussed on the specific surface.

This image highlights one key finding is that when panels were positioned close to and even leaning on each other, light reflection was most evident. This is because they are bouncing the light off each other. Therefore in my design I feel it will be important to position the panels closely together to maximise their reflection from one to another.

One further point I noted was that when the light source was further away the edges of the panels seemed to catch the light far more than the middle of the panels. This concept will require more understanding and exploration, however could provide opportunities to harness or illuminate from the edges of the panels. This concept is simlar to that of modern LED lighting.

Learning objectives From the outset of Part B, I was a little aprehensive about the heavy ‘computational’ focus this section would have as I am still learning grasshopper and don’t feel as strong in this area. I feel that there are several ways to try and make this section more meaningful and productive by continuing to develop my grasshoppr and Rhino skills. These include seeking help from my tutor when I get stuck, attending the help sessions, and investing time in the online reasources such as video tutorials. This section also brought with it the conceptulisation of designing an actual building which always helps as a designer to be able to visualise and experiment rather than getting caught up in precedent research or more analytical tasks. I really hope to be able to use this design experiemntation as a motivation to excel my computational skills. I feel in previous design studios my designs tend to be more practical and ‘sensible’ after I have sometimes got caught up in constraints of construction, cost, use etc. However this subject has a larger degree of flexibility and opportunity to pursue good design without these restrictive paramateres. Therefore I think it will be a good chance to push my design skills and thinking to produce a design that is likely to not be possible in future studios. Finally, I also want to make a real effort to understand the site. I feel the site can always unlock vital clues to inform a design by allowing the designer greater opportunity to harmonise with the environment, and exploit certain opportunities.

Learning outcomes After completing this section I feel I have learnt a great deal by reflecting on how I was feeling at the start of week 4. The second task of re-engineering our case study building was by far the most beneficial for me in the course thus far. At one stage I was getting a bit nervous as I was finding it difficult to find the most appropriate tools to create the design. After consulting my tutor, using many online learning resources and extensive trial and error I had a break through and started to achieve a reasonable interpretaton of the structure. This process helped my computational confidence in Grasshopper and Rhino as I feel I had worked it out myself, rather than just following step by step instructions for the introductory first few weeks. In terms of my design, I feel there is a lot of potential, and the varied and complex form of the Maple Leaf Canopy provides a lot of scope for creative design development over some others. I have trialed and modelled the notions of taking small cluster formations and scaling them right up to form inhabitable structures on the site. However There is a lot more room for the manipulation of scale between the elements themselves. I have made an effort to research the LAGI site through their online website and resources, as well as interacting with both students and LMS material to gain an understanding of its constraints and opportunities. I hope I have started to explore how these could be used such as the flow of people from the boat dock to the town, or how the subtle undulations in the topography could be exacerbated to create an â&#x20AC;&#x2DC;earthyâ&#x20AC;&#x2122; instalation on the ground. Therefore I would say my key learnings for this process has been that exposing myself to as many, and as varied learning tools is the best way to accumulate skills and knowledge regarding the programs that are so important to this unit. I also acknowledge the break away from following instructions and putting in enough time and practice to solve computational challenges myself is a key to becoming confident in this unit.

Bibliography Archi 20, 2007, ‘Volta Dom’, http://arch2o.com/voltadom-byskylar-tibbits-skylar-tibbits/, accessed 20 September 2014. Arch-daily, 2013, ‘UVA Canopy’, http://ad009cdnb.archdaily. net/wp-content/uploads/2010/10/1286978134-uvacanopy--7-528x352.jpg, accessed 23 September 2014. Biomimicry Institute, www.biomimicry.net/about/ biomimicry38/institute/, accessed 12 September 2014. Biomimetric Architecture, ‘What is Biomimicry’, www. biomimetric-architecture.com/what-is-biomimetricarchitecture?’, Accessed 12 September 2014. Design Payground, ‘Maple leaf Canopy - UVA’, designplaygrounds.com/deviants/canopy-by-by-unitedvisual-architects, accessed 24 September 2014. Images ITKE Pavilion, http://www.dezeen.com/2011/10/31/ icditke-research-pavilion-at-the-university-ofstuttgart/, accessed 15 September 2014. Maple Leaf Canopy - http://designplaygrounds. com/deviants/canopy-by-by-united-visualartists/, accessed 15 September 2014. Maple Leaf Canopy, http://ad009cdnb.archdaily.net/ wp-content/uploads/2010/10/1286978134-uva-canopy-7-528x352.jpg, accessed 15 September 2014. Morning Line Pavilion - http://laeticiaknafou. blogspot.com.au, accessed 15 September 2014 Spanish Pavilion, http://www.bdonline.co.uk/tile-ofspain-awards/3140236.article, 15 September 2014. Volta Dom, http://www.evolo.us/wp-content/uploads/2011/11/ VoltaDom-1.jpg, Accessed 16 September 2014. Victorian College of the Arts, http://www.mvsarchitects. com.au/doku.php?id=home:projects:victorian_college_ of_the_arts, accessed 21 September 2014 ZA11 Pavilion, http://designplaygrounds.com/deviants/ clj02-za11-pavilion/, accessed 15 September 2014.

CONCEPTUALISATION 55

PART C

Introduction After considering feedback from my interim presentation, I felt the narrative and concept of my design was developing, however I needed to work on the translation of this concept into a buildable structure that was site specific. I had originally worked on having multiple smaller clusters of panels which were deliberately over scaled to create large spanning â&#x20AC;&#x2DC;wingsâ&#x20AC;&#x2122; protruding from a central pod. However the linkages between these three installations and the site sensitivity was lacking as they really could have been placed on any site rather than having a specific relationship with the topography and form. This led me back to grasshopper to manipulate my existing ,model and experiment with different ways the concept could be sculpted to suit the site. At this point I made some crude assumptions that these large rising planes would be clad in grass and vegetation allowing for pleasant and habitable areas. I would use glass panels to allow natural light in, and follow the chaotic and multifaceted natural pattern of a leaf.

A Danish girl in one of my other tutes who knew the site well, mentioned how busy the water traffic is through the area with many boats and cruise ships passing through. This conversation translated into me deciding a shipping terminal was a highly effective use of the site. I believe this usage allows for a site specific response to a practical requirement of the area. It will link the site well into the fabric of the local community and act as a cause to bring many people to, and interact with the design. Over the break I decided to go back to where it all began and try and formulate a new adaptation to my design that would achieve the form and proportion I wa s searching for.

Parametric development Through experimentation I analysed the way the Voronoi pattern extrudes its pattern in large extrapolations beyond the surface boundary. This revealed itself as an ideal way to maintain the ethos of the concept and pattern, but allow it to fit the site in a far more suitable and sculpted way. I found if I matched the surface shape to that of the Copenhagen site, my model could be easily scaled to fit within the boundary.

Finding precedence The next procees for developing this paramtric form into a resolved and realisable project was to look to precdence as to how accomplished designers have used materials, structure and form to create functional and successful architecture

Commonwealth Place Canberra 2005 I have always been impressed by Canberraâ&#x20AC;&#x2122;s Architecture, mostly due to the fact itâ&#x20AC;&#x2122;s projects attract more generous government funding than most! Politics aside, the Commonwealth Place project is a stand out for me as it challenges you to decide which is built architecture and which parts are just a grass mounds. I enjoy the way the lines are blurred between natural undulation and design intervention. This porject seem s to have achieved a lot and transformed a site into an adventure and fascinating walk without having tried too hard with materials or fancy form. It has done well to pick up topographic lines from the site and mimic them. I would like to adopt the way in which this porject spans across a large area, and uses subtle ground plane intervention to construct a meaningful experience. I also like the way this project allows and encourages people to walk and inhabit all levels of this site whether it be atop a crass mounds or along one of the concrete trenches.

TWA terminal JFK Airport 1962 This masterpiece by Saransen demonstrates not only immense and timeless beauty in its aesthetics, but also an amazing achievement in the efficient control and flow of people thr ough this structure. Being an airport the way in which people move though carefully sculptured pathways achieve a great deal of throughtraffic within quite a small building. Its beautiful extruding wings and cave-like concrete interior creates the epitome of beauty and function. I wish to learn from the way in which movement is controlled by the building, particularly as my design is a boat terminal and dealing with a similar travelling focus. I am also inspired by the way light is brought in through large glass panels and the sculpted effect of the concrte interior.

CONCEPTUALISATION

Woodruff Arts Centre Atlanta

This Arts Centre provides for a fascinating experiement as to how llight is captured and transported inside. As this is an exhibition space the control of light in the space is critical to the function of the building. I am particulalrly interested in the way the moulded â&#x20AC;&#x2DC;scoopsâ&#x20AC;&#x2122; capture and funnel the natural sunlight into the space. The experience of being in the exhbition space and looking up to the underside of the roof would be a particularly fascinating view.

Kaleidoscope Reykjavik

The Kaleidoscope building is playfull type of architecture which uses large amounts of glass to blur the lines between inside and out. It enhances this by using seemingly randomised framing patterns which focus and frame the views in interesting ways. I was drawn to this project as the pattern of the glass frames is similar to the one I have developed. The use of coloured panes of glass to create atmosphere and convey meaning is a key narative of my design.

Louvre Plaza - Paris

This iconic piece of world architecture gives a fantastic example of how glass can be used to transform space. The way in which I.M.Pei was able to create an underground plaza with huge amounts of natural light streaming in, yet allow the ground plane to experience relatively minimal built form is an ipressive feat.

Oslo Opera House - Tarald Lundevall

I really like the way the Oslo Opera House links to the water, in quite a similar way to the Copenhagen site does. It is also clever in the way it allows habitation of its roof by blending the ground plane and roof plane into useable space. This a very exciting way to interact with a building.

Maple Leaf Canopy United Visual Artists - 2010

I found it a very useful excercise to continually return to my original case study project as my understanding and interpretation of it continued to change and develop through the course of the design process. My final design concept incorporates many of the principles of the maple leaf canopy including utilising light, the basis of a leaf concept and chaotic clusters of panels.

The tectonics of this instilation is clever in that each of the panels is fastened from above in a concealed mannor and not with a conventional framing system. This gives the effect that the panels or â&#x20AC;&#x2DC;leavesâ&#x20AC;&#x2122; are floating or resting on one another.

CONCEPTUALISATION 69

CONCEPTUALISATION

Finalising the concept Leaves continually intreague me by their complexity and function. Through the design process I have begun to concentrate more on their structural tectonics. Leaves have developed, through evolution, an amazingly efficient form of load distribution which allows them to cantilever and maximise surface area whilst minimising weight.

The way in which water moves through these veins of the leaf structure is something I liken to people moving through the building. In this sense I am determined to design a place where motion is efficient and fluid.

A on ca pa

Biomimicry

A an ta un th sh

Another key aspect of leaves functioning is the way in which light behaves n their surfaces when they interact with solar exposure. Not only do they antilever out to maximise their solar exposure, their intracte surface of anlling bounces light from one to another and harness this energy.

After a visit to the Systems Garden at University I experimented with many leaves nd found it particularly useful to invert the colorus on many photographs I had aken which gave an amazing view of the light playing on the surface which is nseen to the naked human eye. Particularly, this view provides insight into where he lightest and darkest areas of the leaf are, which changes dramaticlly with the hape of the leaf, and also the behaviour of light in a cluster or cannopy of leaves.

Light behaviour

The first model I produced was experiemental to test the parametric shape of the panels I had designed, and particularly test how light behaved when they were arranged in the chaotic arrangement forming a hypothetical fascade.

I found the light bounced and interacted from one panel to another, with a multiplying effect. The model also produced very interesting extruded shaddow patterns on the surrounding walls which would be interesting to use as a function of the interior areas.

CONCEPTUALISATION

CONCEPTUALISATION 77

Transformative experience

Gothic architecture is a sublime example of how ma create a transformative experience for the users. Du people were lay and couldnâ&#x20AC;&#x2122;t read or write so the mo communication was via the experience of being in w

I wish to draw an interpreted vision from the way in beauty and evoke awe-inspired emotions from the u

aterials, light and form can be used to uring the Gothic period the majority of ost effective means of ecclesiastical what was thought to be â&#x20AC;&#x2DC;heavenâ&#x20AC;&#x2122;.

which light, glass and form can be used to create user that conveys a meaning upon them.

Section plan

Sculpted landscape

Ship dock

Entry passage

Central cluster

Through passage

Cafe

This plan view explains how the building will function as an exchange for people arriving at the shipping dock on the water and entering into Refshaleoen.

The passages created within the parametric design mimic the structure of the veins of a leaf and funnel the commuters through as efficiently and smoothly as a leaf transports water.

As the patronage of this shipping terminal will see a high proportion of visitors, I intend to create spaces which progressively transition the people not only physically but psychologically also. This will be achieved by creating three zones which use subtle architectural gestures to suggest a narrative for each section. These three zones will also perform an echibition function allowing relevant history, information and meaning to be communicated via mixed multimedia.

Entry into Refshaleoen

Experiential Narrative

The past

The present

The future

As people move through the first passage zone they will experience greyscale glass tones with deliberatly smaller and densely scaled arrangement. This conveys the connotations of old world charm and nostalgia along with ‘Hawthorn scrub’ planted on the surface of this section which is found in the most historic and undisturbed regions of Copenhagen. The space will educate and inform the visitors of Copenhagen’s rich history.

Visitors will then reach the main central cluster of the design which will use subtle colour variation in the glass fascade tones as well a larger scale of patterning. Planted above will be the the colourful red clover which is the national flower of Denmark. These gestures convey the vibrancy and clarity of the present day. This zone will inform the visitors of what Copenhagen is like today, what its most important attributes and characteristics are in economic, arts and urban culture. There is also an opportunity to provide visitors with information as to the activities and highlights of the region they may like to experience on their stay. The final zone will use clear glass panelling in the facade and large scale pannelling to convey the clarity and large possibilitites of the future for Copenhagen. Planted here will be a community garden to foster community and social engagement with the site, and the notion of sustainable food production for the future. The exhibition space will inform visitors of Copenhagen’s exciting new frontiers in research and development as well as masterplanning and visionary policies that will shape the local regions growth and prosperity.

This image represents what the interior space might be like in one of the themed passages as commuters transit through the building. It is the intention that people experience the beautiful effects of glistening light from above and dappled reflected light patterns on the surrounding surfaces. This light will create an experience informed by the subtle design motifs and contribute to a holistic and multisensory interaction with the space.

This perspective image suggests how my design will fit into the site context. I invisage the space to allow for mixed use of vegetation cover and open areas for interaction and use by the local community as well as visitors to the area. People have a natural affinity toward the water and natural vegetation and I hope that my design will bring these natyral elements into a very accessible and useable place.

This Render shows how the cafe avenue would appear as a busy interchange for commuters and other users who can enjoy food and coffee fascilities with lush vegetation and a view to the water as well as easy access to the central zone of the terminal.

Workflow diagram

This diagram is intended to demonstrate the possible construction phases of the structure. As much of the site needs to be built up by massed earth, first the perimeters of the interior spaces and raised platforms need to be defined. Then the massing could begin to the South, and then the North, with allowances for the possible construction complications of the river bank. Then finally the roof covers for the interior passages and central cluster would follow. These sections are partly constructed of glass fascades meaning their load bearing capacity is far less and would need to be supported by the framework of the massed earth surrounds.

Tectonics & Sustainability

Translucent solar panels will be incorporated to the glass fascades on the panels angled toward the predominant solar exposure to the South (Northern Hemisphere). This energy will be used to power the terminal as well as being fed back into the local communities electricity grid.

The large angled and exposed planes of this design will be designed to funnell rain water off the surface, into channels and into embedded storage tanks. This further resembles that of a leafs natural function.

As the main feature of my design is the multifaceted glass fascades, the tectonic detail I have chosen to detail is the structural joins between these panels. as there are varying sizes of glass panels I have designed two forms of joinery depending on the size of the panels. For the larger pains of glass in the â&#x20AC;&#x2DC;futureâ&#x20AC;&#x2122; passage the stronger join will be required which is the one detailed on this page. It uses a bolt between two alluminium fasteners through a small hole in the glass. There are water tight seals as detailed due to the exposure to the elements on the water front. These circular aluminium fasteners could be used as solar cell transmitters to collect and convert the energy harnessed from the solar panels. Minimal gasketing would also be required to seal the join, however the main structural load would be taken by the aluminium join. I have decided to only use this detail on the larger panels not only for the extra strength required but also it is quite a bulky system particulalrly on smaller panels of glass which would deteriorate the aesthetics and visual effect of the glass instilation.

The second detail I have designed is for the smaller panels of the glass facades in the ‘entry ‘historical’ and central ‘present’ zones. This involves a more simplified gasketing system which will run around the rim of each glass panel creating a structurally supportive framework when multiplied across the fascade.

I have design the elements to be as uniform as possible to make the fabrication and instilation process more efficient and cost effective. The angle of the glass panels allows for a â&#x20AC;&#x2DC;cappingâ&#x20AC;&#x2122; piece to sit on top, which in turn creates a hollow void which can be used to house the necessary solar harnessing technology equipment which trasmitts the energy. This method of gasketing is very common in the market place which will ease the availability and cost of materials, as well as labourskills to produce, install and maintain.

Fabrication production

Learning objectives and outcomes

Objective 1. “Interrogat[ing] a brief” by considering the process of brief formation in the age of optio

I enjoyed researchinf the LAGI precedent examples and the LAGI deisgn competition. I thought it provide constraints. This subject has greatly increased my awareness of the power of computational architectur ease and efficiency. This power of mass production of options is changing the traditional brief process a variation which will in turn lead to a more considred and rigoured final design. I feel I experienced this in Particulalrly after the interim crit when I was searching for a better way to fit the designt ot he site, I was Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation”

algorithmic design and parametric modelling with their intrinsic capacities for extensive design-spa

This unit has been a fantastic way to learn tools and theories on how to efficiently mass produce option made a available, the higher the probability of having a better option in the mix. I found myself exploing t to manipulate different parameters to achieve varied outcomes. Many of these outcomes were surprisin specific constraints such as the Copenhagen site where the possibilities of outcomes were constrained Objective 3. Developing “skills in various three- dimensional media” and specifically in computation

Coming into this subject I had relative inexperience with high level rendering using formal rendering prog area have developed a lot considering where I was at the begining of the semester by encourgaing the le had to learn them by self teaching however I found talking to other students in class and utilising the lea breaking through the difficulties I encountered. I feel I have made a considerable effort to engage, with t classmates and my tutor and undertaking significant self guided learning to become more confidant wit Objective 4. Developing “an understanding of relationships between architecture and air” through in

I have really enjoyed going through the design process this time around as the integration of the comput found my narrative and design intention developed quite late in the process and was still being refinied a considerably with a deeper understanding of what I wanted my design to mean and achieve. This encou perspective. I feel the site chocie lends itself very well to using air as a focus of design. I wanted to embr extensive use of glass allowing natural light to filter in also speaks of open plan and having vision to the

Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and of rigorous and persuasive arguments informed by the contemporary architectural discourse.

I feel I was initially quite vague about the meaning of my proposal and the narrative I wanted to achieve. rather than the traditional process of theory leading to fabrication. I felt my proposal strengthened enorm features to really embed the design into the fabric of the site. I feel my overarching themes for this prjec community will interact with. I believe these two themes are the most important in the modern architect

oneering enabled by digital technologies;

es a unique forum for the sharing of ideas which may otherwise be embarassed by real world re, particularly in the sense of generating multiple possible solutions and design with great as the client and architect are able to visualise an exponential amount of possible design n my own design process by being abel to quickly formulate many different design variations. s able to quickly manipluate my existing definition to produce a plethora of options. by introducing visual programming,

ace exploration;

ns. It is true to say better architectural decisions are those informed by options, as the more options this objective extensively when completing the excercises earlier int he course where I was learning ngly daring and flamboyant compared to the original. This understanding then began to tailor itself to by the site shape and topography etc, however still provided enormous potential for exploration. al geometry, parametric modelling, analytic diagramming and digital fabrication;

grams and use of the Fab Lab for fabrication. I feel my skills in this earning of these mediums. I often felt lost with the programs having arning material made available by the course generally effective in the learnign resources, the programs themselves, seeking help from th these tools for representation and fabrication. terrogation of design proposal as physical models in atmosphere;

tational tools with the traditional design process has made for a more complex result. I after the interim crit, so it was particulalrly interesting o go back and change my design quite uraged me to consider not only my own definition but more precedence in a new light, and fresh race air by creating an â&#x20AC;&#x2DC;open airâ&#x20AC;&#x2122; type formation which has a completely exposed top layer. The sky, particulalrly the glass roof panneling which blurs the lines between inside and outside.

d encouraging construction

I felt the parametric manipulation allowed me to explore different ways of representation and meaning, mously when I began to research the site and context itself which allowed me to incorporate design ct were the use of biomimicry to achieve considerable sustainability and to create a space that the tural discourse moving forward and I hope to have e,braced them wholeheartedly in my proposal.

Reflection On overal reflection, I feel I have achieved a great deal when considering where I was coming into the course. At time I felt daunted when learning Grasshopper and manipulating paramtric design for the first time, particulalrly as I have never considered IT to be a remarkable skill set of mine. However with each small breakthrough I feel I developed confidence in this form of design and was able to explore the design process more thouroughly as a consequence. I really do see the practical application and relevance of paramtric design in modern architecture going forward, and am glad to have had the opportunity to understand and trial this design approach. I am proud of my final design as I feel was born from, and fundamentally based on paramtric experimentation, and then slowly morphed itself into a realisable form with the application of more traditional design theory. This has been a fanatstic example how the powerful combination of parametric deisgn tools used within a design process. I hope my design is recognised for embracing the use of parametric design in the modern design process.

CONCEPTUALISATION 105

References Photos Preservation Nation, 2007 - TWA terminal. Accessed 25 October 2014. Available at: <http://www. preservationnation.org/assets/photos-images/issues/11most-endangered/twa_terminal_at_jfk.jpg> Untappedcities, 2009 - TWA terminal. Accessed 25 October 2014. Available at: <http://untappedcities. com/wp-content/uploads/2013/11/TWA-TerminalJFK-Airport-NYC-1964-Untapped-Cities.jpg> Wikiarquitectura 2014 - TWA terminal. Accessed 25 Occtober 2014. Available at :<http://en.wikiarquitectura. com/index.php/TWA_Terminal_at_JFK_airport> http://upload.wikimedia.org/wikipedia/commons/0/09/ Commonwealth_Place_walkway.jpg Panoramio Pictures 2012. Accessed 26 October 2014. Available at: <http://static.panoramio. com/photos/large/23940227.jpg> Dusseldorf Galerie, 2014 - History. Accessed 26 October 2014. Avaialble at: <http://www. galeriedusseldorf.com.au/GDArtists/Honey/BH_ LoveIsBlind05/image/bh_loveisblind03.jpg> Photo-Dictionary - 2010, ‘Leaf Structurehttp://www.photodictionary.com/photofiles/list/2090/2735leaf_structure.jpg ‘Green Leaf close up’ - Accessd 27 October 2014. Available at: <http://images4.fanpop.com/image/photos/23100000/ Green-leaf-close-up-green-23162757-2560-1920.jpg> Pardonmy garden.com - Garden. Accessed 27 October 2014. Available at: <https://pardonmygarden.files. wordpress.com/2013/04/garden-04-21-13-026.jpg>