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ALEXANDRA MCRAE 761558 2016 STUDIO: WEDNESDAY 9AM-12PM
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Hi, my name is Alex and i am currently in my second year of the Bachelor of environments and the University of Melbourne. I am from rural NSW and have moved down to Melbourne with the aspiration of becoming an architect. Studio Air has been the most challenging subject I have completed to date but it has also been rewarding in the sense that I have gained basic parametric design skills that can be built upon to enhance my employability in the future. I find the nature of grasshopper as a program to be extremley exciting in terms of the originally inconceivable outputs it can produce.
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TABLE OF CONTENTS PART A. CONCEPTUALISATION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX
PART B. CRITERIA DESIGN B.1. RESEARCH FIELDS B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPES B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.8. APPENDIX
PART C. DETAILED DESIGN C.1. DESIGN CONCEPT C.2. TECTONIC ELEMENTS AND PROTOTYPES C.3. FINAL DETAIL MODEL C.4. LEARNING OBJECTIVES AND OUTCOMES
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PART CONCEPTUALISATION
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A.1. DESIGN FUTURING A.1.1 One Main
Decoi architect’s One Main is designed with the fundamental premise of replacing typical industrial elements, with digitally crafted timber. The substitution results in spatial simplification and seamlessness. Such a concept has contributed to architectural ideas, workflows and patterns of living in the sense that it results in the reduction of visual noise. It is revolutionary in the sense that it aims to create a streamlined, minimal space for the purpose of a reduced carbon footprint.
The designs plastic control of space is a result of a high degree of computative prefabrication. The fact that such a project has been built has the consequences of a significant sense of appreciation for such meticulous design. Such a concept can without a doubt be refined in future projects; the tenet of minimising industrial elements and rather, creating one undulating space surely is a probable pathway to sustainable design.
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A.1. DESIGN FUTURING A.1.2 DAL Canopy Design
Digital Architecture Lab’s DAL Canopy design has the primary function of a shelter. The use of parametric design and has allowed for the creation of a flat folded surface that is made to fit a specified volumetric constraint. Made up of a series of panels, the surface conjures the notion of biomimicry in the sense that one cellular unit with the same function is replicated to produce a larger, more complex unit. Whilst the form has been built, there is a loose fit between it and its purpose of providing ‘shelter’.
However in terms of looking at the development of such an idea in the future, the simple structure could be applied to many different purposes. What is advantageous is its malleable form especially considering its usage of plywood since timber does not conventionally exhibit such a quality. This design is essentially an exercise in computation and parametric design, advantageous in that its application potential in the future will expand as does its purpose.
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A.2. DESIGN COMPUTATION The logic of algorithm is fundamental today’s epoch of computative design. Computing influences the design process in the sense that possibility for form generation has expanded exponentially with the evolution ofWWparametric design. By changing the values of parameters in designs, geometric relationships are altered and a myriad of variables are constructed, that originally may not have been consciously thought of by the designer. This branch of evolution in design has therefore opened up endless and possibly unconceivable design potentials that will only further the process of redesigning practise in the future.
potentials that will only further the process of redesigning practise in the future. Preceding architectural theory in the west has often been influenced by classicism; such philosophy itself was governed by the strict geometrical rules, symmetry and axial planning. The evolution of technology and thought of coarse has revolutionised architectural theory many times over. Parametric design though is also governed by geometry and mathematical equations. This results in the output of form that is not necessarily conceived directly from the mind of the designer.
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A.3. COMPOSITION/GENERATION A.3.1 Louis Vuitton Foundation for Creation Frank Gehry’s Louis Vuitton Foundation for Creation is an exercise in curvilinear parametricism. Its avoidance of corners and right angles is visually denotative of its generative nature. Such a practice therefore has infinitely altered not only the design process but the output of architecture in how t is engineered and its appearance. Whilst such forms are often harshly critiqued for being too ‘alien’ or lacking historism, evolution has to occur and this is a new way forward that can be refined and improved to revolutionise design. Gehry’s design proves that computative generation allows for idiosyncratic plans rather than mass standardisation. The foundation for cretaion demonstrates the difference between computerization and computation in
that the whole de sign has been generated using software rather than hand designed and then translated into CAD in an austere manner.
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A.4. CONCLUSION After exploring the concept of biomimicry design I have come to realise its future potential for counteracting the defuturing nature of unsustainability. However at present the concept is overused and applicable in accuracy only to the final output of architectural design. The concept presents much potential with success that will only come with refinement
and time. I hope that in my own design process I can examine in depth how the basic unit blocks of life and there function;s can emblematically inform my conceptual work and computative algorithms. This idea however seems to popular in Studio Air so my endervour is to develop a concept that diverges down a differing path.
A.5. LEARNING OUTCOMES So far in this subject I have found the workload extremley intense and much more than any other subject i have taken. In order to maximise my chances of learning how to use grasshopper I have recently dropped a subject. I am prepared to put in many hours though because I can see that it is a worthwhile
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skill to have in the context of future employment prospects. Whilst I feel quite out of my depth I am excited to keep developing my skills and establish a concept for my final design. I plan on thinking about this now so I can develop, change and refine my idea in order to strengthen my architectural output.
A.6. APPENDIX
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A.6. APPENDIX
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PART CRITERIA DESIGN
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B.1. RESEARCH FIELD B.1.1. SEROUSSI PAVILION The Biothing Pavillion is a form generated through the implementation of electro-magnetic fields. From a series of simple points a complex relationship is formed between lines; the physcial relationship is dependant on polarity. What results is a very organic and organismlike form. To develop this parametric design concept into a functional and usable space ultimatley results in it being an excersize exploring what algorithms and 3D modelling can produce.
Despite the form looking quite artistic, it supports the idea that ornament should be a figure that emerges from material substrate. An expression that is generated through construction. Such a form of design has ultimtaley changed the way in which drafting is produced; the blueprints for the pavillion are described by the company as beinh more art than specification.
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B.2. CASE STUDY 1.0 SEROUSSI PAVILION
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B.2. CASE STUDY 1.0 SEROUSSI PAVILION
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B.2. CASE STUDY 1.0 SEROUSSI PAVILION
The most successful iterations to have come out of my algorithm manipulations would have to be the later ones that include the spin force command. This component essentially creates a form that is reminiscent of microscopic cellular activity. The introduction of the arc polar command then generated a floral-type design through simply copying the original form multiple times in a radial fashion.
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Manipulation of the Seroussi pavilion algorithm proved to provide inspiration for my fina`l design in that I liked the idea of using such detailed line-work with polar relationships as a surface. The nodes or points in my iterations could be offset and studded inward in a concave manner if such a form was to be manipulated into a fashion garment.
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B.3. CASE STUDY 2.0 Foreign Office Architects - Spanish Pavilion
The Spanish Pavillion’s facade explores the dialogue between dominant world religions in the context of Spain. It is a reference to the hybridization of JewishChistian Cultures and in addition the interplay between Islamic and Christian architecture. The Lattice, a traditional architectural element in Spain reflects the fusion between the architectural styles that Christianity and Islam embody.
It also resonates with the Japanese concept of engawa, which is culturally appropriate due to the location of the pavillion. Six different hexagonal units are repeated in the facade adhering to the rule that they never repeat themselves. These units all have distinct colour and shape.
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B.3. CASE STUDY 2.0 Reverse Engineering Project
To reverse engineer the Spanish pavilion a hexagonal grid was first implemented which acts as the primary framework visible in the faรงade of the building. I selected individual hexagons in order to offset them. This therefore was a replication of the hexagons in the faรงade of the pavilion that are hollowed. The offset distance of the selected tiles can be changed concurrently using a slider and the clusters of offset tiles can be added to by copying and pasting the item and connected panel commands.
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The repetition of this hexagonal unit required offsetting in some areas. These offset tiles, as seen in the diagram to the left, would be hollowed creating a perforation in the buildings skin. I had some difficulties with synthesizing a more organic style for the base units. The diagram below shows an attempt to remove symmetry and regularity from the hexagonal tiles. However, this is not necessarily an adequate solution as all of the tiles are still the same whereas in the Spannish pavillion there are six different types, ensuring that they never repeat themselves. A series of commands need to be developed for this to be extrapolated properly.
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B.4. TECHNIQUE: DEVELOPMENT Reverse Engineering Project
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In order to alter my reverse engineered project I originally implemented a cull pattern to generate an interesting sequence of the same base curve. Such sequences could be used to inform the design of my final garment.However the materiality would have to be carefully considered due to the fact that joints between each individual tile would be harder to engineer. The gaps whilst generating an interesting pattern would create a problem at the connection stage.
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B.4. TECHNIQUE: DEVELOPMENT Reverse Engineering Project
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These iterations involve the offset of the individual hexagons aswell as the use of a cull pattern. By offseting the base curve a level of complexity is added to the overall pattern. In addition it has increased the transperancy of the surface. The last iteration on this page is especially demonstrative of this and its materiality would be require different consideration than those of earlier iterations.
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B.4. TECHNIQUE: DEVELOPMENT Reverse Engineering Project
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In order to push the complexity of the original hexagonal grid I experimented with rotating the original to create an overlay. This resulted two dimensional surfaces with a sense of illusion. I then tried to create the same effect by using the kaliedescope component which can be seen in the the third iteration. With the default of five radial grids, the linework became to complex and not necessarily readable. Upon reflection I did not find this set of iterations to be of particular value. This is due to the fact that the algorithms lack a sense of resolve. In terms of materiality and tangibly constructing such a model, the process would be quite complex. However they provide a similarity to that of traditional islamic pattering. This can be seen through the examples provided above.
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B.4. TECHNIQUE: DEVELOPMENT Reverse Engineering Project
I also experimented with making the original grid more organic. This turned out to be valuable for my initial exploration in reverse engineering the pavillion as the hexagonal cells` on the buildings facade are skewed on an angle. In further exploration I will attempt to manipulate the individual cellular units to present individuality. The images on the right are microscopic photographs of cells which extrapolate how cells are organic in shape.
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B.4. TECHNIQUE: DEVELOPMENT Reverse Engineering Project
My final set of iterations involved extruding each individual polygon vertically in order to create a textured, 3 dimensional surface. I came to the conclusion that this is definitly a surface that can be used for my garment.
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B.5. TECHNIQUE: PROTOTYPES Materialisation: Fabrication and Assembly In order to experiment with materialisation and fabricaton I have lazer-cut hexagonal units. These were connected with using wire MDF rings. The images to the right show my attempt to extrude the hexagonal units in order to make the surface three-dimensional. This is something I want to work out in further fabri
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cation. I also need to look at how such a suface could be assembled. Whilst the lazer cutting and assembly of the grid was successfull, I will develop my explorations by manipulating the nature of the individual units so that there is variation in the ‘population’.
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B.6. TECHNIQUE: PROPOSAL Application to site
Merri Creek is a waterway that runs through the northern suburbs of Melbourne. Due to the fact that the creek is directly exposed to a metropolis, it requires particular attention in order to protect the water quality and inhabiting species. In making a garment that relates to the site I want to explore, or rather create awareness of species variety and variability and the major influence that Melbourne as a metropolis has on such an ecosystem.
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For this I aim to develop a base pattern that represents a ‘population’. This will be then manipulated to show that individual units or organisms can present variabilty within a species. A change in the base polygon (e.g. from a hexagon to a triangle) in the grid could also demonstrate the relationship and interdependence of different species in this ecosystem.
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B.6. TECHNIQUE: PROPOSAL Application to site
The singular units that can be seen on the right have been synthesised using a facet dome command which in turn is then made solid. The singular units demonstrate how individual organisms in a population possess variation. I would like to make such a characteristic more obvious through manipulation of my definition.
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Hence through creating a garnment with an array of similar but not the same base units, the design will focus on the compexities of species in the ecosystem of merri creek. Individual cellular units will be constructed of MDF and connected together using wire joint rings.
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B.7. LEARNING OBJECTIVES 1. Generate a variety of iterations in response to the first case study by altering the prexisiting definition and grafting in new components. 2. Use developed grasshopper knowledge to reverse engineer a project. 3. Think critically about how this project can evolve using further definitions. 4. Consider and experiment with materiality to inform grasshopper designing. 5. Examine the site and its context and work it into parametric design accordingly.
B.8. APPENDIX
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REFERENCE LIST Images in order of placement: Figure 1 and 2: Decoi, One Main (Stokholm) <http://www.decoi-architects. org/2011/10/onemain/> Figure 3 and 4: DAL Canopy Design, Digital Architectural Lab (Hunan, China) < http:// www.archdaily.com/165298/dal-canopydesign-digital-architectural-lab> Figure 5 and 6: Dongdaemun Design Plaza, Zaha Hadid Architects (South Korea) < http://www.archdaily.com/489604/dongdaemun-design-plaza-zaha-hadid-architects>. Figure 7 and 8: Arch20, Louis-Vuitton Foundation for Creation, (France: Paris) < http:// www.arch2o.com/louis-vuitton-foundation-for-creation-frank-gehry/>
Figure 9 and 10: Slidershare, Foreign Office Architects, Spanish Pavillion, (United States: New York) < http://www.slideshare. net/kappa2007/spanish-pavilion-expo2005-haiki-aichi-japan> Figure 11: Building.co.UK, The Tiles of Spain Awards (Britain: London) < http:// w w w. b u i l d i n g . c o. u k / t i l e - o f - s p a i n awards/3140236.article> Figure 12 and 13: Pinterest, Cellular image (United Stages: New York) < https:// au.pinterest.com/carlynclark/motifs-patterns-microscopic/>
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PART DETAILED DESIGN
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C.1. DESIGN CONCEPT
DESIGN DEVELOPMENT AND CONNECTION TO SITE
Design development from part B to C changed dramatically with the introduction of a group. As a group we adopted a continuation approach mainly from Hollyâ&#x20AC;&#x2122;s part B assignment. The basics of this design involved populating a surface with speres that were then faceted and trimmed to create an armour-like cape. In order to develop the technique we will focus on controlling both the scale of the spheres and the scale of the facets that make up the spheres. In addition we have talked about the idea of surface design. We will investigate both image sampling and islamic patterning for surface design. Part of our inspiration for out final design was the work of Iris Van Herpen, a dutch fashion designer working in geometric and parametric design.Through looking at her work we started to look at circle patterning but the other two group members decided it would be best to diverge away from this definition.
In terms of the site we had a clear idea that we wanted to explore the notion of macro to micro in terms of scale in the ecosystem of merri creek. The site is a facilitator of biodiversity- from algae to small animals- it harbours an array of biotic organisms. This is made more valuable by its metrpolitan surroundings which inevitably are detrimental to the health of such an ecosystem and catalyse fragility. The design of our garment will promote appreciation for, and emphasise the nature of a population or species in that each face or singular unit will be individual and be one of many defined by genetics and environmental factors. It is important to extrapolate however that we found it illegitimate to try and tie our design into ideas regarding environmental sustainability and conservation purely because it would be hypocritical considering our material choices of Perspex and plastic cable ties.
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C.1. DESIGN CONCEPT DESIGN DEFINITION
We started the algorithm by creating a base cape, or rather a lofted surface. This was referenced into grasshopper as geometry. We divided the surface into points which were then treated with a cull pattern. We divided the algorithm into two seperate parts that contained two different sets of points. These points were each populated with a sphere (see figure one) that are scaled using a point field. The spheres were then faceted (see figure two).
Figure 1
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Finally we trimmed the faceted spheres on their undersides so that the side that sits on the body is flat. The process of creating the algorithm became complicated in the sense that trimming made the file crash. We envisaged adding surface design to the larger facets. When we projected it onto the garment however the file again crashed and as we were close to the deadline of submission we omitted it from our design.
Figure 2
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C.1. DESIGN CONCEPT SURFACE DESIGN
In order to add more detail to the design we looked at incorperating surface design onto the bigger spheres. We downloaded an islamic patterning file which consisted of a geometric pattern that transitioned into differing polygon patterns as it progressed in the x-direction.
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This would have been etched into the the facets to provide extra detail. This would have worked well considering our material choice of perspex. In order to embedd the surface design into the faces we projected the two dimensional pattern onto the brep (the garment).
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C.1. DESIGN CONCEPT SURFACE DESIGN
The image at the bottom is the two dimensional pattern used to project ont the garment. The algorithm used to create this was downloaded and refererenced into grasshopper as a surface. We projected the surface onto the brep in the Y-direction.
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The design worked well with the variability of scale in our garment. It would emphasize this change in the sie of the spheres and, in terms of site and concept, represent how larger organisms in an ecosystem are always more complex .
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C.1. DESIGN CONCEPT CONSTRUCTION PROCESS
The definition below and to the left represents how we unrolled the 3D model in rhino in order for it to be sent to the fablab for laser cutting. The above flow chart represents our construction process. We each had a group of spheres to construct and when this was completed they were assembled together.
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C.2. TECTONIC ELEMENTS & PROTOTYPES CIRCLE PACKING
Our original design idea was to create a cape with protruding shperical shapes using a circle packing algoithm. However we ruled this idea out due to the fact that there would be to many faces and and therefore construction would be too hard.
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C.2. TECTONIC ELEMENTS & PROTOTYPES FACETED SPHERES
For our construction prototype we chose three spheres from the garment. This was acheived by baking the brep and moving three of the trimmed surfaces. We referenced them back into grasshopper and unrolled the brep into a plane of each face. We labelled these and sent them to the fab lab.
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For construction we struggled with the thin offset holes for joints. The perspex kept snapping meaning there was no way to connect the faces together. Ther fore we used alot of sticky tape for the prototype. This mistake ensured that we altered our design to created thicker edges around each face in the final design.
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Each sphere consists of faces that, although all unique, fit together. Connected by cable ties that are cut at the base.
2mm thick transperant perspex laser cut pieces. Offset connection holes with min distance of 2mm.
Spheres are connected together again using cable ties. These joiners act in tension and compression allowing the garment to hold its three dimensional extruded form. 78
The inside of the garment is trimmed so that it sits flush on the wearer. Rigid geometric form acheived through tight cable tie connections 79
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C.3. FINAL DETAIL MODEL The final model is constructed of 2mm thick perspex which makes up approximatley 400 polygon faces. These faces have been assembled and joined using pink cable ties sourced from blackburn. The transperancy of the faces is an outcome that we are happy with as it adds emphasis to the connection details and creates a sense of delicacy despite the rigidity of the material.
The final form has been altered as originally the spheres were all the same size. However we decided to use a point field in order to create variety in scale. To further this variety we divided the brep into two, and made the spheres of the second brep (three spheres on the back and the two on the shoulders) significantly larger.
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C.3. FINAL DETAIL MODEL
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C.4. LEARNING OBJECTIVES AND OUTCOMES Part C of the Studio Air assignmet has resulted in acomplishing the objectives and outcome that are explicated in the course reader. In addition it has provided valuable skills in being able to work in a group environment; something that is valuable for professional practice. As a group we were able to resolve and mediate issues that arose through conflicting ideas. We were able to divide up the work well and set small goals along the way to reach the fabrication stage. In terms of the brief we resolved our design to conform with the idea of tectonics. The core construction element is a unit, that, although organic and varied in shape, is repeated to acheive the form of the garment. Our concept revolves around Merri Creek as an ecosystem. The design is reflective of a species or population, that exhibits variation.
The analogy also works on a smaller scale whereby cells- the basic unit of life- function together to form tissue that in turn makes up an organ and then an organ. The basic unit of our garment function together to form faceted spheres which in turn make up the garment. I have also acheived the objective of writing an alorithm that can be translated into a physical model. The Journal has allowed for process and progress reflection on my skills at grasshopper. I have developed my understanding of data structure in the particular application of parametric design. Through developing my programming skills my abil-
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REFERENCE LIST Images in order of placement: Figure 1: Map of metropolitan Melbourne (Melbourne)<http://www.mapmelbs. org/2011/10/near/> Figure 2, 3, 4 and 5: Pinterest, Islamic patterning (New York, US) < http://www.aPinterst-architectural-lab> Figure 6: Glass line, Iris Van Hepen (Netherlands) <http://www.aVan Herpen.Iris.. Fallshow.com>
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