architecture design studio: 541039 Edward Grutzner
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EXPRE SSION OF INT EREST 2
... should provide an entry statement and arrival experience... ... should create a focal point of iconic scale and presence... encouraging a sense of pride with in the local community...
... should propose new, inspiring and brave ideas, to generate a new discourse...
part a: case for innovation 3
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y name is Edward Grutzner but Ed works just fine. Having lived my whole life in Melbourne, a post-school transition to the University of Melbourne seemed both appropriate and convenient. My specific interests in architecture are by no means uniform or consistent. I have always had a passion for works of civil engineering and for some unexplained reason I am interested in the architecture and design of infrastructure ranging from airports and bridges to trains and tunnels. I have been fortunate enough to have experience travelling with my family, most recenty to Chicago, Pennsylvania and San Francisco where I experienced Fallingwater and a number of other Frank Lloyd Wright works as well as the architectural marvels found across these cities. The notion of parametric design is somewhat intimidating to me as I have always been used to working with right angles, straight edges and basic 3D programs such as Sketchup. Having only been using Rhino for a number of weeks, I am however very interested in learning how to use the powerful tools it offers.
A neo-gothic inspired skyscraper I designed based on the works of Hugh Ferriss
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aving used Sketchup for many years, blind to the power of other CAD programs I have designed many things. My first proper project I created from start to finish was for my year 12 Vis Comm project; a new air traffic control tower for Melbourne Airport. Since, I have been playing around with Sketchup but now I look forward to using Rhino.
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his is an example of my work from the subject Architecture Design Studio: Earth in second year. My knowledge and experience in more professional CAD programs was still at that stage, somewhat undeveloped or null, however the subject did prove interesting and did help me gain a better understanding of architectural presentation.
architecture: as a discourse S
ince architecture became a profession around the 14th century as a result of advancements in the field of building design since there was such a need, it has been studied, discussed and thought about. Architecture naturally evolves over time due to shifting social paradigms, emerging technologies and resources amid a whole host of other factors; this process can be accelerated by architects of great significance who may bring something of their own to the proverbial drawing board. The Van Der Rohes, the Sullivans, the Lloyd-Wrights of history.
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rom its beginnings in vernacular architecture, the discipline’s evolution to modern standards has progressed somewhat exponentially in the last century, in part due to the world becoming a smaller place; intercontinental travel became accessible, wars spread professionals abroad, economies collapsed, the birth of the steel frame occurred and the advent appropriate technologies prompted more innovative thinking in regards to architecture.
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ince the dawn of the twentieth century, these changing architectural elements and shifting social attitudes regarding architecture as a whole have been major factors in shaping the discourse of architecture. Professionals are more likely to interpret and even notice works significant to the development of this architectural discourse, not to exclude an individual with a keen eye from that equation however.
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here appears to be a correlation between the aforementioned examples of social change and shifting ways of thinking in architecture. Most political reigns, fascist or otherwise, in the twentieth century have demonstrated changes in architectural thinking. The Italian Futurists of pre-WWI drew radical similarities between sociopolitical views and attitudes to architecture. The desire to tear down libraries and bring to fruition a society centred around dynamism, speed and violence is an example of a radical desire to universally send the architectural discourse on a distant tangent.
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architecture: as a discourse
he discourse of architecture can be described as its evolution, it’s progress shaped by natural, human and societal forces, all tied in with the views and attitudes of society in general. It is also the means by which architecture is communicated to society.
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n the last decade, parametric design has emerged as a prominent contender for the next major step in the discourse. It’s visually intriguing nature, sometimes overwhelming as it can be, is made possible by the emergence and progress of CAD capabilities. Works of parametric design are more often seen in large scale developments and
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small scale public sculptures or pavilions. Many examples of parametric design as a discourse, like many other facets of architecture, emerge from nature-based inspiration. The Beijing National Aquatics Centre - the Water Cube, for example came at a time when computing power was capable of modelling and realising the design. Examples of biomimicry become more and more evident with the rise of parametric design as a discourse; The similarities between some parametric design and the natural structures they are modelled on are somewhat more prominent than buildings and designs created before the rise of powerful CAD resources and algorithms.
precedent I T
he Yas Hotel is a 500-room complex, envisioned as a landmark architectural feature of the Yas Marina Development in Abu Dhabi as part of the Formula 1 circuit and was completed in 2009. Asymptote Architects had the task of designing the structure which would amalgamate a unique design with the geographical and social contexts of the location, resulting in a modern, asymmetrical and non-linear building capped with a spectacular curved glass and steel veil.
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ts distinctive parametric shell made up of 5,800 diamond shaped pivoting glass panels is associated with speed, given the accompanying Formula 1 raceway circuit and also touches on artistry and geometry tracing back to Islamic art from centuries past. The distinctive form of the glass-panel shell is characteristic of a parametric design; there are clearly a series of parameters that have been employed using CAD.
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he notion of architecture as a discourse is evident in the case of the Yas Hotel from the perspective of industry professionals and interested individuals through the ultra-modern design, sleek engineering techniques, curved forms associated with momentum and the links back to Islamic culture and forms. While the overall form of Yas Hotel is ultramodern in nature, and appears to contrast greatly to elements of traditional Middle-Eastern architectural discourse, it is the smaller elements of the building’s design, the social context and sleek design that contribute to the discourse; pushing boundaries the boundaries of architecture.
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he social context of this building is quite significant given its proximity to the Formula One track and thus great consideration has been given to its design. Part of the design process involved the conception of a futurist-inspired building hinting towards the historical significance of Islamic design motifs.
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precedent I
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precedent II T
he World Centre for Human Concerns was a design contemplated in 2002 for the site of the former World Trade Centre. The site naturally being culturally significant and socially delicate, the 430 metre building was proposed as a space for people of all cultures and the resulting design was one that sparked senses of unity, formation and continuity. The Geometry of the tower can be interpreted as a series of objects folding into one another, either in union or conflict, resulting in a uniform structure that is both one and many. The innate nature of “blobs” being ‘simultaneously detached and alien’, as described by Greg Lynn in his work Why Tectonics are Square and Topology is Groovy highlights that blobs are by nature, unable to fuse effectively with the traditional topology of traditional, tectonic architecture; just look at the RMIT building opposite the State Library. The World Centre for Human Concerns proposal however successfully manages to incorporate asymmetrical and non-linear elements into an overall form that is quite intriguing and unique.
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n interesting aspect of this design is the combination of the strong usage of parametrics and the time at which it was conceived. Eleven years can be considered a long period of time in regards to the evolving nature of modern ar-
chitectural discourse; this design in particular employs parametric qualities while still evoking an innovative and somewhat futuristic form. Parametric architecture as a discourse has seen a huge increase of interest in the last decade, particularly as CAD capabilities, 3D printing and more innovate engineering techniques become available. Not to mention the competitive streak of many Middle-Eastern royal individuals with
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precedent II
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ombined with the surge of social media and online interest, these factors have been quite significant in drawing attention to parametric design as a discipline, in the process prompting architects and enthusiasts around the word to explore new design techniques, make use of ground breaking 3D visualisation methods and resources and share their ideas.
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P
arametric Sketching is a new notion to me; the traditional thought regarding sketching always involved a pen and paper. Over the last few weeks, the slow process of training to become a Grasshopper master has been restricted by the process of becoming accustomed to Rhino. While the vast power that Grasshopper contains is for now, out of my grasp, I have gained a slight understanding of the tools and processes, which affect the “logic�.
sketching: in parametric P
erhaps the most intriguing aspect of using Grasshopper is the ability to modify the geometry in Rhino and Grasshopper would instantly update and display the changes. The use of the Points On command was quite interesting to play around with in that regard. This has been a very pleasant, if not confusing, change from the nowmundane capabilities of Sketchup.
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y first attempts at using Grasshopper have been documented through screen captures. The use of the Divide Length and the Scale NU tools were the significant in achieving the final outcome and the Box tool served as the creator of the physical objects, which were altered and placed with the former tools. I was very impressed with the powerful nature of Grasshopper. The interface, and how it links with Rhino is very logical; The use of layers in Rhino came in handy when I wanted to display the appropriate lines and guides.
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sketching: in parametric
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computation: in architecture
s the use of computers has increased exponentially over the last several decades, so has their creative power and significance for architects - their capacity to facilitate the visions of designers through complex mathematical processes and algorithms are becoming more and more important.
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lgorithmic architecture, parametric design, artificial architecture. These terms have really only emerged as a result of the computer. However mathematics in architecture is by no means a new concept; the Pantheon was conceived from the mathematical use of ratios to create architecture. Despite the reliance on computers to visually express algorithms and parameters as designed form, an architect must still be responsible for designing something; be it abstract
linear arrangements or complex facades. Computing power merely serves as the calculator if you will, allowing imagination to be expressed as something more logical and navigable than say, a sketch.
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here has been speculation that “CAD might conspire against creative thought by encouraging “fake” creativity”, a phrase quoted from Bryan Lawson in 1999. After fourteen years of shared ideas between architects, advancements in both computing power and creative expression, changing thoughts on architecture and global events, I’m sure Lawson would in some way appreciate how computers have allowed algorithmic architecture to prosper. If he took one look at the Disney Concert Hall, the Gherkin in London or even Fed Square, I’m sure he’d be able to appreciate the fine union between an architect and his /
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computation: in architecture her computer, like a soldier and his rifle.
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hile the notion of computation having potential to rob the discipline of architecture from its creativity is one to be considered, the huge benefits must too be considered. Some might argue that pre-19th century architecture is the same, in that much of it was drawn on from classical architecture. The notion of a precedent for modern parametric architecture is more obscure. There is no neo-parametricism or algorithmic revival movements. Not yet at least.
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omputation in architecture is a notion that will only see the link between the two forge even more while it’s a certainty that the traditional means of design such as the pen and paper will still be at the forefront of the design process computers are powerful tools for the 3D visualisation and production of designs.
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precedent I T
he rising significance of the computing capabilities of CAD programs has inevitably produced a greater output of buildings which can only be effectively designed through such a medium. While the creative element from an architect is a must, the example of the Museo Soumaya in Mexico City is a design formed through parametric modelling. Essentially the design in characteristed by two rhombus planes stacked on top of one another, one rotated at an angle of 45 degrees, depending on which facade is in question. Its internal ramps centered around a central void are reminiscent of the Guggenheim in New York. While quite simple in design intent and three dimensional form, the structure as a whole is quite compelling, attributed to it’s uniform cladding technique.
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hile the overall curved form of Museo Soumaya is relatively predictable and consistent, the fine detailing on the facade would have required fine attention to detail to ensure consistency and uniformity in the design stage. This structure most definitely could have been built plausibly however the implementation of computing techniques was no doubt a significant factor in its construction. In particular the engineering process would have been made a great deal more bearable by using computing power to assess required loads and general truss design.
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he design was intended as a uniform facade made up of hexagonal panels due to the building’s context; a private gallery does not require views hence the unique skin was practical and aesthetically pleasing.
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precedent I T
his working drawing, or initial sketch is a reminder of the limitations of computation in architecture. Before an idea is bound to construction drawings and renderings it of course must be imagined or communicated first. The lines on the surface of the sketch indicate the design intent; an essential cube, twisted along its axis with a series of different floor plates between. As mentioned earlier, this design could be conjured without the use of computing power however the current design is based on mathematical processes and algorithms, intended to be visually appeasing and harmonious.
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precedent II W
ith increasing computing power, more sophisticated display methods and the easy ability for architects to share ideas, CAD programs and plugins are destined to become more accessible. Grasshopper in particular appears to be making headlines with its powerful ability to comprehend inputs and display outputs, all while allowing the ability to alter the base geometry or input in Rhino without necessarily affecting the intention of Grasshopper’s logic; an evenly divided curve will hold true to its intent after changes are made to it, for instance.
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hese images all incorporate geometries that demonstrate the forces of physics: tension, compression and shearing. By expressing these universal phenomena as built form and employing the use of physics engines, one can gain more scope regarding the importance of computational power in the design process.
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ot only are such plugins available for pure design reasons. Another plugin called Kangaroo is intended as a physics engine that uses algorithms to simulate the behaviour of actual materials. Some of the work displayed in article 19B of the March / April issue of AD: The Innovation Imperative.
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precedent II S
oftware plugins such as Kangaroo are particularly useful for structural design of elements that undergo large deformations at rest state, for example structures that naturally sag. Structures such as the tensile membrane pictured below and to the right. With computing power such as this, the final design can better match the original design intent, and any changes can be made to the design to better predict the outcome.
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sketching: in parametric
ven after a week of experimenting with the nature of Grasshopper and its relationship with Rhino, I have gained a better understanding of using individual curves to drastically change the overall shape and intent of the geometry and logic in Grasshopper. I initially spent most of my time editing the control points to alter the sectional profile of the pavilion along its length. I then tried moving the actual sectional curves themselves at right angles to the pavilion which created a very different vibe.
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y altering a specific element of each cross section curve to an extent, it became possible to create rib patterns that had some kind of structure to it; not just a collection of random sections lofted together. The use of the PFrames tool gave the pavilion overall structural integrity, and gave it an aesthetic which conjured mental images of the Bird’s Nest stadium in Beijing.
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sketching: in parametric T
his specific parametric exercise, when compared to the previous one, gave me a lot more flexibility and more options to work with; the polar array basis for the sketch last week proved somewhat restrictive but the “sectional� nature of this week’s task proved more open-ended. The four images to the left demonstrate the processes of the shuffling the control points on the sectional curves and moving of the curves themselves 1: The starting point where the base control points form a vertical beginning; essentially everything is visible from above. 2: I brought the base control points away from the centre, resulting in a skewed section with a large concave slope leading into the ground. 3. I began to bring the base control points in at the beginning, middle and end thus the base is brought inwards at certain points. 4. I extended the aforementioned thinking, whereby the base is narrower than the middle sections.
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sketching: in parametric (additional)
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ollowing my more successful attempts in week two’s parametric sketching I was keen to continue based on the previous exercise. This pavilion is based on the same idea except for the overall shape of the design. Following the Fibonacci curve sequence found in shells, I conducted a 2 rail sweep in Grasshopper and followed the same basic steps to create the profiles and sections needed to enclose the space.
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like this model due to the highly irregular nature of the cross section curves which rotate and meander across the lofted face of the pavilion. The use of the PFrames tool was the main component that allowed the design to take shape but it is essentially a lofted surface to begin with.
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sketching: in parametric (additional)
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parametric design T
hus far throughout this journal, parametric design has been referred to and considered quite a bit but not yet has it been considered explicitly as a style. A style of architectural design can be described as design and construction methods specific to a type of building that make it unique from other styles.
The Hagia Sophia in Instanbul is a in the Byzantine style of architecture; its design motifs are distinctive, characterising it in this style.
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ike any other style of architecture, parametric design has come to fruition over the last half century or so, but has really flourished in the last decade and emerged as a style - distinctive waveforms, clear algorithmic parameters and a modern aesthetic are distinctive of this type.
The BP Pedestrian Bridge in Millenium Park, Chicago is a piece by Frank Gehry, has all the features common in parametric architecture.
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ith the emergence of more accessible, powerful computing tools in architecture, which have previously been elaborated on, parametric design can become more algorithmic, adhering better to mathematical shapes and form while allowing the engineering techniques to be foreseen and carried out methodically.
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arametric systems have been defined by Hoffmann and Joan-Arinyo in their 2005 paper A Brief on Constraint Solving by their approach to constraint solving and design implications, with links in graph-based approaches. One of parametricism’s most intriguing notions as a style is that it “offers a credible, sustainable answer to the crisis of modernism that resulted in 25 years of stylistic searching� in the words of Patrik Schumacher in his article Let the Style Wars Begin.
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parametric design P
arametricism has a number of quasi-precedents that emerged throughout the late 20th century including works under the styles of high-tech, radical functionalism, deconstructivism, post-modernism and ultra-modernism but parametric design is often distinguished by more free form, wave-esque patterns bounded by mathematical parameters. The image below is of a design of a prototypical pavilion surface from the AA School of Architecture, which shows the archetypal parameter-based surfacing structure found in parametric design.
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esselation, biomimicry, patterning and sectioning are common processes used in parametric design. This is the case because these sequences are often arranged in a manner whereby there can be a uniform change in the nature of the pattern across the surface of an object, really bringing out the parametric nature of it.
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precedent I P
erhaps one of the best ways to highlight the power of parametricism in architecture is to draw from examples whereby algorithms and automated processes are the only means of fulfilment, of course with an architect or designer sitting behind a screen to create it. One of the greatest examples of this to have emerged in the last few years has been the work of Michael Hansmeyer, who engages in a process of processes of folding simple geometric forms and platonic solids to create impossibly intricate shapes and patterns. After even a dozen or so sequences of this folding, millions of facets can be generated, forming intriguing and beautiful form.
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hat Hansmeyer’s work demonstrates is that through parametric scripting under the direction of an architect or CAD enthusiast, we can more realistically both create and perceive complex
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precedent I shapes, and with the rise and ease-of-access of 3D printing, we can now more easily bring these designs to life, obscuring the boundary between the virtual and the physical.
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o create these designs 50 years ago (assuming an extremely patient, creative architect was capable of foreseeing a finished design) it would take decades to complete. Through the amazing relationship between CAD and 3D printing, Hansmeyer has not only conceived, designed and bought to life this intricate design, but he has also bought to the attention of the design world the power of computers in design.
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precedent II T
he great thing about parametric design is it is not limited to building design. This type of design can be seen in all manner of designed and built form, often as sculpture. In the case of The Swarm, a piece conceived by Magnus Mรถschel from the architecture faculty at the Technical University of Munich, the sculpture is made up of an array of arrow-shaped templates intended to resemble a swarm of birds. Its parametric nature is manifested as a series of individual pieces of geometry, conforming to a curve. This parametric nature would be better expressed had the templates altered their shape from one end of the piece to the other, further visually expressing the parameters of the design.
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precedent II
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hat I like about this design, in relation to the Wyndham City Gateway Project, is that it’s a sculpture centred around a curved framework, one that could be comparable to a freeway art project that spans some distance. For the Gateway project, the design will be parametric in nature, and will most likely evolve in some way; the profile will change as it continues along the site. The templates in this sculpture are essentially the main components of the design, both structural and aesthetic in nature, they band together to create the overall sculpture. This notion of small things creating bigger things is an interesting concept in parametric design as it leaves a lot of room to play around with param-
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eters in Grasshopper. Templates can be stretched, twisted, rotateed or morphed and distorted. Unlike a static or uniform structure, parametric design should form wavelike curves and surfaces through changing of parameters.
sketching: in parametric
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his week’s parametric sketch was comprised of a series of three-dimensional shapes, sharp in appearance, intersecting with the intention of creating an origami-like structure. The use of Grasshopper was ideal for easily repositioning points to alter the overall geometry of the design. While my skill set in Grasshopper is still developing, I have faith that my proficiency in the field of fold-like commands will increase at an acceptable rate.
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sketching: in parametric
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conclusion: case for innovation
his design project is so much more than simply placing art alongside a freeway for people’s fleeting enjoyment. Architecture is not simply the design of a building or a sculpture, it is also a manifestation of society’s views and expectations of what design should be. With the rise of parametric design over the last decade, a shifting way of thinking about architecture is imminent and through architectural projects such as the one in question, we can have the opportunity to display these new thoughts of design, provoke intrigue and simply spruce up what can easily be considered a mundane viewscape. But why do we need architects for this task? That’s simple. Architecture, unlike engineering, landscape design or urban planning, is a profession that covers all scope of a design proposal. From initial client contact to evaluation, architects have the means, resources and innovative nature to bring projects like this to fruition.
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ver the last month or so being exposed to the computing capabilities of Rhino and Grasshopper, I have come to appreciate the notions of parametric design and algorithmic processes. Architecture for me was a field where mathematics was reserved for ratios and rules of thumb, but the use of parameters makes so much sense in modern architectural thought. The ability to change numbers around in Grasshopper’s logic, affecting the outcome of the geometry in Rhino is still quite an astounding notion coming from a Sketchup Background.
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he semester’s beginning for me was a time of right angles, straight lines and clean ratios. Now is the time of the curve, the blob and the wave. To learn this software with the demand for a project submission is to me both concerning and exciting.
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EXPRE SSION OF INT EREST 34
... should provide an entry statement and arrival experience... ... should create a focal point of iconic scale and presence... encouraging a sense of pride with in the local community...
... should propose new, inspiring and brave ideas, to generate a new discourse...
part b: design approach
design focus Since we last spoke...
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icking up from where we last left off, what’s happened in terms of my broader knowledge? Has my skill set developed to a better standard? Has my understanding of this project and how to tackle it been honed in on? The simple answer is yes, but that doesn’t leave much room for creativity at all. The demanding nature of this project has a uniquely frustrating way of pressuring one to advance their skills and knowledge in the fields of computational proficiency, time management and creative expression. While frustrating in one sense, it really allows these abilities to flourish to the best of one’s ability in the face of pressing time constraints and expectations of standard.
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hile I by all means feel as though I’ve come to grips with the nature of parametric design, it’s painfully obvious I have merely scratched the surface of the vast capabilities of parametric design. Instead of thinking in terms of what I know and what I’ve come to learn relative to the endless possibilities offered by parametric design, I find it more reassuring to converge my attention on a certain style of parametric design, which is precisely what has happened these past few weeks. By selecting one of a number of research streams under the umbrella of parametric design, I have been able to de-clutter my head and set guidelines for what is expected of myself according to my own standards and that of my fellow group members.
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y focusing on one computational method for parametric design, we can as a group, conceptualise and realise a proposal through an intricate design process forged from initial concepts and conceived through a bevy of processes, both computational and physical.
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he computational method of our choosing is tessellation. This stream offers many advantages, the primary ones being scope for innovation, applicability for built form and the interchangeable possibilities between two and three dimensions, whether we decide to focus on panelisation, heterogenous or homogenous methods, complex element repetition or any number of notions of tessellation.
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ith these advantages though, come potential difficulties, however this will certainly provide us with the opportunity to expand design decisions and form solid ideas that persevere in the face of viable consequences; When we cook up our proposal, we will be certain that our design intent has prevailed over opportunities for drawbacks and restrictions to thrive.
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design focus T
essellation is traditionally defined as a form of planar tiling using geometric shapes without gaps or overlapping and it can be further broken down into regular, semi-regular and aperiodic tessellation. Given the current focus on parametric design, it is worth considering how this traditionally planar discipline can be applied to three-dimensional form, and with what degree of success and originality.
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or a job like the Wyndham City Gateway Project, the design intent centres around criteria such as intrigue, interest or simply aesthetics. We believe that in the context of parametric design, there is a great deal of scope to create tessellating forms as the basis of a proposal. By taking a simple concept of intersecting shapes and applying the parameters to some kind of base, we have the ability to adjust just about all the basic elements of Euclidean or non-Euclidean geometry to create something intriguing.
case study 1.0 V
oltadom, by Skylar Tibbits, employs relatively simple conical elements with oculi at the tips for light and view accessibility. As these cones intersect, they form a tessellation and allow a vaulted space to be traversed and when the correct internal lighting is applied, the material itself takes on an intriguing and original form, creating a unique space which would no doubt keep one’s eyes off the ground. Another interesting feature of Voltadom is the notion of front and back facing elements; something which has some significance in CAD programs. While tangible objects require thickness, this structure somewhat blurs this notion of inside and outside due to the stark intersecting points along its profile.
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he reason this project really stood out as a good basis for our research, is that it is a terrific case of applying tessellation, a traditionally two-dimensional application, to a doubly-curved vaulted surface. Even at this stage of the project, a tessellating formation applied to a threedimensional surface is an intriguing notion. Be it regular, semi-regular or aperiodic tessellation or any combination thereof, Voltadom sets a great point and case of what can be achieved in digital design, and in tangible form.
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o really understand the process behind Voltadom, we used the provided Grasshopper definition to explore this tessellation technique and through documentation we were able to provide a matricised exploration process that demonstrates our progress.
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matrix exploration
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case study 1.0 points
non-regular linear
regular linear
loft
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matrix exploration T
he beauty of any matrix is it’s simplicity. Rows and columns organised in a temporal manner are very effective at conveying processes of logical thinking. The initial steps taken in the design approach stage were these - By changing certain variables within parameters, we are able to document our progress for a single set of data but to progress further, we select a successful variation and expand on it, or allow it to become the basis for the next line of thinking.
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he starting point was to follow the thought of a point - line - plane - loft process. From one dimension to two to three. This logical thought process helps to maintain consistency and achieve a dimensional metamorphosis.
points
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he original Grasshopper file was based on a point system, generated from a populate 2D function. It was thought that I would continue to utilise points as the main basis for the file and to add some more intriguing element of parametric design I included the use of attractors to apply a macro pattern - essentially this process was more about the points than it was about what the points produced.
non-regular linear
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he next process took quite a leap. Before honing in on a decisive, logical linear basis for our points, we decided to link the notions of point and line in an extreme example whereby the corresponding points of each individual cone element don’t match up, resulting in nonregular cones that stretch across a much greater area. While this technique clearly doesn’t form a tessellation, it is consistent with our aim of achieving something different from the original product and it helps to visually demonstrate this relationship between the point and the line when using conical shapes.
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regular linear
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ollowing on from a rough linear thought basis, we went ahead with a more logical linear definition basis to form our tessellations. And what better way to follow a logical linear array than to use a spiral as the base curve? What we gathered from this technique was that depending on the number of points per curve, the overall resulting tessellation can be viewed as a logical inward spiral or a collection of apparently random intersecting shapes. Also depending on the size of the elements, a tessellation will only occur when all the shapes intersect with each other.
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loft
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rom the point we get the line, then the plane, then the loft. This third dimension changes everything. Our initial attempts to apply a series of cones to a lofted surface proved moderately futile, due to the uniform orientation of all cones regardless of position on the loft. We finally managed to orient the cones perpendicular to the points on the loft upon which they sat, which really gave life to the three-dimensional notion we were going for. The process of alteration was centred around using attractor points to alter the size of the cones based on a selected point. This process made good foundations for a process where size would be determined by position on the loft itself. This loft process proved the one with the most potential for alterations using existing parameters, as well as having the ability to make us of control points in three dimensions.
case study 2.0 A
t this point in the project our task, to attempt to reverse-engineer a case study project, must be undertaken. By exploiting the tools in Grasshopper we are able to define our own logic and apply it to our digital modelling. Regular baking of definitions into Rhino and a non-restrictive matrix progression are methods we used to visually convey our thought processes.
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hat stands out about the project EXOtique is, among other things, its contextual placement. Set up in the Architecture School at Ball State University in Indiana, it seems only fitting to implement a futuristic-looking parametric design in this setting. Another advantage of this case study is its ease of fabrication. As earlier discussed, a computational design is great, but to fabricate and assemble it is the true test. A series of planar panels combined to form a lofted surface makes transportation and assembly a relatively simple task, and cheap fabrication costs helps to bolster this. This strong characteristic of EXOtique is a quality we are attempting to replicate in our modelling process.
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XOtique’s surface protrusions and connections are interesting points of light penetration and appear to give the whole structure an interesting glow - this phenomenon occurred later during the prototyping stages with results similar to this.
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matrix exploration
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case study 2.0 one
two
three
four
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matrix exploration one
This design process is essentially a base progression. While our attempts were to reverse-engineer the original model, the consideration was to think about the boundaries of positive and negative space. This process, while still employing parameters, had less emphasis on excessive alterations and has a more consistent, uniform appearance.
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ur attempts to reverse-engineer the Projectione case study were in our opinions both novel and progressed. Being a relatively simple process, the Projectione example could have easily been achieved by creating a loft and applying a hexagonal grid pattern to it through the Lunchbox plugin but as this simple process would inevitably fail to communicate a process of guided thinking, we instead chose to inherit the basic principle of the Projectione pattern and warp the principles of positive and negative space.
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This iteration carried on from the first by exploiting point attractors which influence both the size and distribution of the hexagonal spaces. We feel as though this iteration demonstrated a greater understanding of attractors as a parameter as the hexagonal holes’ size variation is quite significant.
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he next step will be to consider further development of tessellating models. With a number of pre-case-study-2-considered fabrication techniques in mind, we will ensure to consider the point-line-plane-loft though process in our technique developments.
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o while we haven’t achieved a hexagonal panelling system on a loft, we have come up with a series of different panelling technique that make use of attractor points and curves, as well as differing panel shapes and positions.
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three
Expanding from our use of attractors, the next process involved the use of not points but curves to influence the hexagonal holes’ placement and size. We believe these curves gave a greater overall aesthetic to the panels, creating an advantage over points by linearising the distribution of points that dictate hole positioning.
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four
The result from the previous iteration was one we were quite satisfied with thus we applied this linear attraction technique to a new panel type. Instead of a two-way panel system that doesn’t flex, we made use of a more three-dimensional base, which is something we intended to achieve from the beginning, following on from a pointline-plane logic.
technique prototype I
t’s all well and good to conceptualise an original and creative parametric design, but for realworld application, it all comes down to fabrication. The first attempt at creating physical models laughed in the face of digital fabrication; we thought this design required the human touch.
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he basic concept is simple; by exploiting the natural angle of repose of a material, in this case plaster of Paris, we are able to deposit piles of the substance onto a base and periodically harden them with a light application of water. As the cones form and grow in size, they begin to intersect. As discussed, the tessellation itself is these intersections between cones, essentially a form of voronoi cells.
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he advantage of this fabrication method is its static, uni-body nature. Large scale fabrication techniques using this method would not require complex joinery or assembly; to employ this methodology to some sort of panelling or tiling technique, it would make for a relatively simply assembly. The nature of the material itself is like concrete; a cheap and universally available material whose self-binding nature makes it practical for prefabrication methods.
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his model, where applied to a finished proposal, has the potential to ignite intrigue in passers-by due to the double-edged nature of the sword that is tessellating cones. When viewed from front on without a great deal of influence from the effects of perspective, the overall form appears to be a simple voronoi tessellation with a central oculus or tip point, however as the surface itself has been extruded outward, a third dimension has been brought into the equation and travelling at 100km/h, the apparent warping nature of this model would be very interesting.
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ith the formwork and a 10mm base in place, the cone formation process can begin. By spreading the plaster over the perforated board, the cones originate and form at predictable points. Periodic water application to the cones hardens the outside edge, followed by more plaster application. The initial results were a little less inspiring than originally hoped, however this was easily fixed with a little attentiveness to detail and a pocket knife to trim the unwanted material.
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ith stage 1 completed and all the cones formed to the desired height, the surface was not entirely consistent in terms of smoothness or angle. The tips were culled where necessary and work began on scraping off the unwanted material to achieve a smoother looking surface. The final stage was to continue using a knife to fillet the surface right up to the point of intersection with adjacent cones. This was to achieve the sharp intersection - the primary aim of the model. The finished result was certainly more pleasing than it was before the formwork was removed (see above). By culling unwanted material, the overall surface was a pleasing result, with indications of that element of human touch.
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n additional brief test we conducted, also a plaster-based method, used the idea of individual moulds to create conical forms.
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here were of course issues with this method of model making. The primary one was to do with achieving a consistent texture throughout - the cones, being solid, were not cast as single entities but were formed through periodic deposition and hardening. The consequences of this limitation are illustrated in some of the images opposite. Despite these issues, the process itself was intriguing and surprisingly therapeutic, and the result was achieved to a standard with which we are satisfied.
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his technique was interesting but required the sacrifice of the clay formwork and seemed somewhat impractical to use on a larger scale, but we simply wanted to explore multiple avenues for fabrication techniques.
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The final model
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nother idea for fabrication was to use cutouts of a flexible material which would link together to create a three-dimensional surface. Card was the ideal choice for this modelling process. By unfolding tessellating elements in Grasshopper, it was a simple matter of tracing these individual cutouts and linking them together.
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he drawbacks of this method came primarily from the nature of the connections between cones. The seam on each cone was a blatant flaw that compromised the smooth surface consistency we were aiming for, but this issue created an unexpected phenomenon. Light easily penetrates these intersections and the conical oculi to create an interesting visual effect and utilising hollow cones combined with lighting techniques is something we will certainly consider for the final proposal.
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further prototypology W
hile the first exploration in the domain of physical models was successful in our opinions, we knew that further exploration was required. To really achieve a unique model that contains specific geometry, 3D printing was determined as the best way to create something very specific and detailed. While we concede that this method of fabrication could be considered somewhat of a cop-out, we must acknowledge the limitations of non-digital fabrication techniques outlined in the previous plaster-based model. As a result, we chose to explore the abilities of 3D printing and come up with a physical model that demonstrates a more specific case of our selected tessellation method.
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ttractor points were used to influence the size of the cones as well as their corresponding cap - this technique is not something we could have achieved practically had we chosen to stick with the original plaster technique. In a real wold application, 3D printing would certainly be nice to use due to its specificity but would no doubt have heavy financial implications.
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he result was very pleasing indeed. The printing quality achieved the level of detailed we hoped for and provided a tactile sensation.
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learning objectives, outcomes T
his process that has collectively made up the design approach stage has evolved from initial idea conceptions to a focus on emphasis to the design; not necessarily the finished product, but the core elements that will make up the proposal. Tessellation as a design concept has proved to be a very workable and broad discipline to explore. From initial Grasshopper logic that defines our design to a whole host of fabrication techniques both digital and manual, the learning process has been comprehensive.
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n-studio presentations were conducted and they proved a very useful tool to gain feedback and criticism. The professionalism of the setting is tied in nicely with the formal / informal communication methods and the result of this interaction provides solid grounding for work undertaken afterward. Feedback received from the panel during the presentations was helpful. It was stated that the actual purpose of the models must be better explained; the plaster model could have been anything thus it should be made more clear exactly what it is. While this is more of a visualisation critique, it is still necessary to take on board and work from there.
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he coalescence of the materials over the course of the fabrication process was praised, which we were glad to hear as this coming together of the individual elements was a key part of our fabrication process.
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he presentation was our first real opportunity to communicate our ideas to date and the feedback received has helped us to solidify our learning objectives and as a result, we are able to push on with a stronger sense of direction. In addition to verbal communication as a learning technique, other vessels of information have been key in our advancement.
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he theoretical learning components encountered in this stage of the journal have been useful in adding to our collective knowledge of architectural discourse, most prominently the case studies 1.0 and 2.0. This is because instead of simply observing, analysing and commenting on designs, we are immersed in the opportunity to interact with the definitions that create said designs.
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ith all this research, feedback and computational experience, we are confident we can press through to the final stages of the project and come up with an intriguing proposal for the Wyndham City Gateway Project.
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references Case Study 1.0
Voltadom by Skylar Tibbits
http://www.sjet.us/MIT_VOLTADOM.html images collected from the following: http://www10.aeccafe.com/blogs/arch-showcase/files/2012/06/RenderTest_031_edited.jpg http://www.suckerpunchdaily.com/wp-content/uploads/2011/04/volta-d.png http://www.sjet.us/PROJECTS/MIT_VOLTADOM/DSC_0331_Final_small.jpg Case Study 2.0
EXOtique by Projectione
http://www.projectione.com/exotique/ images collected from the following: http://www.flickr.com/photos/projectione/5550840931/ http://www.flickr.com/photos/projectione/5550839725/in/photostream/ http://www.flickr.com/photos/projectione/5550838885/in/photostream/
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PROP OSAL FOR SUBMI SSION 64
... should provide an entry statement and arrival experience... ... should create a focal point of iconic scale and presence... encouraging a sense of pride with in the local community...
... should propose new, inspiring and brave ideas, to generate a new discourse...
part c: gateway project 65
moving forward From where we last picked up...
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ince the submission for the previous section of this journal, we have done less dabbling around trying to come up with and stick to an idea, instead we have been attempting to focus our collective attention on a more specific idea; our group progression regarding this is explored throughout the upcoming pages.
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hroughout the first half of the semester, we were fairly certain our design would continue down the path of a solid formed through a pouring process. While this method had its advantages in terms of both design potential and fabrication possibilities, we acknowledged the drawbacks of this method. The angle of repose of our chosen materials was not always consistent with what we wanted our design to achieve, which in turn meant the angles of all cones would have to be identical. This fabrication technique meant we were only able to apply the material to a flat surface without exceeding our technical abilities which removed the avenue of a curved base surface on which to apply the cones and this method also required more material than necessary; there was no negative space within the cones which, in a real life application, would be costly and inefficient.
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hile we were certainly pleased with our research, fabrication methods and associated experience and documentation regarding the plaster cone methodology, we made the decision to at least temporarily suspend further progress on this method so we could expand our possibilities and potentially hone in on a completely different design option. We had been looking into a design process of cutting out flat pieces which would then bend into a cone with one join, a process we referred to as net assembly and we were quite surprised with the pliable nature of this form. By experimenting with net assembly we came up with a variety of potential design strategies which had enough grounding to justify a final design proposal for it.
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site considerations U
p until about week eight, we had not spent a great deal of time considering how our final design would fit into the site with sense of suitability and justification. Being situated on a freeway site, the notion of speed is the first contextual consideration that comes to mind and we maintained this consideration from day one, however through lots of research and modelling, we came to consider in some detail the notion of perspective. Travelling at eighty to a hundred kilometres per hour, any sculpture of design would undoubtedly change based on the perspective of a driver or a passenger or someone viewing the site from the service station. In our search for appropriate precedents we looked to none other than the seeds of change sculpture by Glenn Berrill. This example demonstrates the sort of perspective-based experience that we were considering. At this point in time we needed to demonstrate that we were not on a mission to replicate this sculpture so we came up with a series of design options that followed this principle, but produced a unique design and driver experience.
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T
he site has a southwest-northeast orientation regarding the positioning of the freeway itself with an exit road stemming off the city-bound road as well as a detached road running parallel to it. This is worth considering as these roads all have differing speed limits.
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initial proposal C
onfident with our decision to pursue the tessellating cone design option, as we had been for some time, we chose to stick to a design based on uniformly distributed cones with the same radius, only the oculus size would vary. This design option had a sense of uniformity and consistency thus we decided to stick with it for the final presentation. Feedback received in the critique indicated that this methodology was not outstanding and didn’t exploit the potential that was available to us, and again it was back to the proverbial drawing board, but instead of starting
fresh and abandoning our ideas, we took a few steps back and decided to come up with a different design for the same methodology.
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Initial Proposal Fluctuating Uniform Cone size Cone Alignment Point Distribution - random - linear - wave-like - shape - radial
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✓ ✓
Fluctuating ✓
Final Proposal Uniform ✓
✓
✓
notion of perspective I
n our post-mid-of-semester-crit stage we were searching for a variety of avenues which we could take that would give our design a more justified nature; we were focusing on uniformity and regularity too much and by questioning our own work and consulting with tutors we were able to expand our design options. To do this, we looked back to the site and determined that perspective is a significant, easily overlooked notion that is very significant to the site in question. Not only are vehicles traversing the freeway between eighty and a hundred kilometres per hour, but the snaking and curving shape of the road here means that the site is viewed from a variety of angles.
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e chose to strive for a design that employed a very simple and ubiquitous principle; objects further away appear smaller and objects closer appear bigger. As basic as this is, we had already experimented with this fundamental principle of perspective and as previously outlined, we were familiar with scaling and distancing objects about known points and lines to form an image.
The Perspectives sculpture by Roger Berry is based on thinking in terms of perspective
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notion of alignment N
ot unlike perspective as a tool for design scope, alignment of objects can form a wide range of design options, particularly at our chosen site, given the city-bound approach to the site is linear which makes for an interesting buildup.
Marco Cianfaneli’s Nelson Mandela Sculpture creates a very specific image through alignment while also maintaining contextual design intentions; the steel columns represent Mandela’s imprisonment
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I
t is important to consider alignment in respects to a freeway site due to the fleeting nature of the observation time the viewer. We as a group are confident that we can merge the elements of perspective and alignment and weave it into our final proposal. The precedents below are terrific examples of how a viewer’s position influences the image they see; however unlike a static viewpoint as seen below, our site must respond to the fact that viewers will be limited in terms of the amount of time they will be able to perceive the aligned image.
bringing it all together
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A
fter considering the ideas of perspective, alignment and site specificity, I began using Sketchup to come up with some basic models that demonstrated these principles for the site. The underlying principle of alignment we employed is that there is a relationship between the size of a panel and the distance from a given point. We used this principle to determine which panels go where, at what spacing, at what distance from the selected point and at what scale. Sketchup was a useful tool for this as opposed to Rhino given my experience using it.
B
y using control points on each panel which correspond to counterpart points on the adjacent panels, I was able to scale and move them along control lines to maintain the alignment of panels which produced the apparent shape. The further away the panels are from the “alignment point� (a point at eye level for a driver in the middle lane of the freeway, directly underneath the overhead sign before the exit), the longer the apparent alignment will occur. We kept this in mind while at the same time tried to keep the height of the largest panel to a respectable number.
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digital prototypology In the images below of the initial proposal, the distances between panels were determined and simply required scaling to achieve the intended alignment. Each Panel has two reference points; one at the top and one at the bottom which are joined to create a reference line. Because each panel has an column of cones which correspond to the next panel, these reference line is used to determine the scale factor from one panel to the next. By determining the distance between these reference points on each panel, a simple calculation is used to find how much bigger an adjacent panel is based on the reference line.
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Panel 1 to Panel 2 Scaling Point A: 10772.8mm Point B: 12880.375mm Scale factor = 1.1956 Panel 2 to Panel 3 Scaling Point A: 11401.7mm Point B: 13632.3mm Scale factor = 1.4458 Panel 3 to Panel 4 Scaling Point A: 11320.8mm Point B: 19902.8 Scale factor = 1.7581
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Below: The reference line between control points is key in the process of scaling an alignment; the points must conform to the reference line in order to maintain the appropriate scale regardless of spacing.
a new proposal B
y the end-of-semester presentation we had finalised our design methodology - produce an apparent image from a given point by aligning a series of panels on made up of a number of intersecting cones. Feedback from the end-ofsemester critique panel was taken into consideration and we decided our current design lacked a degree of innovation.
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e came up with a list of potential Grasshopper options that could be used individually or part of a more holistic approach in order to come up with something unique that also demonstrated a strong understanding and application of parametric design.
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Cone size Cone alignment Oculus size Number of points Spacing of points Distribution of points - linear - random - wavelike - radial - shape
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T
he use of matrices, as previously explored, was one of the more surprisingly helpful exploration techniques which we employed to display and monitor our options. The iterations below were produced by using a script which places points in a given area not by listing an amount, but by determining the smallest distance betwen points. Thus an input of zero would result in infinite points.
A
t this stage we have combined a series of design elements which we had previously encountered or researched to some degree over the semester, and as we combine these elements we come closer and closer to approaching our final design proposal. 1. Point distribution based on density, determined by one or more attractor points. 2. Oculus size determined by distance of a cone from an attractor point. 3. The “image” created from the Grasshopper logic is split into four panels. 4. The panels are separated and scaled to maintain the “image” from a given perspective. 5. The static nature of the panels are revealed as viewers make their way past them. The Grasshopper definition displayed below shows how we achieve a final three-dimensional image, but much work needs to be done following the baking of the logic.
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B
y composing another matrix with a newfound knowledge and more experience than possessed prior to the initial matrices, I found I had more options to explore by making better use of attractor points than previously. I pushed the elements of point density and oculus size to the extreme in these iterations and by going to both ends of the spectrum, I believe I gained a better understanding of where points should go, and what forms at those points.
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T
his image was taken to help visualise what is going on beneath the surface. Our focus has always been on the outside surface, but it is important to consider the broader, unseen elements and how they form the facade.
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final pattern design
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Each panel is fixed to a pair of universal beams in an upright position as explained later.
These images are not to scale, they simply aim to demonstrate the potential structural basis for the design
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As a driver approaches the alignment point, the panels align to create the intended image (image 1). As they continue along the freeway, the panels appear to separate and their distanced, static nature is better visualised (images 2 - 6) Note that the colours are not intended for the design, they are simply there to illustrate which panels are which, and which columns of cones are replicated from adjacent panels to form an overlap
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tectonic elements M
ateriality and contractibility are two considerations which must be applied for any realworld application and have been considered in some detail for this proposal. The primary purpose of this proposal is to achieve an alignment between four panels to produce a well-thought out image. Thus we had to consider how the panels would be supported and to what extent any structural elements would be obscured; to achieve optimal panel alignment, the panels themselves would have to obscure any support structure. Given the non-grid-like distribution of cones, it is a difficult task to produce a regular support lattice to uphold each panel. The next logical method for structural support is to use a simple series of columns or beams, fixed into the ground with deep footings, and possibly a series of struts for additional strength. This method would minimise conspicuous structural members and would create a more harmonious, wellbalanced form.
G
iven the irregular nature of the panels’ surfaces, connecting the vertical support beams to the panel would require thorough consideration and testing. To join the cone array to the columns, an array of 300mm zee purlins are spaced at no more than 3000mm using standard cleat plates.
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These joining details show a potential bolt system that could be employed - an earlier thought that was ruled out based on the practicality of welding for this context
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joinery G
alvanised steel is the material of choice for the design proposal, given its weather-resistant qualities and relative ease of use. The use of a laser cutter to create nets for each cone would be followed by a rolling process to curve them into their final cone shape; a metal sheet roller would be ideal to perform this task. A fillet weld then occurs at the joint. Cones can subsequently be welded to one another using the most appropriate equipment.
The image above demonstrates how a 300mm horizontal zee purlin is suspended from the verticla beam
A
s a finish, the whole panel including its support structure would be coated with a weatherprotecting white paint, making for interesting nighttime aesthetics.
S
tructural integrity is an important consideration for any proposal of this nature; anything we design must of course be able to support itself and any loads imposed on it. The array of cones is by nature good at resisting bending and shear loads as the intersections of multiple cones form arch structures which are universally known as one of the strongest shapes. The edges of the panels however have the potential to succumb to stresses so we must keep in mind how far away the joinery is from these edges. A well-grounded pair of universal beams placed vertically form the spine structure of each panel, and 300mm zee purlins are used to attach each panel to the beams - zee purlins are used due to their strength and lightness.
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W
e considered the possibility of using a reinforcing pipe network which follows the curve created at the intersections of cones. This would add rigidity and could add an aesthetic quality, however a real-life application would most definitely be expensive and simply to complex to fabricate and assemble.
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final proposal
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fabrication preparation
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hese vector images are taken from the Rhino file and form the lines which are cut using the laser cutter. By following the numerical system, we were able to easily track our individual pieces and assemble the model.
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fabrication A
fter having all 193 cone nets cut out on polypropylene sheets we began the arduous process of building our model with the assistance of a structured numbering system helped us to keep track of which cones go where. The process is fairly self-explanatory.
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There was an initial concern that the laser cutting process could result in messy edge cuts, however this result was negligible and did not interfere with the assembly process.
By bending the cones roughly into the final shape, this would overcome the elastic nature of polypropylene in order to reduce the extent of stressing that each cone would apply to one another, which could affect the overall shape of each panel.
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To maintain structural integrity, super glue was applied to the external joints where it bonded well and given the white colour of the panels, the tendency for super glue to bleed was not an aesthetic issue.
Fabricating the smaller cones was naturally going to be a more difficult and intricate process however the final result of this panel was satisfactory for conveying our design proposal.
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All four panels in the correct scale and in order from left to right.
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Cutting the scaled beams to size
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T
he mounting process was relatively simple given the predetermined locations of each beam on an A1 or A2 foamcore sheet; a simple measurement in Rhino 3D was replicated on the sheet at if all went according to plan, the complete four panels would align in a spectacular display.
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C
reating intriguing effects for lighting turned out to be one of the most interesting and entertaining aspects of the project. We had always known somewhat how the cones would perform under different lighting conditions, but to properly set up a makeshift photography studio and achieve the right lighting, some interesting results are bound to emerge.
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project presentation 110
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Unfortunately a DSLR is not optimum for photographing the alignment... but you get the idea. It totally aligns.
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learning objectives “Interrogating a brief ” by considering the process of brief formation in the age of optioneering enabled by digital technologies Our analytical drawings and design process consistently kept in mind the notion of contextual importance for the site; we have gone into much detail about our goal for site specificity.
couraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.
Developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration” Given our extensive collection of design iterations, fabrication techniques and digital models we are very confident that we have come up with a decent amount of possibilities. Our logical yet creative process of ruling out certain design options was reinforced by our ambition to pull off highly complex physical models.
Develop foundational understandings of computational geometry, data structures and types of programming;
Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects
Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.
Developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication This objective is most definitely the strongest point which we focused on. Arrays of digital and traditional modelling proccesses have been created, documented and elaborated on (or discarded) all throughout semester, including a great deal of photography. Developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; Developing “the ability to make a case for proposals” by developing critical thinking and en-
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reflection and feedback F
or a subject like Air studio, or indeed any architecture studio subject, there seems to be a relatively consistent series of events, often characterised by sleep deprivation, copious quantities of caffeine, a constant sense of pressure and However at the end of the day we always seem to persevere, to overcome the limitations of our own work ethic. That being said, this particular studio has been unique in many ways. An introduction to parametric design was foreshadowed by my introduction to Rhino and Grasshopper, marking a rapid shift from Sketchup to greater things.
This subject has exposed me to a great degree
of professionalism which I had not been previously exposed to in earlier studios. The standard of work expected, communication between group members and quality of work pushed me to learn to my best ability and attempt to occasionaly go above and beyond what’s expected of me. I enjoyed making greater use of photography throughout the semester, having mostly used my iPhone camera for presentations. Quite a depressing thought looking back.
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I
can decisively conclude that Design Studio Air has been the most enjoyable, interesting and practical studio I have undertaken; an emphasis on practical due to the vast amounts of experience I have gained using Rhino and Grasshopper and well as other computational methods and processes I would never have though to use.
references Berrill, Glenn, Thompson Berrill Landscape Design, 2008, Seeds of Change, http://www.flickr.com/photos/87791108@ N00/2249885238/sizes/l/in/photostream/ Berry, Roger, 2004, Perspectives, http://sigblips.blogspot.com.au/2008/06/cupertino-perspectives.html http://www.huhmagazine.co.uk/4284/nelsonmandela-sculpture
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