ICEBOXED ARCHI LOUNGE - George Avraam - 833800 by George Avraam

CONTENTS INTRODUCTIONS______________________________________________________________ 4-7 PART A A.1. DESIGN FUTURING _______________________________________________________8-13 A.2. DESIGN COMPUTATION___________________________________________________14-17 A.3. COMPOSITION/GENERATION______________________________________________18-21 A.4. CONCLUSION ___________________________________________________________22-23 A.5. LEARNING OUTCOMES___________________________________________________24-25 PART B B.1. RESEARCH FIELD________________________________________________________26-33 B.2. CASE STUDY 1___________________________________________________________34-41 B.3. CASE STUDY 2___________________________________________________________42-49 B.4. TECHNIQUE:DEVELOPMENT_______________________________________________50-57 B.5 . TECHNIQUE:PROTOTYPE_________________________________________________58-69 B.6. TECHNIQUE: PROPOSAL__________________________________________________70-79 B.7. LEARNING OUTCOMES & OBJECTIVES______________________________________80-81 PART C C.1. DESIGN CONCEPT_______________________________________________________82-113 C.2. TECTONIC ELEMENTS & PROTOTYPES___________________________________114-143 C.3. FINAL DETAIL MODEL___________________________________________________144-181 C.4. LEARNING OBJECTIVES & OUTCOMES___________________________________182-197 REFERENCES ____________________________________________________________198-201

INTRODUCTION George Robert Henry Avraam

Hi my name is George Avraam, I was born and bred in Melbourne. Iâ&#x20AC;&#x2122;m currently studying in the Bachelor of Environments, majoring in Architecture and Urban Design and Planning. When I was younger I have always been a passionate drawer, artist, photographer and designer of cities, mostly made out of Lego sprawled across our carpet floor. My passion for architecture stemmed when I was young after my parents brought me a book on Tadao Andoâ&#x20AC;&#x2122;s architecture, from there as I have learned more my passion for the field has only grown. Outside of architecture, I fill most of my time playing soccer for the University of Melbourne Soccer Club and being a part of the Design and Environments Student Society. Before starting this studio, my knowledge of digital architecture and computational design was limited. I knew mostly of architects such as Frank Gehry and Zaha Hadid. I understood that they used computational tools but not to what extent or how. Before this studio I though of parametric design as purely creating experimental forms. In previous studios the fundamental digital design practices that I used were 3D modeling and rendering within Rhino and fabrication techniques such as laser cutting. Through this studio I hope to further my skills in digital 3D modeling, explore new, experimental tools of 3D creation and to streamline and better define my own personal design process.

Architectural Studio Earth, ‘Transitions’ Final Design

INTRODUCTION TO #BREAKARCHITECTURE #BreakArchitecture The internet is a space where success is measured through the metric of views, likes, comments shares and retweets. It is a space in which taste is defined and disseminated to a largest audience of all time. This studio operates under the predicted future that architects ill no longer have authority over style and future where celebrity and pop icons will take control of the architectural realm, style and trends. This studio aims to create a ‘viral architecture’ where we will take styles, ideas and aesthetics from celebrities to design. We each looked at a particular ‘Dope’ and ‘outlandish’ products which contains the celebrity styles and attract the supper rich and famous. We dissected how these qualities become ‘viral’ trend and what qualities from these products can be appropriated within our designs to make architecture a viral phenomenon. Working for the company Le Courvoisier we have been assigned to design an additional product to their signature range The Cabanon which appeals to one’s desires and sometimes even their dark and more confronting sides of consumerism. The Cabanon and the design product will be situated in a location on Merri Creek and appeal to young affluent professionals and offer luxury accommodation.

Le Corbusier’s Cabanon

Le Corbusier’ in the Style of ASAP Rocky’s, Long Live ASAP Album Cover Lil Yachty’s, Custom ICEBOX Rainbow Grillz ($35k)

Tweets Galore!

Lil Yachty’s ‘1 NIGHT’ Music Video clocking over 100 million views ICEBOX Diamond Jewelers boasting Lil Yachty’s new Purchase (left) Nautica and Lil Yachty fashion Colab (Right)

PART A. “CONCEPTUALISA A.1

DESIGN FUTURING

ATION”

PRECEDENT 1 Dunne and Raby in ‘Speculative Everything’ emphasizes how design should be extended beyond what is strictly commercial and mainstream. They urge us to embrace the “extreme, the imaginative, and the inspiring” where speculation and difference can be positive alternatives1. Built for the Ibaraki Kasugaoka Church, The Church of Light remains an expression of power. Ando’s design is extreme in its simplicity and inspiring within its meaning and symbolism. Symbolism is nothing new within architecture, especially those orientated around religious, such as the dynamic light and shadows from those clerestory windows within older churches. Its Ando’s approach to representing something of a classical architectural nature that is inspiring and different. It’s the deviation from the normal which makes his work so interesting. The building still remains symmetrical and monumental like other Christian churches, but its Ando’s use of light within such a monumental minimalist space which has such an impact on the way in which people feel within the space. Ando’s contribution to the architectural discourse was how he changed the dynamic representing religious architecture and a place of worship from traditional to contemporary. Others have taken a similar approach to Ando in representing religious architecture through modern 2

techniques and materials such as Glenn Murcutt’s Islamic Centre of Newport, creating a linage of modernist religious architecture which has begun to emerge. Murcutt employs the same use of prefabricated concrete and also highlights the importance of light in displaying religion through his coloured skylight windows (see figure below) The cruciform window which is situated directly behind the alter, casts light across the building form which is simplified and free of excessive ornaments. Light has always been symbolic within cathedrals and churches but never been so prominently represented in a modern context. Ando philosophy engages theory of past churches through the powerful and symbolic use of light, he believes that nature and architecture should co-exist. This is achieved through the transcendence of light through the building, where the contrast against the minimalist voids emphasizes a closeness to spirituality. Tadao Ando’s buildings will continually be appreciated because of how simple yet how powerful his architecture is. He encapsulates the relationship between nature and architecture through the use of light, material and function whilst embodying the line of tradition of using light as a symbolic entity within Christian Churches .

TADAO ANDO CHURCH OF LIGHT IBARAKI, OSAKA, JAPAN, 1999

GLENN MURCUTT SLAMIC CENTRE OF NEWPORT MELBOURNE, 2017

LOUIS KAHN NATIONAL ASSEMBLY BUILDING OF BANGLADESH, DHAKA, 1988

PRECEDENT 2 Given the context of Louis Kahn’s National Assembly Building of Bangladesh, the creation of such a project was both revolutionary and radical. It provided a beacon of hope and change within Bangladesh for the time. Built over a twenty-three-year period, The War of Bangladesh’s independence from Pakistan Kahn occurring 19717 prevented construction and prolonging the completion. Fry although highlighting a different era of design, his word speaks true of how designs must be considered in not just the present but the future. Kahn although not a man of politics had to consider how democracy would change Bangladesh in the future. Centralised within the core of the building there are eight halls that surround the parliamentary grand chamber, the placement of democracy was at the heart of the building8. This was a strong metaphor for the people of Bangladesh which emphasises the importance of the building and Bangladesh’s struggle to achieve democracy.

“

Thinking about design in action in both the worlds that exist and the worlds that have to be brought into being - Tony Fry6

” 9

The sheer monumentality of the assembly and surrounded by the artificial lake is important in the way that the building is appreciated. The building in its ‘built’ form is important because of what it represents, Bangladesh being one of the poorest countries in the world to achieve such a large-scale construction was radical but also it was a way to define their independence and democracy. The of the way in which the National Assembly Building has contributed to the ways thinking and discourse of the architectural design practice is its ability to combine both traditional and modernism all within a political objective for Bangladesh. Modernism is often something that is refined, minimalistic and can lack identity and place. Modernist buildings often represent the architect rather than the culture and context. This project abstracts geometric shapes geometric shapes found in the traditional Bangali culture and their traditional vernacular architecture such as the Khuerua Mosque to create a connection between the old and new cultural identities, therefore creating a lineage between past and present architectural practices10. Despite the merging of modernism with tradition this building has a strong identity with a connection to context and the people of Bangladesh.

Kherua Mosque, 1582 11

A.2

DESIGN COMPUTATION The architecture that is being designed and the evolution of the design process is inherently directed by the technology that is readily at the time. Whether this is something as simple as the creation of the T-square during the 1720s allowing architects to draw at right angles or something as complex as BIM software, each of these inventions have redefined the way architects work, their efficiency and their outcomes. As society changes so does our concept of architecture. The addition of computerisation and parametric modelling in the design process will redirect the architectural profession to create in more efficient ways. One of the benefits of computation within the architectural design process is the generation and automation that parametric modelling and scripting can achieve. Oxman emphasises that “parametric systems enable… algorithmic procedures, for the creation of variations.”14 Changing parameters within a parametric layout allows for iterations to be formed effortlessly. This style of design “augments the intellect of the designer” being a tool to solve complex problems.15 This is one of the merits of computational design and using an algorithmic approach. Computation doesn’t simply assist the designer in solving, it can create forms which are not conceivable through an individual’s intellect. These generational processes can lead us to arrive at unimaginable or even inconceivable outcomes, acting as inspiration for further design thinking. The computer pushes the boundaries of conceivable forms that simply could not be visualised by manual processes. These tools can empower individuals where computational strategies can be used to improve work flows, the design process, speed and

efficiency. Liberating ourselves as designers. Computation has already begun to redefine practice through its means of providing design iterations which are constructible from the outset. This has benefited the architectural design process in many firms, such as Foster + Partners aiding them to explore geometry through computation factoring the logistical elements of a real-world project. Rather than using computation as a form-finding technique and moulding this into something plausible, Foster + Partners employ “Pre-Rationalisation”, where parameters such as “manufacturability, material performance… and range of cost implications” are the drivers of a design. This type of design was employed in their project at the Smithsonian Institution,. Where parametric modelling tools were employed to generate the roof structure , explore design options and modify the roof during the design process. It was also used for the fabrication of models and the analysis of structural and acoustic performance of the different iterations. Computation of this type becomes hugely valuable during design development and construction phases where the outcomes of a project can be understood from the outset and the cost and structure can be managed.16

15 17

FOSTER + PARTNERS SMITHSONIAN INSTITUTION WASHINGTON DC, 2007 18

Zaha Hadid Architects have used a similar means of computation within the ZAHA Galaxy SOHO Building, where the benefits of a “co-rationalisation” computational strategy becomes beneficial within practice. “Co-rationalisation” integrates parameters which deal with material properties and assembly constraints with those which are involved with determining the detailed form of the building. This allows for both “the geometric definition of the model and the rules that describe its constructibility may be altered in real time within the parametric model”19. The team was overall able to adjust these parameters and make modifications to

the buildings form whilst understanding the properties of its constructibility. The outcome resulted in the creation of the most efficient double curved form within the parameters of constructibility and cost.

“

How can a future actually be secured by design? - Tony Fry20

”

A.3

COMPUTATION/GENERATION Previously design was thought to be based off simple ideas such as the form and function of a building. The architects employed ‘games’ and compositional strategies in order to arrange the form, layout and function of the buildings. These are often undertaken through compositional drawing strategies and scale models which overall allowed designs to be communicated to clients and builders, and also the experimentation of alternate design solutions24. The strategies such as “Problem Solving” which is the finding a design solution given the constraints, where as “Puzzle making” is the coherent connection between the given parts of a composition. Many firms still work in the compositional style of designing, but many more have branched off to integrate traditional methods with emerging generative tools25. The use of algorithmic thinking, parametric modeling and scripting to formulated design solutions are becoming progressively more powerful within practice through using it as a tool to produce inspiration, design iterations or even to give an indication of the building structure and constructability. Like scale models and compositional drawings allowed more people to become involved within the design process such as the client and builders, computation, generation and algorithmic thinking also provides the opportunity for more complex information to be considered within architecture during the design process. Rather than the traditional method

of composition where design iteration has to be created manually, algorithmic thinking allows parameters to be adjusted, constraining or freeing the design possibilities. It is then the architects job to decipher which solution is best for a given design problem. Generation through computation is the step away from representation, although these entities are not always separated. Architectural practices have incorporated the shift from composition to generation in different ways. Some have used generational tools in conjunction with more traditional compositional tools. For example, firms such as Gehry Partners, where Frank Gehry’s sketches are created through his intuition and his personal whim, a manual means of creation which will inform scale models and then later the final building. The Guggenheim in Bilbao was an example where “the building was analog in design and digital in production”26 Gehry often experiments with composition using a scale model, where the folding of sheets of card will perform and mimic his famous metal cladding. This compositional strategy is then converted into something generative by his team of specialists, where the geometric materiality of the paper model scales into the full-scale architectural cladding. Here the computer generates what is structural and useable through capturing Gehry’s traditional compositional techniques.

20 Other firms which have reacted positivity and embraced the use of parametric models include Studio Fuksas along with engineering firms Knippers Helbig. These firms within their design for The Shenzhen Bao’an International Airport Building partially integrated parametric modelling into their design process, combining what is generative and what is compositional. Initial design were produced with clay models by Fuksas which were subsequently digitised using Rhino3D. Rather than using parametric modelling as a form-finding, engineering firm Knippers Helbig used the parametric generation tools to determine the size and the slope of each of the 25,000 openings and as well as the inclination angles of the panes of glass.28 The type of generation for these opening were optimised to meet the requirements of solar gain, viewing angles and energy input. This generational and parametric modelling which worked to optimise the facade made it possible to complete the preliminary design of both the facade and the structure within a single year.29 With the creation generation and computational techniques, automation also becomes more prevent. This can be advantageous but also disadvantageous if it is used incorrectly. Fry introduces the idea of “Design Democracy” a “redirective practice” which will direct us away from unsustainability and toward the “sustain-ability” of life on earth. Design Democracy can be empowering. For example open source files that can be shared will be beneficial for menial and simple design tasks which have very little impact to the wider context. In saying this the problem with Design Democracy is the flaw within democracy itself. If the people that are illinformed or inexperienced are able to design architecture with ease through automation, this can be extremely disadvantageous if

we are looking to move towards the idea of “defuturing”. Likewise, if those that are informed and creative can use the same tools of automation the impact on the world as a whole can be extremely beneficial and could be a defying step in ensuring “sustain-ability”. Ultimately we want to be in control of the generation and automation should we get to a stage where Design Democracy becomes as powerful as we expect, not the victim of it. To what extent the design process becomes automated will determine the role of the architect in the future. We will become more facilitators within the design process, handing more power to the clients, where “designers should become the facilitators of flow rather than the originators”.30 Us as facilitators will ensure that design is still working towards “defuturing”.

“

Design is a process we engage in when the current situation is different from some desired situation - Kalay31

”

A.4

CONCLUSION

Parametric modelling, generation and algorithmic thinking provide additional benefits for architects throughout the design process. Architectural firms have adapted, utilised and created using these tools because of the unique opportunities that they provide in improving efficiency, generating inspiration and informing design solutions. I believe that the advancement of these technologies and approaches to the design process will create the opportunity to redirect the architectural profession and more importantly work towards â&#x20AC;&#x153;defuturingâ&#x20AC;? and curbing the negative implications we have had on our planet. My intended design approach is similar to those firms such as Gehry Partners and Studio Fuksas which have implemented parametric modelling into their design process to aid and create more possibilities to a compositional style of design. This way of designing allows for control over the core of the design but also allows form parametric and generational tools to contribute unforeseen or unexpected outcomes within iterations and within speeding up the design process.

A.5

LEARNING OUTCOMES Learning about the theory and practice of using computation within architecture has enlightened me to the great opportunities that parametric design can play in not only improving the efficiency of the design process but also how it will path the future of the architectural profession. Initially my understanding of computation was narrow minded, where I perceived parametric modelling as simply a means of generation. Through reading about its wider application and how firms have successfully and efficiently utilised these tools it excites me as to the future of design and architecture. Experimenting with these tools has also allowed me to contemplate how they can be incorporated within my own design process, through my own generation of iterations and experimentation. The forms I have created could not be conceived through traditional compositional strategies, this creating unexpected, unforeseen but exciting results. Even learning how basic computational skills can save time in preparing my projects for fabrication, is something that I aim to incorporate into my design process. I see these tools as an empowerment to designers, where learning these new tools can improve my own designs and push my creative boundaries.

PART B. “CRITERIA DESIGN”

B.1.

RESEARCH FIELD

Sectioning provides great opportunities in terms of designing and fabricating complex forms through dividing these forms into linear panels for assemblage. Often this style of fabrication is undertaken through milling using CNC routing where the architect can provide machining file to manufacturers allowing a streamlined design process.

AA SUMMER PAVILION 2009

Know as â&#x20AC;&#x2DC;Diffwoodâ&#x20AC;&#x2122; the pavilion is entirely constructed through plywood and represents a sculptural installation. The sectioning allows for such a complex form to be achieved through the layering of individual pieces. The way that this form has been sectioned provides design implications especially in terms of construction and connection of the pavilion as a whole. Rather than being sectioned in straight linear panels like the other two projects (See next pages), this project is sectioned in a curved manner. The implications of this design decision are that more flexible panels need to be used in order to achieve the bending and curving of the contours or addition techniques need to be used possibly steam bending. Aside from this a more complex connection logic which holds each of the sectioned pieces into place needs to be created. Although these are some fabrication concerns and additional complexity within the fabrication process, there is opportunities that arise from sectioning curved panel sections. This technique allows for a more detailed and accurate form to be achieved, where the curved sectioned panels creates a form which is more indicative of an overall smooth form.

DECOI ONEMAIN STREET

4 This project design by dECOI was a used in a suit of penthouse offices. It embodies sectioning in a way that provides great opportunities especially in terms of streamlining the design process for fabrication and the ability to encapsulate complex forms through segments. The greatest opportunity for this design is the connection between the architect and fabrication reducing cost, time and increasing efficiency. The use of parametric tools throughout this project allowed the architect to change the complex form and adjust particular elements but also automate the nesting process. Using parametric tools to achieve an automated nesting process on to large plywood sheets allowed the design to process from the architect directly to manufacturing. This process combined with the accuracy of CNC routing fabrication allowed for a seamless design of a very complex curved form and smooth connections between individual ply panels. Design implications include the need to consider the functionality of the space as a whole. Given the context of the project being used as an office space element such services and amenities can be difficult to integrate within the parametric design process especially because it was an addition to an existing building. Another design implication is that join logic between elements needs to be considered. These need to be accurate in order to create seamless curved surfaces. This join logic would have most likely been automated within the parametric design process allowing for changes in the smooth contoured form and the join logic together as one entity. 5

BANQ RESTAURANT 6

Similarly, Office dA has designed the ‘Banq Restaurant’ interior which is located in an old bank within Boston. This project uses sectioning and striations to create a curved interior cladding which engulfs the roof and columns of the restaurant. Plywood had been cut by CNC routers to create the sectioned form and streamlined the overall design process. Both the above designs can be seen as ornamental features which have no primary objective appart from expressing an aesthetic. Adolf Loos in ‘Ornament and Crime’ (1908) makes a significant point that ornament should be abolished because of the oppression created in the labour of ornamentation and extravagant architecture. His perspective was that ornamentation was cruel and it should be an ethical decision to abolish its creation. This moral implication that is associated with the creation of ornament within architecture is no longer applicable within modern society. The above projects emphases that parametracism can release the moral implication which comes with the creation of ornament. The opportunities within these designs is that ornament is designed quickly and also fabricated in a streamlined process from architect to manufacturing directly.

B.2.

CASE STUDY 1.0

BANQ OFFICE ALGORITHM

SPEC

37 17

CIES 1.0 image Sampler

AA_DRIFTWOOD PAVILION ALGORITHM

vec z

voronoi pop num 3

voronoi pop num 20

influ radi Grid Space Circle Radi

Multiply Graph

100

200

300

SPECIES 2.0 vector Z Translation

SPECIES 3.0 offset voronoi as cutting plane for brep

SPECIES 4.0 offset voronoi as cutting plane for brep, z vec = 3.25

400

500

800

900

SPECIES 5.0 attractor point studies, grid of circles as cutting plane

SPECIES 6.0 cutting plane using circles which offset given the graph mapp

B.2. CANDIDATES These candidates were selected due to their interesting patterns and forms. When we think of sectioning it isnt nessarily a linear section. The examples highlight different ways in which the same object can be sectioned and in doing so due to the overlapping sectioned elements creates patterns through the solid brep. Although there maybe fabrication concerns with such complex sectioning, patterning can be extremly useful within the context of our design brief where a lot our inspiration from pop culture is inspired by highly ornamental products. These are a few sectioning tools which have patterning effects because it can be applied to solid breps

41 These three image sampled sectioning forms were selected because of their smooth progression from a flat surface to one that is wavy. These surfaces have great variations in curve height but each curve flows smoothly into the next. This in the future will beneficial when needing to fabricate complex geometry.

B.3.

CASE STUDY 2.0

WEBB BRIDGE INTRODUCTION The Webb Bridge by Denton Corker Marshall was a collaboration with artist Robert Owen which was to create a new pedestrian and cycle bridge over the Yarra river in Melbourneâ&#x20AC;&#x2122;s Docklands area. The design intent of the project was to connect Docklands to South Bank. It is about providing a connection between the existing remnant Webb Dock Rail Bridge and its new connection to the South Bank. This creates a unified sculptural form that connects the existing 145m long structure to the new curved 80m long link.10 The architects concept behind the bridge form was to symbolically connect the new and old parts of Docklands through a knot. The intent was to bridge past and future, in terms of form the curved kink within the design assists in representing this knot along with the web structure which intertwines to form the pattern within the rings. The bridge has been successful in its intent of creating a connection between the areas of Docklands. It provides opportunity for users to appreciate the surrounding Yarra River through its sectioned structure. The artist Robert Owen envisioned the bridge as a Koori eel trap. This is appropriated from traditional aboriginal culture, whether this is culturally appropriate to do such an appropriation or if it is misinterpretation is one question to ask. Overall in terms of aesthetic form itself strongly resemble that of the eel trap, where the visitor is encapsulated in the series of rings and web structure as they transcend across the bridg. The series of spines and web patterning was interpreted by the engineering but still remains strong in representing the artistâ&#x20AC;&#x2122;s intentions, but was also ensured it was buildable and affordable.11

Aboriginal Eel Trap

REVERSE ENGINEERING WEBB BRIDGE

Start with base Curves

Achieve hoops based on curves

Isolate end points, use a line component to join them. Loft curve to make surface.

Create arc railsweep along base curves

Dead End 1 - Originally I started with arcs and was having trouble orientating them the right direction

Dead End 2 - Difficulty in connecting arcs to graph mapper to allow for changes in height of circles, also the arcs didnt accurately represent the physical bridge

Polylines interse

ect the hoops

Ziggzagged pattern based on polyline sections

Pipe to add volume

SIMILARITIES AND DIFFERENCES There are many similarities between my parametric Webb Bridge model and the physical bridge. The differentiation in curvature of the ring throughout the bridge structure I feel was successfully achieved through using the graph mapper to achieve different circle heights and radius, this gave an overall fairly accurate shape as to the bridge. Another aspect which was modelled accurately was the lofted arc which forms the metal underside of the bridge and the surface used as the walking track. Other similarities include the shape of the bridge in terms of curvature. There are also many differences some of these include the patterning of strips which run between the different rings on the outside of the bridge. These were achieved through a series of list item component which allowed me to isolate individual points along the rings and therefore connect them with a polyline. Although I would have liked to effectively implement the same pattern through a cull pattern component. The pattern itself runs vertically in a zigzag motion on the parametric model where as in the actual bridge they run horizontally between the rings. Another difference is within the parametric model I used piping to give the curves within the structure some volume, this is a different to the structure where metal strips are used as the main structural members. I want to take this definition further by allowing more control over the curvature of the main form structure allowing manipulation of the base curves. I also want to look into effectively patterning the surface as I think this could provide some interesting outcomes especially though box morphing. In terms of using sectioning techniques, I want to create a waffle style grid and explore these options as this will allow for fabrication.

49 Draw base curves in Rhino

Divide Curves, using a divide length component Use a pull point component on each curve so they group where the curve gets tighter Use a move component to move a series of point in the Z direction Connect these points and the pulled points to a Circle 3point component. Connect to a NU scale and graph mapper for variations in height of circles Divide the Circles up, run a polyline through the divided points Use divide length to divide the polylines into points. Move some of these points and connect these point with a series of line components Pipe all geometry

Find endpoints of base curve join these with line Railsweep line across base curve

Isolate endpoints then use point on a curve 3 point arc

Railsweep 2 along curves

B.4.

Technique:Dev

WEBB BRIDGE ALGORITHM ALTERS

Graph

Graph Outer Rad Inner Rad Height Num Perf Max Perf Min

Graph

U V Height Rad Poly Segments

SPECIES 1.0 graph mapper alterations

SPECIES 2.0 addition of patterning algorithm

SPECIES 3.0 box morph x webb bridge

+ Cull Pat

X Scale Y Scale Z Scale X Move Y Move Z Move

Graph X Scale Y Scale Z Scale X Move Y Move Z Move

SPECIES 4.0 wire frame, point attractor determine circle rad

SPECIES 5.0 loft, trimming through brep offset + base line adjust

SPECIES 6.0 contouring through base line adjustment + graph

SPECIES 7.0 contouring through base line adjustment + trimming

B.4. CANDIDATE$

This outcome utilized a patterning algorithm which projected a series of lofted circles on a surface. Given our brief where we are looking at appropriating from high end and outrageous products this technique could be beneficial in producing the qualities such as a studded surface or lend its self to pimping out a particular surface. Fabricability of such small complex pieces will be difficult but possibly this is a route to explore and an opportunity to try new processes. This candidate takes on a similar role to the previous one except what is of great opportunity in particular is the way the algorithm was created. Each of the studs were created from scratch within grass hopper rather than box morphing a already predetermined brep. This allows for greater flexibility in terms of the outcomes, where the type of polygon, size of the polygon and the height of each of the studs can be changed independently, this allowing for quick testing of ideas. This will be beneficial if I am looking at â&#x20AC;&#x2DC;pimpingâ&#x20AC;&#x2122; out products in a given style.

57 I selected this candidate due to its smooth curve. The way this was contoured in a linear fashion makes fabricability more streamline and give me the ability to fabricate complex curve geometry. I also like the freedom within this algorithm where I can adjust the base curve for this surface allowing easy adjustments and also experiment with height though the graph mapper. The form lends itself to a modern seating arrangement, where the smooth curves provide a comfortable surface to sit on and the sectioned nature of the surface creates pattern as well.

These final two outcomes were created through offsetting an object and trimming the objects with each other. Although the form might appear fragmented, this lends its self to a unique opportunity to create indented shapes within a sectioned surface. This could be useful for creating functional areas,. For example, the top iteration has a curved indent which could create a seating arrangement. Whereas the bottom iteration is a waffle grid which has been trimmed which provides easy fabricability and also flexibility to create complex.

B.5.

Technique:Proto-

CONCEPT Sectioning lends it self well to fabrication, especially through techniques such as laser cutting and CNC routing which were explored within the Research Fields B.1. We wanted to achieve materialization in terms of fabrication through algorithmic means to increase efficiency of production like those precedents within B.1. Rather than the fabrication of our Proposal our design brief was to construct prototypes which will act as a packaging extension to the product itself. Its aim is to contain the same characteristics, qualities and experience as the object inside it. It must play to the desires of individuals, conceal and reveal the product. Given our product ICE BOX Grillz, we wanted to embedded the same qualities as these product. We had the concept to create a performance based prototype packaging where it is about revealing the contents inside slowly which provides an exciting experience as you peel away each segment to reveal the flat packed proposal on the inside, the slower unveiling process builds anticipation as to what is below.

USING ALGORITHMS TO ACHIEVE CONCEPT Given our objectives, I set out to utilize algorithms which can section different breps or create sections from other input data. The image sampling algorithm seen in B.2. provides this as well as my contouring exercises undertaken within B.4. We wanted to create something that was a novelty, different and surprising to the user. These include qualities of remaining flashy and demanding attention similar to the Grillz. The idea to achieve this was to create a performance based box where there connection logic allows for the prototype to be opened within stages and be unique from standard packaging design. The join logic had to be meticulously considered so that the entire box as a whole acts as a performance but also is structurally sound and fucntional. When testing different algorithms it was found that the B.2. sectioning algorithm from an image sample was effective in achieving an easily fabircatable form. Despite the B.4. contouring algorithm allowing more complex breps or surfaces to be fabricated, for the purposes of initial prototypes a smooth based surface created by an image was effective in achieving our desired outcomes. In the future I would like to consider fabricating more complex sectioned forms using the algorithms I created in B.4. The sectioning algorithm needed to be altered significantly to provided the desired join logic and to be prepared for fabrication. The first objective was to ensure we have a wave like surface for each segment rather than a curve projected directly to the ground plane. This was achieved through isolating the surfaces from the sectioned form and the offsetting them and then projecting them to the ground plane. In turn this creates two surfaces which could then be used together with a surface difference component to achieve the final curved form (Figure on right)

Image Sampling Tests to decide of the form of the top of the box

Final Image Sampled Box Form, sectioned using the B.2 Algorithm

Surface 1

Surface 2 Taking the difference between the surfaces

USING ALGORITHMS TO ACHIEVE CONCEPT Other changes to the algorithm need to occur especially in terms of join logic and how the box will open. Since we wanted to achieve a performance based box which opened slowly it was decided that having the sections pivot at a single point will be effective in allowing the sections to be peeled away. The first step to creating the join logic was to orient all the piece upon a flat plane allowing them to be easily nested upon the MDF sheets for fabrication. Using a short list, square grid and orient component allowed for this to occur. From here the join logic was created by orienting circles on to these planes which will act as pivoting points. We then needed to create a cut within the curve to allow the pieces to open. This was simply done through a point on a curve component connected through two lines. The box itself was created manually in rhino but incorporated slots for the metal rod to sit in allowing the segments to pivot around this point on either side.

CONSTRUCTION SEQUENCE

The construction of the model gave us an ideas to change many aspects of the algorithm that produced it. Although as a whole the algorithm and join logic worked quite effectively to achieve our desired effects. Some changes would be the support slat within the middle. This slat didnâ&#x20AC;&#x2122;t follow the exact contour of the pivoting sections therefore causing some miss alignments of pieces. Extracting this curve from the Grasshopper model to be fabricated will be important in aligning each segment. Another aspect that will need to be changed is how each segment is split, just a straight line doesnâ&#x20AC;&#x2122;t make each segment fit exactly in place so looking at creating a more complex join logic between the split segments.

PROTOTYPE CONCLUSIONS The prototype box that was created was effective in achieving what was set out, which was playing towards peoples desires. It uses packaging as a form of ornament creating something that deviates from what is normal. We achieved in creating a box that is interactive in an exciting way through the pivoting point and the layering of multiple segments. Its about revealing the contents of the inside slowly which provides an exciting experience of building anticipation as to what is below. In terms of sustainability it requires far more material than what is needed, promoting an unsustainable way. But in terms of sustaining a culture and attracting our given target audience, through an experience.

B.6.

Technique:Proposal

The agenda of the studio surrounds the idea of us as architects not being in control of the design as a whole, where the influences of others factors such a celebrities and outrageous products and brands feed into the architecture. The product line that we have design is a lounge series, know as Le Lounge. It is placed externally to the Cabanon and is attached to the Cabanon through a series of strips which acts as a connection point.

FINE TUNING THE TECHNIQUES B.4. Sectioning Algorithm Contours

B.2. Sectioning Algorithm Image Sampler

B.4. Strips Folding and Weaving Algorithm

Base Cabanon

In the creation of our final product line we combined a variety of different techniques to form â&#x20AC;&#x2DC;Le Loungeâ&#x20AC;&#x2122;. This included elements of stripping and folding and sectioning/contouring algorithms. The fine tuning of sectioning technique was about using the experimental algorithms from B.4. and turning these into something practical, usable and which achieves our desired effects relating to our product ICE BOX Grillz and playing on peoples desires.

QUALITIES FROM ICE BOX GRILLZ -Shows personality and the style of the users -Flashy Shiny, attention grabbing because of the materiality of grills, through gold and Dimond studs -Gives the user a sense of power, feeling associated with a certain group who are know to be powerful -Intimate through being close to the individualâ&#x20AC;&#x2122;s body, attached to the individual. You can feel it on the personal level because it is in your mouth and physically attached

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THE EXPERIENCE Throughout the design we wanted to encapsulate the attributes of the Grillz and aim towards a clientele that wants to have feel a sense of power over others and be associated with a certain group. In terms of form we have done this through using our style of sectioning in creating individual sections which layer to form the chair as a whole. The chair is consists of thin sharp edges, yet the layering of these individual sections creates an overall smooth surface which someone can use functionally. This idea was adapted from the IceBox Grillz where they form a smooth surface over top of the teeth but it is he studs and patterning which make the external layer remains sharp. The primary experience that we want to provide the users of the lounge range is power. Our standard product of ‘The Throne’ has physical properties which embeds the experience of power. This includes the chair being raised above standard heights, this is emphasised further through the sectioned curves which lead up to the chair providing a sense of prominence and importance to the individual upon ‘The Throne’. The shiny attention grabbing backdrop also highlights the individual. Another quality that we want to be prominent within our design is the sense of intimacy and how the chair has a strong physical relationship with those using the product line. Within ‘The Throne’ the custom designed raised arms within the chair and curvature of the seat molds to the individual, providing the quality the person is one with the chair itself, heightening the individual’s importance. In the ‘Business LUX’ intimacy is created through the cordoned off section providing separation from the surroundings and how there are two chairs facing one another allowing people to conduct business within the space. ‘The Crew’ is creating a series of same level seating which provides the experience of power for a whole group. All the members of this group has the same status. On the other hand ‘The Side Chick’ version puts the owner of the space in a position of power which is higher than the other two seats which makes the main user superior others.

FEEDBACK The mid-semester presentation provided us as a group with valuable constructive criticism, especially as to how others perceive our product. There were some draw backs which would could continue to develop within the future. It was highlighted that we should take the design further by isolating the idea of ‘Power’ and really doing some heavy research into what makes an individual or product powerful. It was also suggested as to how we could use site better to emphasis the idea of power, how can we command the site more effectively possibly through a sequence and procession. We also need to relate the prototype to the design and start looking into how we can include our own agendas within the design process rather than losing all agency over the design.

B.7.

Learning Objectives & Outcomes

81 As I have progressed throughout Part B I feel as though I have been able to better engage with algorithmic construction and better explores the possibilities that comes with this. B.2. was engaging through being able to adjust parameters to create different outcomes but also it was an opportunity to developed our algorithmic style thinking where we have to consider what algorithm is in front of us and how each component works together in order to add to the algorithm and create something new. Within B.2. especially in my later species where I explored the AA_Pavilion algorithm I was really able to test my thinking in coming up with different ways to create a series of offsetting curves and how I could incorporate theses new algorithms within the original. This process overall gave me a better understanding of how different components can work together and expanding my repertoire of problem solving tools and form finding techniques. B.3 was probably one of my favorite aspects of Part B because of the way it related to a real-world project. It was also one of the more challenging elements where you had to incorporate all your knowledge to achieve a specific outcome. Despite being challenging it was an entirely self-driven learning process where you would go back and forth trying different solutions until an effective outcome was achieved. The Webb Bridge algorithm was challenging to construct from scratch but this was very beneficial to my own learning as it really made me consider which approach I would take to achieve the desired outcome and fall back on the online learning tutorials studies. I feel like B.3. helped my develop my understanding of a computational process and data structures within Rhino. In saying this better understanding how to organize

complex data is something I want to improve in because in Part B it was my organization of the data which caused difficulty in what I wanted to achieve. B.4 gave me great freedom to incorporate different algorithms together and create experimental outcomes. In B.4 I tried to create everything within the grasshopper environment, connecting long chains of algorithms which overall gave me flexibility and countless different parameters that I could change. In this sense it provided me with extensive options of design solutions, different versions of the same species and even the creation of new species through pushing the parameters to the limit. B.5. and the fabrication of prototypes was also a test whether I could translate what I have learnt algorithmically into a physical model. This area needed extensive consideration especially given the complexity of the model that we wanted to created. This task allowed me to investigate the complexity of fabrication, where our model had to not consider physical forces but also play a performative role where elements would pivot. One of the most challenging aspects was writing an algorithm that considers join logic, movement and structural stability all at the same time. Given the complexity of the model I feel as if I have greatly improved my fabrication techniques. I also feel like I have improved in streamlining my process of fabrication, where a lot of the algorithms created to form the box, will be very beneficial in the future especially when creating final design models for Part C. Overall, I look forward to expanding my repertoire of computational skills within the future to better my design outcomes, improve efficiency and create a streamlined fabrication process.

PART C.

“DETAILED D C.1

DESIGN CONCEPT

DESIGN”

DEVELOPING CONCEPT Following the interim presentation there was drastic changes within all facets of the design which better addresses the brief of the studio, development of a more refined conceptual idea and further exploration in terms of techniques give these changes in concept and proposal. The most important comments from interim include the way we develop the novel idea of performance which was propagated from my prototype box. This should be a driver of our design solution. We wanted to create more complexity within the ‘performance’ or movement within the architecture. These ideas were to be more strongly relate to our client, brief and catalyst product the ICEBOX Grillz. I also wanted to develop more control over how we produce our sectioned form giving us the ability to create a more functional form. Our design proposal has changed to incorporate this idea of performance within our architecture and more away from figurative ideas of power. Our technique has been developed in a number of different ways especially because of the way that our concept has evolved therefore our tectonic of fabrication and construction will similarly have to change. Our technique now includes the idea of movable architecture where join logic and the idea of transformation becomes vital to our concept. In the development of this idea of performance our product now embodies a multi-functional purpose providing different uses and a change in form. This technique has also evolved in relation to our connection to our product the IceBox Grillz. Continuing on from our interim presentation I wanted to isolate more of the qualities of our product the ‘Icebox Grillz’ for Lil Yachty because within our interim we focused more on the Grillz culture as a whole rather than the specific product used by Yachty. In our brief as architects

we have lost control over the way we design and are heavily influence by popular trends, cultures and ‘viral’ influences. Therefore encapsulating the qualities of the ICEBOX Grillz such as colour, aesthetic, the ideas of power and performance was extremely important in conveying our concept and relationship to the brief. I feel as if our interim presentation didn’t encapsulate enough of a relationship between our product and the grillz, although we emphasised the idea of power more influence needed to be used from the specific product. To create more of a successful design outcome we related these ideas of power and performance to the ICEBOX Grillz. Through creating movable architecture and a seating arrangement which puts the user in a power pose deduced from ‘rap culture’. The idea of performance and capturing specific idea of power has established a more in depth relationship between our Cabanon extension and our product. Given we are selling a product which has an influence from Lil Yachty, I feel as if his success should be embodied within our architecture. This causes us to develop our design narrative which creates a culture which plays to consumerist desires. We created a narrative that uses Lil Yachty’s dopeness and flair to promote popularity Le Courvoisier’s architectural ideas through our marketing style. What we did do effectively within the interim was the placement of our product on site within Merri Creek. Here we wanted to maximise the visibility of the Cabanon and product from all major viewing angles attracting attention and ‘photobombing’ the surrounding Dights Falls. We have refined the site position so it will work well in conjunction when we develop the performative aspect of our design which commands the attention of the surrounding landscape.

Lil Yachty’s Video ‘Lady In Yellow’

Lil Yachty’s Video ‘1Night

Lil Yachty’s Video ‘1Night’

THE ‘VIRAL’ PRODUCT - ICEBOX GRILLZ Our design is inspired by the extravagant style of Lil Yachty, know as the ‘King of Youths’ (On Twitter) he spent $35,000 on the rainbow Icedbox Grillz which is the ‘product’ which has inspired our Iceboxed Archi Lounge design. This product was created and ordered from the jeweller ‘ICEBOX’ which specialises in extravagant custom made and designed diamond encrusted jewellery for many rappers within Atlanta and the wider USA. These Grillz are generally associated with gangsters, rappers and high rollers but are more frequently it is becoming apparent within pop and celebrity culture. Although these products date back to the ancient Mayan and Greek Empires where gold and jewel covered teeth was a way of displaying social status and power. The grills serve a similar purpose today where people will wear these ‘iced’ products in order to emphasis their wealth, power, status and success. Lil Yachty ordered the grillz in order to display his unique character and flavor. Lil Yachty is known for his creation of the unique style of music know as ‘Bubblegum Trap’ which is a fusion of traditional aggressive rap music covering themes of sex, lust, money, drugs and gangster culture but with a cute, bubbly and less aggressive spin on it. It known as a sub-genre of rap music that involves a lighthearted, playful, sometimes cartoonish melody, which is combined with traditional trap beats such as strong snare, kicks, and bass. This is then followed by aggressive lyrics that don’t align with the colourful and cartoonish melodies. This style is distinct within not only his music but Lil Yachtys entire image. We took inspiration from this idea of ‘Bubblegum Trap’ and traditional rap cultures in order to create our Iceboxed Archi Lounge. We aimed to achieve a similar fusion between architectural canons such as the austier and rustic Cabanon and traditional power associated with colonnades with a new blend of colourful and playful architecture which creates a performance through movement. We also wanted to encapsulate this fusion within our marketing materials and narrative where we were inspired from Lil Yachty’s video ‘1Night’ which creates this blend of traditional rap culture and cute bubblegum style visually. The quantities that we deduced from the Icebox Grillz and the associated ‘Bubblegum trap’ culture are these ideas of power, being flashy, performance and procession. Which were qualities that we wanted to encapsulate within our architecture and product design for Le Courvoisier either directly or indirectly.

DEVELOPING SECTIONING TECHNIQUES

89 Developing my sectioning algorithm and streamlining the manufacturing process was essential in having more control over the design making the inputs of our design more specific. Highlighted within our interim was that I needed to have more of a control over the forms that we are creating, rather than using image sampling or projecting sections from a irregular surface as our primary inputs. In light of this I have developed a sectioning algorithm that will give us more control over what we can input and therefore a more refined outcome. This works through having the ability to section in all planes (x,y,z) and also the ability to create notches to form a waffle structure if necessary, although the waffle structure part of the algorithm wasnâ&#x20AC;&#x2122;t utilised within the final design, the input of a brep provided me with more control over the shape of our form.

ITERATIONS OF FINAL FORM

In developing the final form we tested a number of different options in terms of colonnade/lounge size, shapes and number of sections within each part of the design. We initially started with a series of colonnades on both sides of the Cabanon to encircle it providing a space of circulation around the Cabanon allowing us to strongly convey this idea of procession. Despite this we decided to strip back this large form to a colonnade on one side of the Cabanon so our form could fit the brief of not extending the Cabanon 50% of its mass and have a stronger relationship with the ICEBOX Grillz as the only cover a front potion of the teeth. The covering on one side still allows for this idea of procession just on a smaller more intimate scale and seeks to provide power to the users similarly as the would process though monumental traditional colonnades.

CONSTRUCTION OF ELEMENTS

Construction of lounge area and colonnade segments. These pieces work with two pivot points giving the ability to fold from colonnade to lounge. There is the use of a clipping member to attached itself to the Cabanon similarly to how the ICEBOX Grillz connect to the teeth.

Construction of lounge side tables and over head cover area (when in colonnade form). The same as the lounge area a pivot hole is attached to the base of the structure within a notch and the other elements are connected at two pivot locations. The table top is connected through a notch.

DEVELOPING FORM MAKING TECHNIQUES

95 The multipurpose â&#x20AC;&#x2DC;performanceâ&#x20AC;&#x2122; within our architecture was the creation of a colonnade which transforms into a lounge area. Since the inputs for our sectioning techniques from interim didnâ&#x20AC;&#x2122;t provide much control over our inputs such as the image sampling I decided to explore the development of an algorithm which allows us to create a closed brep which can be fully altered in all directions (x,y,z), allowing us to mold the lounge area to our desired the human figure and test different lounge arrangements that will be suitable. Created from a series of surfaces which are created through lofted line segments allowed for this direct control over the form. The points which create these line segments can be manipulated individually giving us great control over every aspect of the form.

THE SEAT & THE RELATIONSHIP TO THE BODY

Our form making algorithm for the lounge (above) allowed us to have great control over creating a complex form which encases the human body through the manipulation of a divided surface. These surfaces were then combined with a series of 3 other surfaces to form a brep which could be sectioned using our sectioning algorithm. Firstly, we looked at the typical lounge seating arrangement of the humansâ&#x20AC;&#x2122; body. Then through our research we explored how rappers and hip-hop culture sit in order to appear in a relaxed and comfortable position but also in a position of power, where they appear leaned over in an aggressive and intimidating fashion. We decided then to base the form of our lounge around this sitting style where the back section and bottom curvature of the seat shapes the human body to this position putting the user in a position of power subconsciously. We also wanted to relate this seating style to Icebox Grillz where we created a tight and intimate connection like the grills molds around your teeth. This seating area creates an intimate connection with the userâ&#x20AC;&#x2122;s body. by encasing the human form within this power pose

DEVELOPING FABRICATION TECHNIQUES

99 Making the nesting process for our sectioned pieces were important in maintaining organisation and efficiency in fabrication especially when we were often using a number of different parts for our prototypes and final design. It was also important to include our join logic within the algorithm to create effective movable connections between each of the different pieces which was integrated within the fabrication process.

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DEVELOPING DIGITAL ‘PIMPING’ TECHNIQUES -

INSERT DIAGRAM HERE FOR ROPE AND FOR STUDS :

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DIAMOND STUDS

This algorithm was used to box morph diamond studs on the surface of different parts of the Archi Lounge within the 3D model. This allowed for easier coverage of large areas using a boxmorphing technique. Most of the excess diamonds were trimmed using an extruded box although some had to be removed manually given the often sometimes complex shapes of the sections. This algorithm creates the diamonds from scratch through an extruded polygon (put through an expression which causes the extrusion to converge at an apex) and then trimming this extrusion with other diamonds positioned on the verticesâ&#x20AC;&#x2122;s. The ability to create this from scratch allowed me to test different outcomes in terms of segment sides and heights and also the divisions of the surface box.

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DEVELOPING DIGITAL ‘PIMPING’ TECHNIQUES -

After the final presentation it was highlighted that we need to create an addition to the lounge area to make it more functional and ergonomically better suited for the human form to sit on. After this we decided to create a cushion surface over the top of the sections to create a more comfortable and practical sitting space. I wanted this new addition to be inspired by Lil Yachty so I created an algorithm which will create a platted and interwoven structure similar to Yachty’s beaded hair. This algorithm interweaves a series of offset curves within each other creating this effect for the 3D model. I isolated the top of each of the curves within our sectioned lounge area and applied this algorithm to create the platted cushion within the 3D model (see final design for more details)

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- PLATTED LOUNGE

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FINALIZING ‘PIMPING’ TECHNIQUES

Shape Sides V num U num Thickness

Radius Knots

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In both cases of the platt and the diamonds I was looking for an iteration which provided a realistic outcome compared to real world diamonds and plat within a hair braid.

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CONNECTION TO ‘HOST’

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The idea of clipping was also very important to relate our product to the host and also the ICE BOX Grillz. We wanted to create a connection to the Cabanon which was adapted from the Icebox Grillz where they clip onto the top side of the teeth and have this close relationship with the teeth. The best solution to achieve this is to attach the seat and colonnade onto the eaves of the Cabanon allowing attachment and detachment at this particular point similarly to the grills that can be removed. The detachment allows our product to change functions and promotes the idea of performance whilst the clipping attachment also provides stability to the colonnade. The eaves of the Cabanon provide the opportunity to do this especially allowing a connection and relationship in both the colonnade and lounge form. In colonnade form the sections clip to the eaves and within the lounge form the back of the seating sits flush with the wall line establishing the a close and intimate connection to the Cabanon like the grills does with the teeth. Similarly we decided to only cover one side of the Cabanon, as ICEBOX Grillz only covers one side of teeth, and leaves the other side exposed.

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ON SITE CONSTRUCTION PROCESS

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This is the overall envisioned construction, fabrication and assembly on site process. Key stages of the process include fabrication of columns through large scale laser cutting, the decorative processes such as colouring and â&#x20AC;&#x2DC;Icingâ&#x20AC;&#x2122; of the studs, as well as the weaving of the seat structure. Following this is packaging into shipping containers (see transport description) shipping and assembly on site which include setting the pivot hole pieces within the ground and connecting pieces through bolts and screws.

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PACKAGING & SHIPPING

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113 The sectioning technique allows us to fabricate the structure from flat planar elements. This means the packaging and shipping to site of the product will also be efficient. Based on our calculations two sets of Archi Lounges can be packed into a single shipping container. This will be packed on a truck and then transported on site.

C.2

TECTONICS & PROTOTYPES

Given that our concept has developed since interim where we wanted to achieve movable and performance based architecture. It was crucial to test new join logics and algorithms to achieve this performance and test what will be effective in conveying our ideas and achieving the desired movement. Sectioning allowed us to divide complex geometry into more simple elements which could then be combined with a pivot or joint to allow the move-ability of a complex form within smaller individual pieces. These prototypes aimed to test how different elements are connected and how also the different ways we create a pivoting motion can allow a to change its function and form of the product.

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PROTOTYPE 1 WAFFLE GRID ‘CLUSTER’ MOVEMENT

This prototype was testing our ability to move entire ‘clusters’ of sections within our design and to test the join successful in the way that it pivoted and the form provided enough rigidity to remain structural and support its The advantage of waffle structures sectioning is the ability to maintain stability through the notched join logic. clusters of sections pivoting on a particular point it then becomes difficult to make product which serves two fu the rigid clusters. Using a single metal 5mm rod axis was successful in providing an strength to the form but w isnt snug around the axis making therefore the movement is too fluid.

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logic between these. This prototype was self due to the waffle style of sectioning. Despite this given the waffle grid moves in unctions given the lack of flexibility within whilst pivoting the gap which holds the rod

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PROTO WAFFLE GR MOVEMENT

This prototype was testing how we could move a waffle structure through pivoting individual parts. Each of the point allowing the transformation and complete change within the form. This prototype was overall unsuccessf of pieces and the great difficulty occurs when slotting each piece into place. Give the pieces are connected by notches didnâ&#x20AC;&#x2122;t account for the extra spacing needed from the pivoting motion therefore making it difficult for ea place.

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OTYPE 2 RID SINGLE T

eses pieces pivot at a single ful due to the lack of strength y notches, the width of the ach of the pieces to be put into

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The use of rivets within the joints makes it difficult if a human error is made, for example some of the pieces w creating complete misalignments within the structure simply because of a small mistake. What was learned is be taken out once fixed into place which leaves no room for mistake when connecting elements. This prototyp probably werenâ&#x20AC;&#x2122;t the most effective use of joins for this type of structure where mistakes cant be rectified but a within the fit of the rivet to the rivet holes. This inconsistency meant that some pieces moved completely freely stiff and difficult to pivot. These problems made fabrication unfeasible and difficult to assemble. Despite this lo through testing the joints and how we could improve this joint logic for our final designs. What was most succe notches in the base where a rectangular pivoting holes could be placed, this provided both effective stability a the pieces and enough room for each element to pivot without getting stuck.

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were riveted on the wrong side that rivets can obviously not pe also highlighted that rivets also there is inconsistency y and easily and others were ots was learned in the process essful was the use of the small and connection to the base for

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CONSTRUCTION SEQUENCES

Cutting axles to size using a oscillating saw

Put together waffle structure

Construct base and pivot points

Thread waffle structure through axle and gun in place

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Base plate with notches for pivot points

Not enough spacing made it difficult for elements to pivot into the waffle structure

Rivet some pieces on the wrong side causing misalignment of elements

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PROTOTYPE 3 SECTIONING WITH 3 PIVOT POINTS

This prototype was created at the same time as Prototype 2 and therefore was also designed using the 5mm R cut 5mm holes within the design. These rivets had similar problems as highlighted previously. This prototype a to create a form which can fold down. The way in which each individual part folds down and can change its sh pivoting points was effective and definitely something that can be taken further and refined into the final mode

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Rivets because of the laser aimed at using multiple joins hape using multiple different el.

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The overall assembly process was long, extensive and didnâ&#x20AC;&#x2122;t exactly achieve the desired outcome. Too many was also too many joints, in the future it will be better to keep the number of joints to a maximum of two for fut the rivets again created problems, the rivets being 5mm thick meant that the rivet gun couldnâ&#x20AC;&#x2122;t actually break o these had to be manually sawn off using an oscillating electric saw. This made the time of fabrication not feasi problems in terms of sometimes splitting the relatively delicate 3mm MDF at the join points (see image on nex of using sectioning to create a complex geometry but also having the ability to fold these sections down is adv to create a performance within our architecture, except more refinement needs to be done in getting the join lo fabrication time and effort.

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parts were used and there ture prototypes. The use of of the rod of the rivets and ible. The rivets also caused xt page). Overall the idea vantageous when we look ogic correct and reducing

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CONSTRUCTION SEQUENCE

Laser Cut File

5mm Rivets and Rivet gun used to fix pieces

5mm Rivets too thick to be broken off with rivet gun, had to be sawn off using oscillating saw

MDF Splitting because of Rivets

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Construction of base for pieces to pivot on

Over complication of elements made design not feasible

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PROTOTYPE 4 LOUNGE TO COLONNADE

We decided on creating two functions within our product one was a colonnade and the other being a lounge s this we could get more specific and begin to start to create prototypes which creates a relationship with our ho creation of these different functions. This prototype was to further explore join logic between other sectioned e our fabrication documents are sufficient in making the final model especially after the difficulties had using rive prototypes. This was also a test to see if our â&#x20AC;&#x2DC;performanceâ&#x20AC;&#x2122; based architecture sits effectively against the Caba provides enough stability for both the different functions. This was our most successful prototype where we us allowed for stability depending on how much we tightened them this ensuring that there is consistency with the move. They also allowed us to rectify mistakes because they could be easily unscrewed which is very importa process.

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seating and table area. Given ost and experiment with the elements and to ensure that ets as connectors in previous anon and whether the join logic sed 3mm bolts used as pivots e way each elements would ant within the construction

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The joins at the bottom used a similar principle as Prototype 1 & 2 where having a notch and then a small wo piece to pivot (see image right). The spacing between the seat and the Cabanon wall was a bit tight and this is the final design allowing a bit of extra room for the seat to pivot in place rather than being directly against the w consider how the colonnade clips onto the eaves of the Cabanon and also the relationship with these eaves w determined this through 3D modeling the Cabanon and the lounge area to determine if the connections would eaves are 12mm (1:20 scale) we allowed for a 14mm notch within the prototype.

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ooden rectangle allows each s something to improve within wall. We also wanted to when the lounge is folded. We d work. Given the Cabanons

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PROTOTYPE 5 TABLE TO COLONNADE

This was to test the transition from colonnade to table. Using the same bolted join logic at two points allowed t to stand. Once again using the same notch system for the base was effective. Concerns with this prototype wa be able to fold down onto itself effectively. The ends of the top of the colonnade had to be shortened to allow t other concern was the strength of the bolts but these proved to provide enough stability in colonnade form eve

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the colonnade enough stability as whether the system would the table to fold entirely. The en without supporting aids

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The problems that we found with this prototype which will need to be fixed for the final design was the that the under where the colonnade. This is because of the way the prototype folds down, where the table top needs t the colonnade to allow the table and the colonnade to fold into the exact same space rather than in being offse final design by situating the notch for the table top on the underside of the colonnade.

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e table tops donâ&#x20AC;&#x2122;t fold directly to be situated on the inside of et. This was fixed within the

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CONSTRUCTION SEQUENCE

Another test in combining elements was to use 19mm paper fasteners, although these didnâ&#x20AC;&#x2122;t provide enough strength and rigidity to the joins, especially the colonnade which has to stand without supporting agents

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PIMPING PROTOTYPES - DIAMONDS STUDS

The original plan to ‘pimp’ out our product in the flavour of ICEBOX Grillz was to create diamond studs through spray painting through a stencil. Using a base undercoat of gold and then spraying through the stencil didn’t create a realistic or convincing stud. Therefore I tried other methods to create an more plausible and aesthetically more realistic stud. After testing a variety of different diamonds and beads it was concluded that given the area needed to cover and the need for each element to pivot that soft silver cupboard sheet lining would be effective in creating diamonds if spray painted in the metallic spay paint. Therefore translating the flavor of Lil Yachty in the most time and cost effective way

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C.3

FINAL DETAIL MODEL & NARRATIVE

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EXPERIENCE & USAGE

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The additions of the â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; created after final presentation to improve comfort and practicality of seating arrangement

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153 When deducing qualities of the Icebox Grillz one of the qualities that we wanted to embed within the architecture is a sense of power. We wanted to embedded this similar idea of providing power to the small rustic Cabanon through using historic architectural canons which are reinterpreted in the style of Lil Yachty. The colonnade as our second function to our ‘performance’ within the architecture was selected because of the way it provides power to an individual. Through history those that walk through a colonnade are seen as being important for example in wedding when a couple processes down an aisle within a church. Within architecture the use of a colonnade has been throughout history relating to the idea of power, prominence and importance within the building. A colonnade is designed to provide direction through a space and allow this procession to occur. We wanted to achieve similar qualities to the traditional colonnade such as the entablature upon the columns which instead sits the table tops and seat backing within our ‘Buublegum Trap’ take on something traditional. This ‘entableture’ provides a connection between the building (Cabanon) and columns. Rather the column depicting classical ideas ornamentation, it depicts this ornamentation in the flavour of rap culture and the use of ‘icing’ a material to show the same ideas of power and wealth within a modern context. A Significant point made by Adolf Loos is that he wanted to abolish the oppression of people in the labour of ornamentation and extravagant architecture. Ornamentation in the past was cruel in that sense, it was an ethical decision to abolish it. Despite this new computational skills provide ways of creating ornamentation efficiently with the huge labor associated. Rose (2004) highlights that the definition of ornament is a difficult one because the definition shifts and changes throughout history. Our interpretation of ornament has taken inspiration from a different culture such as the hip-hop culture and translated this into the architecture

Ornament and Colonnade within our physical model

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THE IDEA OF PERFORMANCE

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The idea of performance is encapsulated through the idea of a changeable and movable architectural form. Within in design this performance is achieved through creating a multi-functional form which changes from one use to another. Our design transforms from a colonnade to a lounge and table area. This concept of performance is related to our product of the Icebox Grillz because they similarly they act as a performance. The Grillz donâ&#x20AC;&#x2122;t provide any immediate functionality and are solely used to display wealth and attract attention to the user, in this way they act as a performance. Similarly our architecture seeks to achieve this through the idea of attracting attention and displaying power and wealth through the materiality and they idea of movement.

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SITE

157 In terms of site we are picking the point which sits prominently behind the Dights falls. We are using it as a means of ‘Photobombing’ the surrounding landscape, where the lounge is directly seen from the lookout area and other prominent walking trails. The materiality is eye catching, commanding attention and power. When the structure is folded down into the lounge form, the user has a perfect view of the falls and the visual connection to the others who are standing on the lookout area. Additionally, because of their heightened prominence in terms of location user gains a sense of superiority as they look down upon the others from their extravagant ‘throne’.

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NARRATIVE & MAKING IT ‘VIRAL’

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165 In terms of marketing we envision the selling of the Iceboxed Archi Lounge as a collaboration with Lil Yachty and the Jeweller ‘ICEBOX’. We see Yachty as being the primary marketing figure. We aim to elevate the product to his stature because of this collaboration. Lil Yachty’s style is so attractive to individuals desires because of the way that he is relatable but also how it oozes success like traditional raping culture. Examples of this is how he is “for the youth” and sends a “positive message” and his direct involvement with his fans. He also speaks directly to the youth of the day and is with the changing times as highlighted within his debut studio album cover ‘ Teenage Emotions’. In an interview he stated that “I wanted to have all these aspects of teenage life...so I thought about all the things I saw in high school for the first time, that I had never experienced before,”. The designer of the album cover also discussed that Yachty wanted to make an “impact” as “He’s pretty much the king of teens and he just wanted to show no matter who you are, you have to embrace who you are and you have to be proud and be yourself, and I think that’s what we captured with this cover” (see cover below). It is Yachty’s love and relationship with his fans that is of such great value in elevating our product and playing to desires of acceptance. Yachty also depicts a more traditional image of rap culture which shows success, money power and influence which is also of great importance when selling a product as people aspire to be similar to him and his achievements. We envision it the marketing of our product as a similar outcome to that of Lil Yachty’s pizzeria pop up which he created in NY city which attracted a huge audience from his fan base due to his relatable qualities and success. Similarly we want to emphasis a meet and style opportunity, at our architectural piece on Merri Creek, and through this push our company Le Courvoisier and our Archi Lounge. The jeweler ‘ICEBOX’ is also important in elevating our product not only in the creation of our Archi Lounge but also because of their huge social media following and connection to other rappers and people of power. This collaboration will hopefully spark other relationships with artists and therefor further promote ‘Le Courvoisier’ and the ‘ICEBOXED ARCHI LOUNGE’ as a viral sensation.

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FINAL MODEL

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CONSTRUCTION PROCESS

Bolts used to attach pieces together and allow pivoting

Spray painting of the final Cabanon

Seating area covered in the cupboard lining read for spray painting

Spray painting of different elements according to the colour scheme and arrangement of the ICEBOX Grillz

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Silver cupboard sheet lining cut to size and glued to imitate studs

Assembling the final Cabanon

Because the sheet lining would get caught when the elements pivoted a small washer was placed within the bolted joints to provide extra space.

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LEARNING OUTCOMES & OBJECTIVES

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ADDITIONS AFTER FINAL PRESENTATION It was highlighted after the final presentation that more needs to be done in relation to making the lounge area functional and a usable space to sit on. Although sectioning provided a way of creating movement and a multifunctional space, the spacing between elements were ineffective in providing ergonomically fitted seat. The most effective way to produce this was to create an external skin which acts as a cover for the seating area making it more functional as a lounge area. In saying this I wanted to ensure that this skin is inspired by Lil Yatchtyâ&#x20AC;&#x2122;s culture so we continue to accentuate his unique style within our design. Given the skin had to be a mostly flexible material to allow it to be manipulated and draped over the more complex curvature that sectioning allowed us to create. I decided that the perfect inspiration was the use of Lil Yachtyâ&#x20AC;&#x2122;s braided hair which provides both flexibility within the form making it able to mold to the lounge as well as create comfort through a softer and more practical seating cover.

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Construction Process

Platting each strand in a similar fashion to Lil Yachty

Cut wire mesh to the shape of the sectioned seating, wrap and glue plats to this

Create beaded ends b tying plats on

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by cutting and

Uses clips to hold plats in place whilst glue drys

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LEARNING OBJECTIVES Objective 1 - “interrogating a brief” by considering the process of brief formulation in the age of optioneering enabled by digital technologies. In terms of interrogating a brief i feel as this was one of the more challenging aspects of our design studio. Our brief consisted of multiple different influencing factors and was quite complex given we had to consider our relationship to our ‘product’ the Icebox Grillz and the surrounding celebrity and ‘viral’ culture, the site, the relation to our host the Cabanon the overall usage of our designed addition to the Cabanon and also the theory within the broader studio air subject. Given this the formulation of our design had to consider all facets of the brief it was best to almost break the brief down into elements making experimentation with computational skills and prototypes important to test different ideas in relation to the brief. For example within C.2 our first prototypes focused on join logic and connection between elements so we could come up with a solution which relates to our product and the idea of performance and procession and following this we then created more prototypes which directly interrogated the usage of the table and seating arrangements. This broke the brief into different stages and then we refined our designs. Objective 2 - developing “an ability to generate a variety of design possibilities for a given situation” These ideas were primarily addressed within Part B where the exploration and trialling of different outcomes and altering of existing algorithms became important in testing unique and unexpected possibilities. Part B did effectively lead on to Part C where algorithmic design and parametric modeling skills that were learned throughout the course became important in finalising the design solutions such as in C.1 where iterations for decorative elements were tested. Objective 3 - developing “skills in various 3D media”’ Throughout the semester some of the skills that if feel i developed the most was the use of computational geometry and parametric modeling. Throughout the semester constantly working at learning new skills within Grasshopper became very useful in creating the final designs especially when aspects of our design had to be changed. These changes to our concept and design made it important to have a great knowledge of Grasshopper so the skills that i have learned previously could be applied to create new design solutions. These skills were used throughout the whole design process from exploration of forms and ideas within Part B to final form finding, section and decorative elements in Part C. In terms of digital fabrication, we did experiment with different join logics extensively but I would have liked to explore different mediums of fabrication apart from the using the laser cutter such as 3D printing or the CNC Routers. Despite this I feel as if i managed to use algorithmic design to maximise the outcomes whilst using the laser cutter for example nesting our sections effectively and integrating our join logic within the algorithm highlighted within C.1.

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Objective 4 - developing “an understanding of relationship between architecture and air” This objective was particularly relevant to our design process where we aimed to capture this idea of performance within our architecture which related to our product the ICEBOX Grillz. Join logic within our prototyping stages (C.2) was extremely important in providing stability and movement between individual sections of our design. The prototyping stage was predominantly to interrogate how these join logics work within the physical world. The final model was successful through where its joins had to be self supporting in both functions (lounge and colonnade) and also allow for movement. Objective 5 - developing “the ability to make a case for proposals” by developing critical thinking This studio made us envision architecture in an alternative world where we have little control over the architecture and the influence of celebrities and viral sensations become defying factors in influencing our design. In order to design from another perspective or a culture that we are not involved with for example the ‘Bubblegum Trap’ and Rap culture associated with Lil Yachty required critical thinking from another individuals perspective and constructing arguments around their point of view. This was a difficult task at times but the more research into the cultures and individuals we did the more ‘ammunition’ we had in creating reasoning behind our design and how we can promote ‘SustainAbility’ within architecture’. If was to take the project further I would have liked to embedding our own personal agendas and points of view hidden within the architecture such as commenting on the problems with consumerist desires. Objective 6 - developing capabilities for conceptual, technical and design analyses of contemporary architectural projects The design analyses of the projects were mainly addressed in Part A, although these ideas continued throughout given we were designing related to consumerist desires. Ideas such as Tony Fry’s ‘Sustian-ability’ was particularly important within our studio about how we can create a design which will overcome the fast paced world we live in where what is popular and desirable changes ever-so frequently. Using this idea we had to tap into humans desires to create a ‘Sustai-able’ design, we did this through picking qualities such as Power, Performance and Wealth which are desires which have stood the time in the consumerist world we live in. Objective 7 & Objective 8 - Developing understanding of computational geometry and develop a personal repertoire. When starting the semester I had little to no understanding of the benefits of computation design and algorithmic thinking. Embedding this type of designing within the design process has given me great knowledge and allowed me to be more efficient in creating solutions for form finding, fabricating techniques and designing digitally and physically more efficiently. Overall throughout the course of studio air my skills in terms of computational design has improved and the advantages of this way of designing has become apparent. At stages I was trying to achieve nearly everything within Grasshopper which wasn’t the most efficient way of designing given the scope of the subject and my abilities. Despite this I want to look at to achieving more in depth skill of Grasshopper in the future to integrate more of my design process into Grasshopper. The limitation with computation at the moment is that I shouldn’t be used solely on its own to design. I feel it is important that algorithmic thinking becomes an integral part of the design process but non-computational skills and methods are also important. Something I learned was that they should work cohesively together to form a design outcome rather than one overpowering the other, where in my final design I focused on using both computational skills and manual ones to create the most effective design outcome.

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REFERENCES PART A 1. 33-45.

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9,

Jodidio, Phillip (2014) ANDO: Complete works 1975-2014 (Taschen Press) pp.126

Jodidio, Phillip (2014) ANDO: Complete works 1975-2014 (Taschen Press) pp.131

5. 2017]

The Architectural LeagueNY, ‘Glenn Murcott’ < http://archleague.org/2017/01/glenn-murcutt/> [ Accessed 11 August,

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 13

Kahn, Nathaniel (2003) My Architect. Documentary and Biography.

8. Eduardo Souza, ‘AD Classics: National Assembly Building of Bangladesh / Louis Kahn’ < http://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn> [ Accessed 11 August, 2017] 9. Wikipedia, ‘Kherua Mosque’, <https://upload.wikimedia.org/wikipedia/commons/b/b8/Kherua_Mosque.jpg> [ Accessed 11 August, 2017] 10. Eduardo Souza, ‘AD Classics: National Assembly Building of Bangladesh / Louis Kahn’ < http://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn> [ Accessed 11 August, 2017] 11. Eduardo Souza, ‘AD Classics: National Assembly Building of Bangladesh / Louis Kahn’ < http://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn> [ Accessed 11 August, 2017] 12. Eduardo Souza, ‘AD Classics: National Assembly Building of Bangladesh / Louis Kahn’ < http://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn> [ Accessed 11 August, 2017] 13. Eduardo Souza, ‘AD Classics: National Assembly Building of Bangladesh / Louis Kahn’ < http://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn> [ Accessed 11 August, 2017] 14. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 15. Bradley Peters, ‘Computation Works: The Building of Algorithmic Thought’, AD Special Issue: Computation Works: The Building of Algorithmic Thought (2013), 8-15 <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v83.2/ issuetoc> [ Accessed 11 August, 2017] 16. Cristiano Ceccato, ‘Computing and Constructing Continuous Differentiation’, AD Special Issue: Material Computation: Higher Integration in Morphogenetic Design (2012), 99 <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v82.2/ issuetoc> [Accessed 11 August, 2017]

201 17.Bradley Peters, ‘Nayed National Museum’ (20070 <http://www.bradypeters.com/smithsonian.html [Accessed 11 August, 2017] 18.Chuck Choi, ‘Forster + Partners’ <http://www.chuckchoi.com/portfolio/dcs-new-grid.> [Accessed 11 August, 2017] 19. Cristiano Ceccato, ‘Computing and Constructing Continuous Differentiation’, AD Special Issue: Material Computation: Higher Integration in Morphogenetic Design (2012), 99 <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v82.2/ issuetoc> [Accessed 11 August, 2017] 20. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3 21. Zaha Hadid Architects, ‘Galaxy Soho’ (2012) < http://www.zaha-hadid.com/architecture/galaxy-soho/>[Accessed 11 August, 2017] 22. Zaha Hadid Architects, ‘Galaxy Soho’ (2012) < http://www.zaha-hadid.com/architecture/galaxy-soho/>[Accessed 11 August, 2017] 23. Zaha Hadid Architects, ‘Galaxy Soho’ (2012) < http://www.zaha-hadid.com/architecture/galaxy-soho/>[Accessed 11 August, 2017] 24. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 13 25. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 15 26. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1 27.Rebbeca Parker, ‘Arteport – Discovering Francesco Clemente At The Guggenheim Bilbao’ (2017) http://artreport.com/ discovering-francesco-clemente-at-the-bilbao-guggenheim/ [ Accessed 11 August, 2017] 28. Bradley Peters, ‘Computation Works: The Building of Algorithmic Thought’, AD Special Issue: Computation Works: The Building of Algorithmic Thought (2013), 8-15 <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v83.2/issuetoc> [ Accessed 11 August, 2017] 29. Adrian Welch, ‘Shenzhen Airport Building, Bao’an International’,e-architect (2017) <https://www.e-architect.co.uk/hong-kong/ shenzhen-airport> [Accessed 11 August, 2017] 30. Wood, John (2017) Design for Micro Utopias: Making the unthinkable possible. 31. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5 32. Arch Daily, ‘Shenzhen Bao’an International Airport / Studio Fuksas’ (2014) < http://www.archdaily.com/472197/shenzhen-baoan-international-airport-studio-fuksas> [Accessed 11 August, 2017] 33. Arch Daily, ‘Shenzhen Bao’an International Airport / Studio Fuksas’ (2014) < http://www.archdaily.com/472197/shenzhen-baoan-international-airport-studio-fuksas> [Accessed 11 August, 2017]

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REFERENCES PART B

1.Legno Architettura Design ‘Summer Wood Design Pavillion’ <https://woodarchitecture.wordpress.com/woo pavillion/> 2.Legno Architettura Design ‘Summer Wood Design Pavillion’ <https://woodarchitecture.wordpress.com/woo pavillion/> 3.DeTnk, ‘Driftwood: AA Summer Pavilion 2009’ <http://www.detnk.com/node/4091> 4. Decoi, ‘One Main <http://www.decoi-architects.org/2011/10/onemain/> 5.Decoi, ‘One Main <http://www.decoi-architects.org/2011/10/onemain/> 6.Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-designboston/#ixzz4sbhz4ssN 7. Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-design boston/#ixzz4sbhz4ssN 8. Freshome, ‘Banq Resterant Boston’. http://freshome.com/2009/11/30/amazing-restaurant-interior-design boston/#ixzz4sbhz4ssN 9.Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {Ac 10. Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {A 11. Denton Corker Marshall ‘Webb Bridge’ <http://www.dentoncorkermarshall.com/projects/webb-bridge/> {A 12. http://www.zonein.com.au/history/australian_aborigines/images/eel.JPG 13.The Age, ‘Webb Bridge’ < http://www.theage.com.au/articles/2004/03/26/1079939835363.html> {Access 14. ‘TJ Jewerly and Co’ <http://www.tjjewelryaustin.com/grills> {Accessed 15 September 2017}

REFERENCES PART C

1. LilYachtyVEVO, Lady in Yellow [YouTube Video] <https://www.youtube.com/watch?v=xx_ZmoIvq1s> [Acces 2. LilYachtyVEVO,1 NIGHT [YouTube Video] <https://www.youtube.com/watch?v=h1WRpCsR2EE> [Accessed 3. LilYachtyVEVO,1 NIGHT [YouTube Video] <https://www.youtube.com/watch?v=h1WRpCsR2EE> [Accessed 4.XXL, Lil Yatch Spends $35,000 on Colorful Grills <http://www.xxlmag.com/news/2017/02/lil-yachty-35000-co 2017] 5. LilYachtyVEVO, Lady in Yellow [YouTube Video] <https://www.youtube.com/watch?v=xx_ZmoIvq1s> [Acces 6. Wikipedia, ‘Teenage Emotions’ <https://en.wikipedia.org/wiki/Teenage_Emotions> {Accessed 30 October 20 7. Imgur, ‘How can i get hair like rapper Lil Yachty’ <https://imgur.com/r/malehairadvice/WqEJFbj> {Accessed 8. PAPER. ‘Lil Yatchy Covers Our Summer Youth Issue’ http://www.papermag.com/lil-yachty-paper-youth-issu 9.Youtube, ‘Lil Boat’ <https://www.youtube.com/channel/UCNTu7P3IyRRKJtibrrXG0Yg? {Accessed 30 Octobe 10. Kanye to the, ‘Lil Yachty Thread’ < http://www.kanyetothe.com/forum/index.php?topic=4890617.522> {Acc

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