Air by Ikra Indra

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CONTENT INTRODUCTION

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CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE COMPUTATIONAL ARCHITECTURE PARAMETRIC MODELLING ALGORITHMIC EXPLORATIONS CONCLUSION LEARNING OUTCOMES

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DESIGN APPROACH DESIGN FOCUS CASE STUDY (ONE) CASE STUDY (TWO) TECHNIQUE DEVELOPMENT TECHNIQUE PROTOTYPE & PROPOSAL LEARNING OBJECTIVES & OUTCOMES

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PROJECT PROPOSAL DESIGN CONCEPT TECTONIC ELEMENTS FINAL MODEL ALGORITHMIC SKETCHES LEARNING OBJECTIVES & OUTCOMES

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INTRODUCTION

IKRA D. INDRA Hello there, I’m Ikra D. Indra. I’ve only recently discovered about the ‘D.’ in my name after my passport renewal application got rejected due to differences in their records and my birth certificate. My middle name was meant to be my fathers name but apparently my mother was in a rush and could not be bothered filling out the form in full. Exciting stuff right? Here’s more. It was back in 2005 when my friend introduced me to a logo design competition website. He would brag non stop about his designs until one day he finally won one and told us all that he got a whopping 30$ out of it. $$$ Now I was interested. Money for siting in front of a computer, this was too good to pass on. And so I started designing. Weeks flew by and I noticed myself, my interests and attitude start to change. I lost friends, for choosing to design instead of going out. It was a tough period. Alas, I emerged into VCE as a freelance designer. This is when I realised that I wanted to take my designing skills to the next level, and so I set my eyes upon Architecture. Using work experience to my advantage, I signed up to NH Architecture to solidify my growing passion in Architecture. And it did not dissapoint. Growing up with an Accountant and a Scientist for parents, the laid-back nature and creative atmosphere that pulsed throughout the office was enticingly addictive. And here I find myself today, as a third year student in the B.Env degree majoring in Architecture. With an ever growing thirst for all things design and Architecture.

INTRODUCTION

PREVIOUS EXPERIENCE

Other than the usual design programs within the Adobe Creative package, my previous endeavours into the realm of Digital Modelling have been relatively scarce. I was aware of the various digital modelling software available, although I was unaware of all the restrictions and complications that the programs would create. Ignorantly thinking that designing straight onto a CAD software would be simple. In both Design Studio: Water & Earth, I encountered Google SketchUP, AutoCAD, Revit and Rhino. Without actual guidance through the tutorials specifically on these programs, more time was spent figuring out the basic interface and tools rather than on the design process. Besides the steep learning curve, restrictions to the intended form occur frighteningly frequent due to lack of skill and knowledge to be able to produce what was initially intended. And thus, the final product is constrained to the compensations made.

Not only virtually, but physically as well, models and concepts can quickly be flattened down to its most basic geometry and be reproduced through laser printing and therefore be physically built as a scale model, which can then be placed onto an easily produceable contour model to discern anything potentially problematic that may have been overlooked in the virtual realm. And vice versa, discovering new subtle design characteristics that only became visible through a physical model. Although my previous experience has been quite fleeting, I welcome Grasshopper and its notoriously difficult reputation and am enjoying the algorithmic challenges it is providing. It is exciting to think of the possibilities CAD software can still provide to the industry.

Despite all the obstacles, CAD was excellent in producing multiple variations of the same initial design, and being able to virtually place models in context is extremely useful to the design process.

02 Fig 01 - Hero shot of design for Studio Earth Fig 02 - Elevation using SketchUp and Photoshop

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ARCHITECTURE AS A DISCOURSE

The creation of innovation is the ability to diverge off the pathway of rational thinking. Boldly venturing into territory scarcely touched, the architect will most definitely begin a rippling effect that would branch out over numerous nodes of influence. This is what needs to be done with architecture, it has already been done, and will constantly need to be done throughout the course of humanity in order to produce and create architecture that is revolutionary. Jonathan Hill, in his Drawing forth Immaterial Architecture, mentions this evolution of architecture as a discipline. From a hands on construction based method of practice to one of ideas, technique and concepts. [1] Architecture emerged as a discipline for the intellectual and to retain and further their newly found status as a bourgeois profession, architects, during the Italian Renaissance, commenced theorising architecture. [1] With the assistance of the advancement in graphical artistry that could now represent another dimension, architecture elevates itself to one of, if not the most significant displays of not only art but also a combination of storytelling, experience and expression. Materialising from this newly emancipated notion of architecture is the beginnings of immaterial architecture, coined in Hills’ writing. [1] This understanding of architecture not being all about a built structure with walls purposely placed to create specific spaces for specific activities would be an exact fit for producing a proposal that will be ‘exciting and eye catching’ and hopefully be a prominent landmark that will distinguish Wyndham timelessly. A discourse into various contributors that are the ones that define what is and isn’t immaterial, would lead to a greater understanding for producing immateriality, which is the first step towards absolute newness. Looking past immediate and plainly obvious ramifications in regards to architecture, aspects such as cultural, social, economic and political consequences arise and present more complicated issues to consider. Will the proposed be accepted into the local context? Is it sustainable? Will it continue to be what it was intended to be in a decade or centuries time? And most importantly, what positive change can it potentially provide?

Therefore, once freed from the shackles of rules and regulations created through tradition, critically thinking about architecture will allow us to avoid reactionary architecture and grant architects the ability to apply a new method of approach to architecture called ‘smooth architecture’ described by Greg Lynn in his Architectural Curvilinearity: The Folded, The Pliant and the Supple “as the mixture of discrete elements that are shaped outside the architectural discipline to form this new flexible architecture.” [2] Hence, using mathematics and computer aided design within the architectural design process to be able to spot engineering, construction and structural problems earlier during the computational and computer modeling period rather than the construction phase, gives birth to the statement by Michael Hays in Architecture by Numbers, “Architecture should no longer be understood as an object but rather as a condition and construction”. [3] Not to mention the financial and time saving potential computational methods of designing can provide to efficiency, is of utmost value in the 21st century and more specifically, to Wyndham. Socially, the current zeitgeist within architecture and design is heavily influenced by sustainability and designing for the future, focusing on materiality and an adaptive and responsive form that will encapsulate and reflect Wyndham as an icon for innovation and forward thinking. This will further be reinforced through a progressive design process method of coding and parametric design practice. A heavy focus on bio mimicry and the subtle advantages it can potentially provide towards structural strength through imitation, so as to maintain the relationship and connection Wyndham has of being intrinsically involved with the environment. [4] Ultimately through the above methods of, bio mimicry, computational methods of parametric design and the considerations into the discourse of said architecture, the municipality of Wyndham City will be recognised as a vanguard of ingenuity that will timelessly induce interest and encourage discussion and further reflection. [4]

A1.1

precedent Membrane: A proposal for Rising Sea Levels in New York Unniversity of Pennsylvania, 2012 Tingwei Xu & Xie Zhang

04 In this proposal for a membrane structure to combat rising sea level, Tingwe & Xie, approach an interesting perspective into the future of sustainable and protective architectural practices. With the ever increasing number of natural disasters such as, hurricane Katrina, earthquakes in New Zealand and Asia and wildfires in California to name a few within the past few years, the importance and urgency for a new solution to help lessen the extent of damage due to Global Warming, is much needed. This perforated membrane surface allows for vegetation and passage ways to form through, creating a unique environment for users to enjoy. The proposed membrane acts as a waterproof layer for the existing buildings providing a countermeasure to the issue at hand. The flexibility of the transformative surface to provide lighting, agricultural planting spaces and large upper levels to harvest solar energy [5] is quite striking. Having a huge potential to provide multi-use spaces. Opening a new avenue of thought into applicable architecture forms that can somehow integrate itself into any existing buildings with minimal changes. Xu and Xie propose that the upper levels of the membrane would link into the respective original floor plate of the structure its bottom half is wrapped around, to the affect that the joint between old and new is fluid and seamless. [5] This idea of being able to keep original buildings rather than destroy and rebuild elsewhere, gives hope to the future of cities that have coastal boarders. 8

The benefits keep snowballing. Not needing to move to a different site will save the landscape and material usage and it is socially and culturally more acceptable since the populous would not be displaced. Although, the inhabitants and their lifestyle would ultimately stay the same, adapting to a closer waterline and the risks it entails would be the next problem to face. “Sustainable architecture is not simply about individual buildings, but also our ever-expanding cities and their infrastructures…urban sprawl is one of the chief problems of today.” [6] The versatility of the project really shines through in response to Norman Fosters’ statement above. The membrane is uniquely universal, the possibilities in its application is immense and will allow for both horizontal and vertical growth. Vertical construction would be the most positive and concerns of rising sea levels and flooding can be conquered through the membrane structure. Richard Rogers, in response to questions posed by the Green Questionnaire, states that “…greater sustainability can be achieved through intelligent design – harnessing the benefits and efficiencies of integrated passive environmental design...use of intelligent building fabric – responsive facades can maximise natural daylight, optimise ventilation and control solar heat gain and loss…” [7]

05 Use of intelligent building fabric, is exactly what Xu and Xie have done, taking a basic pattern found in nature and weaving together a framework that can be combined with technology to create the waterproofing membrane that can easily adapt to environmental pressures which, as stated above can have multi purposes that will only increase the useability and functionality of the building, thus increasing its usage lifespan and in turn hold off any redevelopment and destruction and any need to construct a new building in its place. A smaller scale project, Lost in Paris by R&Sie(n) in 2008, Javier Arbona describes that the project addresses the idea of a neighbourhood being “… dominated, and confronted through a house that couldn’t stop growing.” [8] And touches on the aspect of the city being a “conceptual living territory in which to manoeuvre and to be lost.” [8] Xu and Xies’ membrane structure eludes to the same notion of creating a territory to explore and a new landscape topology that can be embraced.

06 The Western Gateway Project can benefit hugely through careful consideration of materiality that will be able to adapt and perhaps regenerate itself with minimal maintenance, seeing as how the selected sites are difficult to access and that frequent stopping of traffic along high speed roads really isn’t optimal. Therefore using select materials in a way to mimic the natural environment and its many forms and structures, the residents of Wyndham City municipality will be greatful that their landmark will reflect their close relationship that they already have with the environment.

Lost in Paris, looks at the cliché of the ecological house and adds wild and more exaggerated vegetation to express their ideas. Albeit, a rather radical proposal, this forward thinking can help to stir up conversation, much like Archigram and the Metabolist movements, into the production and realisation of these ideas and perhaps even persuade countries to enact harsher laws to encourage more intelligent and green buildings. [9]

Fig 04 - Rendered proposal in context Fig 05 - Perforated surface with vegetation and access options Fig 06 - Ground level view or potential vegetation landscape as a consequence of the design Fig 07 - Lost In Paris garden and eco house design, wild growth

A1.2

precedent organ of evolution Ecole Spéciale d’Architecture, Paris, France, 2013 Tom Benard

“We must maintain faith in the wonder of architecture to bring us into accord with the natural world, the spiritual world and the unknown.” [10] Samuel Mockbee speaks of an ‘architecture of honesty’ that will hopefully generate an emotional connection with mankind. This brings us back to the topic of what is and isn’t immaterial architecture that Jonathan Hill describes is dependent of the user and their independent experiences that shape their perception of what is and isn’t immaterial. [1] Through this method of thinking, our goal of creating architecture that will serve humanity can be realised. Tom Benard puts forth the argument that traditional spiritual and mystical architecture are just that, tradition, they’re outdated and don’t acknowledge the zeitgeist and technology of the current era. [11] The project shines light on a fresh perspective to what humanity has been seeking for so long, transcendence. Architecture that allows the user to experience such spiritual awareness is highly sought after and this fantasy is seen to be achievable through architectural form that is the embodiment of the human condition. [11] This blurring of the lines between spiritualism, science and architecture bring them together. The architecture is built and maintained through the expertise and know-how of scientists who create the structure with biodegradable polymer bases and stem cell nesting and merging to create form. [11] And heightened spiritual awareness is the result. Although, argumentatively, a clash between scientists and religion should be steered clear of, perhaps the resultant experience can sway peace and a call for ceasefire. 10

09 Bernards’ project explores using evolutionary architecture and a living structure able to be altered by scientists. A similar project by CITA (Center for Information Technology and Architecture) on the idea of a growing skeletal form The Rise, ALIVE exhibition, Paris, 2013, [12] provides further insight on the latent potential lying within this fundamental idea. Self-repairing architectural form, even selfbuilding structures will then be plausible. The real world applicability for disaster prone locations is tremendous. Lives will be more durable, locations will be inhabited longer, difficult to access locations can have infrastructure airdropped in and the structure will build itself. Contrastingly, Mockbee also states that “the challenge…is how to avoid being so stunned by the power of modern technology and economic affluence that one does not loose sight of the fact that people and place matter.” [10] A difficult balancing act of stimulating culturally acceptable forms while still producing the state of the art. The relevance of a self-repairing structure is significant for the Western Gateway project so as to minimise the hazard of maintenance teams on such busy roads but also for a longer lifespan in appeal. [4] Embracing this new technology will spark renewed interest and increase discourse, which will create Wyndham as an always present and relevant reference for the future.

Fig 09 - Floorplan showing exo-skeleton exterior and interior layout and space created through the use of the bone idea Fig 10 - Step process of the potential building material immitating bone growth and self forming and self repairing Fig 11 - Interior aestheics and atmospheric qualities of the room created through the unique building material Fig 13 - The Rise project, automated growing response depending on the situation of the particular membrane.

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c o m p u tat i o n a l architecture Two prevailing applications of computers within architectural practice today is computerization and computation. Kosta Terzidis describes computerization as a method of automated inputting, storing or the manipulation of predetermined and preconceived entities or processes. [13] Computerization aids conceptual ideas into realization. Whereas computation is a generative design method which deals with unclear definitions and processes whereby concepts and forms are generated through the alteration and modification of algorithms and scripts to produce an automatic range of possibilities. This is seen as form finding rather than form making. [14] A new range of geometries are presented to us through this generative design method of computation, which allow the architect to manipulate Euclidean geometry, tired and used in ancient Greek, Roman and Egyptian architecture, and computationally produce non-Euclidean and once inconceivable forms and geometries. Patterns then emerge through this exploration into form and further investigation into fluidity and materiality is viable. Antoine Picon believes that the digital platforms available provide numerous new opportunities to design and assign properties to materials rather than to use them passively. [15] Allowing architects to have further control over their materials and their usage. Not to mention significantly quick fabrication and assemly phase. This ability of finding form, emergence of patterns, definable material characteristics and the straightforward fabrication process is invaluable for the project at hand, to allow for the creation of a truly exclusive and innovative design for the Wyndham municipality. 13

A2.1

precedent Suspended deposition 14

Brian Harms, Haejun Jung, Vince Huang & Yuying Chen LA, California, 2013

15 Suspended Deposition is truly a remarkable project. It exemplifies the potential for rapid prototyping by increasing the fluidity of the fabrication process. â&#x20AC;&#x153;One major distinction between this project and other rapid prototyping processes is the ability to utilize 3D vector-based tool paths. Virtually all other processes use paths generated via contouring a digital model, and rely on the hardening of each successive layer before being able to move on to the next.â&#x20AC;? [16] Harms realises the flaw in other fabrication and 3D printing processes and creates a solution. By injecting and suspending resin in a gelatinous medium, the designer is able to freely manipulate and freely form the object to his/her desires. Thus eliminating the need for moulds in other conventional methods. This physical representation of a generative method in fabrication has limitless potential. The fact that the printer is not reliant on previous layers to harden before applying the next component will not only hasten the process but allow for more fluidity in the design. During the design process, with similar technology at hand, the ease and subsequent simplicity to quickly fabricate prototypes and to further modify them will introduce a new range of possible forms and ideas to potentially create a unique and innovative outcome for Wyndham. 16 14

Thus the same idea on a much larger scale would be quite impressive, especially with live modifications.

A2.2

precedent AEROS Syntax Error, London, UK, 2013

Syntax Error address the idea of a self-forming structure guided by and helped along by â&#x20AC;&#x2DC;agentsâ&#x20AC;&#x2122; robotic helicopters, choreographed to a particular route to produce the optimal growth pattern. The dynamic and highly adaptive structure is able to resist change and develop internal solutions to its surroundings and respond to weather conditions. The Gateway project can benefit from this idea of self-forming. Allowing for materials to be flown to the site and dropped off would prevent traffic delays when construction begins. The self-repairing aspect will also allow for minimal maintenance to the not so easily accessible and out of the way location of the Gateway. Material wise, Syntax Error, chose resin and foam that are both phase changing materials that can be formed in situ. The material choice has the capabilities to join the vertical with the horizontal and thus create a structurally more sound form. [17] With robotic agents to help path the growth pattern, the opportunity to increase the complexity of the structure presents itself to the process. Allowing for an ever changing and adapting form that can be altered depending on the users whim. Exciting posibilites into a responsive structural form that can respond to the high speed and climate of the site

18 Fig 14 - Finished product, easy to see the changes made during printing and the fluidity of the fabrication process Fig 15 - Resin injections being held in place by the gel. Complete 360 views of the model making process 100% of the time. Fig 16 - Vector pathways for the robitic arm to follow, does not use contouring to the same extent as other 3D printers Fig 17 - rendered proposal of the resin structure and its planned randomness of the form Fig 18 - Agents or the helicopters flying above and controlling to a certain extent, the form and shape of the structure Fig 19 - Experimenting with the materials and how to guide the resin into shape, this shows string to guide the resin from top to bottom. Fig 20 - The desired outcome for the form

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pa r a m e t r i c modelling From architects hand building their designs [1] to being able to represent their designs in perspective and with dimensions on paper [1] and then to, through the advancement of technology, using computers to help aid the design process (CAD) and then finally taking traditional CAD techniques a step further to designing with parameters, the process with which architects go about designing has radically changed and is extremely evident with the various ‘architecture styles’ that have come and gone throughout history. Parametric modeling further increases the architects’ box of goodies with which to create and communicate the multitude of ideas floating around their immense minds. Parametric modeling diverges off the traditional 2D drafting path where designs were object driven which essentially means that if the object changed the dimensions would change whereas parametric modeling is dimension driven. If the dimensions or parameters of the object were changed then the object would morph into the desired and parametrically restricted object. The use of code and scripting, once thought of as the realm of website creation, game development and engineering, can now be wholly recognized as a major element in designing and more importantly, building architecture. With this now being the case, a recognizable characteristic for parametrically designed structures, has emerged. One of the most dominant feature is the high use of patterning, most predominantly on the facade of parametrically designed buildings, another is the overall visual smoothness of said buildings.

This emergent trend or style with which parametrically designed buildings are associated with has been thoroughly scrutinized and is a major topic amongst the discourse surrounding architecture. Patrik Schumacher, in 2010, had a go at defining this style, which he coined as ‘Parametricism’ [18]. Although this was hotly debated as being premature, unneeded, and just out right wrong according to some [19]. Having said this, a parametric design process would undoubtedly depict Wyndham as a forerunner in innovative design, creating further waves of influence within the discourse of architecture that will intrigue interest for many years to come.

A3.1

B u i lt p r o j e c t bloom Jose Sanchez & Alisa Andrasek 2012 London Olympics competition

This insanely creative project is art installation, crowd sourced design and architecture all at the same time. Promoted as an ‘urban toy’, BLOOM instructs users to play and create their own forms and spaces in order to engage with and create a ‘shared memory’ for each person attending. [20] The final pieces for this ‘urban toy’ were first created within Grasshopper. A set of parameters for the individual piece and the connection joints were first established within Grasshopper, parameters such as connection points, depth and angle for each piece was defined and restricted to a range. The length, width, filleted corners and angle of the pieces were also defined and restricted in order for the pieces, all exactly the same, to be able to be connected and joined with one another to produce unique and non-linear forms. Using Processing, a code was produced to imitate how the pieces would interact and join to each other by specifying the amount of connections and pieces. The form was also able to be adjusted through a parameter which changed the connection joint the next piece was slotted into thus an increased randomness to the form was able to be produced. Therefore as the public assembles the pieces, the range of possible outcomes and forms that would be created by the individual and their own individual tastes and creativity, would be limitless. This form of parametric design presents new possibilities into new building typologies potentially for the near future, where buildings, their own spaces are built by the user and are only limited by their own creativeness. As for the fabrication of the final pieces, BLOOM uses a process of injection molding in recycled plastic. This covers two aspects we were most interested in, ecofriendly design/process and using molds in the creation of the final form. 18

21 The most intricate and difficult part of the process would be in designing the pieces in such a way so that their combination would infinitely produce unique forms and patterns, but by using a combination of Processing and Grasshopper, this can be tested a tweaked incredibly quickly. BLOOM clearly shows the advantages of using parametric design, quick prototyping and fabrication process, small adjustments in the initial form will be transmitted throughout the definition and code without further alterations down the definition, and through similar parametric design processes, the Wyndham Gateway can equally be as inventive, innovative and time considerate.

26 Fig 21 - With enough pieces, they can be formed to create interesting and self-organised spaces, uniquely itereated depending on the user. Fig 22 - A rendered side view of the potential of the pieces to create furniture and refuge, showing that the creation can be built according to ones needs. Fig 23 & 24 - The public/user is able to create what they want, according to their needs and own creativeness, and also being able to create for others so that other people can interpret and experience their creation in any way they want. Fig 25 & 26 - Screengrabs of Processing and Grasshopper. Both show the parameters on the side that if tweaked can create interesting forms.

A3.2

Project PRIZMA - BUDVA MONTENEGRO BIOTHING Kathleen O’Donnell – Vincenzo D’Auria – Bridget Munro

PRIZMA exploits the flexibility that parametric modeling presents to the world of design. Through specifying constraints and parameters to each level of the apartment building, they were able to optimize each apartment ‘node’ to have unique vistas and optimal solar access with the surrounding environment. [21] The advantage of using parametric design for this project is in its ability to control and relate each level to the one directly above it. Being able to analyze whether or not it will be negatively affected and then to adjust if necessary, contributes greatly towards efficiency. In conjunction with other modeling software, PRIZMA uses Processing to generate the different outcomes the project could potentially have depending on the parameters or constraints set. This rapid visualization of the final outcome is essential for both the design team and the client. Through designing the entire structure within CAD software, the fabrication of the structure is simplified greatly, having dimensions readily and easily obtainable with the added ability to provide characteristics to specific areas, streamlines the fabrication process. Although, once the parameters are set any major form changes would mean a complete rewrite of the code and definition used to create the first design. Thus a clear understanding of what is needed to be done and what it aims to achieve is necessary so as to avoid backtracking. Fig 27 - A rendered facade shot showing the complexity of the angles and different and unique forms that parametric design is able to create, yet form a logical and selectively appealing style. Fig 28 - Once the parameters were set and inputted within Processing, they could easily be modelled and previewd quickly. Fig 29 - All the agents and constraints within Processing to create the most optimal form and structure. Fig 30 - Series of screengrabs of the adjustment of the parameters whilst in Processing.

a l g o r i t h m i c e x p l o r at i o n s

a l g o r i t h m i c e x p l o r at i o n s The weekly Grasshopper tasks were incredibly useful, they were essential for getting to grips with the software and its seemingly complicated user interface.

Through the weekly tasks set, I explored different ways in creating the vase, which led to some interesting ways in creating a similar form.

The tasks enriched my understanding of Grasshopper and the ways and various methods a simple task could be achieved. Although at first glance the long definitions looked daunting and very complicated, eventually once the program was understood more, it became apparent that the connections between various operations that were once hieroglyphs, were essentially a logical sentence that relied on the previous outcome.

This method is interesting because the aesthetic appeal is not through the applied patterning we gave to the vase in the previous exercise but through the manipulation and exploration into different ways the actual form can be changed through parameters thus creating appealing forms and curves.

Especially during the week where we were asked to explore the many different ways points could be transformed to lines then to surfaces then once again back to points, the enormous amount of tools that could be used to achieve the same result was quite intimidating. The images below show my exploration into patterning and biomimicry, especially pyhllotactic spirals. This pattern that can be found in many places in nature, is a beautiful combination of mathematics and nature and is an inspiration for mimicking nature in future designs. This new approach to design, with coding, scripting and parameters, allows the architect to explore different fields, especially into the realm of mathematics, through using equations and formulas to create complex patterns.

For this, the sine equation for creating parabolas in mathematics is linked to the rotation and scale for the referenced curve which is then lofted and multiplied depending on the length of the vertical line, which can be seen in the above code and the pictures on this page. Again, this presents exciting possibilites into the creation and manipulation of structures through mathematical equtions and coding which was not wholly considered in the past before the introduction of CAD software. Just through the application of using a parametric software in the design process for the Gateway Project, Wyndham is already establishing itself as part of this forward thinking architectural trend and by using nontypical materials for the construction will be seen as innovative and brave.

The nature, forgive the pun, of these spirals are that they are not all the same in shape and size. The outer rings form a more rational spiral, but as it gets closer towards the center, the spirals mix together and jumble each other up. This creates unique shapes that somehow stay interlocked together. This organized yet seemingly random aspect to the spirals is extremely influential into the creation of the gateway for Wyndham. It shows complexity in design and the high regard for detailing, which can be used to attract users and perk their curiosity. This would subliminally concoct a self-induced notion of invitation to explore the project. 24

Fig 31 - Phyllotactic spiral patterns using cull list to create differet patterns according to one mathematical equation. Fig 32 - Exploration into a twisted tower geometry, with manipulation of the initial curve with Sine Cosine and Tan equations. Fig 33 - Initial vase exploration with various tools such as sectioning, mapping patterns to a surface etc.

conclusion For an installation to be ‘eye catching’ and ‘exciting’, one needs to think beyond what is expected, use creative and innovative processes to create an outcome that will ‘inspire’ and ‘enrich’ the municipality through embracing new and inventive ideas to encourage new discourse. Catering to this idea of providing a timeless structure that will remain relevant for years to come, my proposal is an agent based growth system that can be manipulated before resting in its final form. Through the use of agents and a material focus on resin, the flexibility and diverse range of colors and textures resin can provide can only increase the range of possibilities and uniqueness of the final outcome. To further the materiality, inspiration of the final form is intended to mimic natural growth, as nature has timelessly proven that it is extremely versatile and able to adapt to a wide spectrum of contrasting climate conditions. This is key as the sites given are entirely exposed to various weather conditions, albeit not as extreme. Adaptive structures are not all that common, but being a gateway, Wyndham has a unique opportunity to explore this realm and push the boundaries as there are no amenity and living restrictions. In addition, the agent based growth system that is intended to be implemented within the design process, has the added benefit to be further manipulated and changed with any number of variables and data types. In the precedent projects analyzed before, the final geometry that can be produced through this process generally turns into skeletal like structures, but with an added definition that would create varying thicknesses and space sizes, it will induce different experiences.

learning outcomes Studio Air has been and will continually produce aspects of architecture that I never thought was related to the design process of professional architects. The first week presented a major eye opener towards critically thinking about architecture and what it actually means and the deeper consequences that is tucked away beneath all the obvious ramifications presented on the surface. With my curiosity sparked, I aimed at delving deeper into architectural theory, prompting me to scour the library for all thing related which lead me to architectural theory gems such as Constructing a New Agenda: Architectural Theory 19932009. I capitalized on this wondrous text and exposed my previous beliefs and understanding of architectural theory to the decisive notions and statements that the text presented. In conjunction with my own research through these texts, the tutorials for Grasshopper showed just how complicated these seemingly easy tasks were. Not to mention the moment i found out about scripting and Processing. Having thought that codes and scripting were for programmers and developers, this concept of designing and creating architectural buildings through code and scripts were astounding. I understood that tools in Rhino and other CAD software are created through codes, but the idea of designing not through these tools but through raw scripting was a completely radical idea for me. Now, questions like, is it really architecture? Is it art? Or is it engineering? Crop up. Engineers who were thought to be incapable of designing anything aesthetically pleasing, are now what architects aspire to be, because of their knowledge of material characteristics and their potential and limits, these are now considered as parameters or constraints that can be inputted within programs like Grasshopper and be adjusted to create forms and structure that push these constraints to its limit. Thinking back to past studios and design projects, the knowledge that I now understand and posses would have definitely set aside my projects as conceptually progressed. The newfound importance I will have given to the discourse surrounding my projects would have created a much more thought out concept. 27

ref

1 - Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 2 - Lynn, Greg (1993), ‘Architectural Curvilinearity: The Folded, The Pliant, and The Supple’, Architectural Design 63, no. 3/4, pp, 8-15 3 - Hays, K. Michael (2005), ‘Architecture by Numbers’, Praxis 7: Untitled Number Seven, pp, 88-99 4 - Western Gateway Design Project, Competition Brief 5 - Dubbledam, Winka (2011), URL: http://cargocollective.com/upenn/MEMBRANE - Date Accessed 16/8/13 6 - Edwards, Brian (2001), ‘Green Questionnaire’, Green Architecture: An International Comparison, Norman Foster 7 - Edwards, Brian (2001), ‘Green Questionnaire’, Green Architecture: An International Comparison, Richard Rogers 8 - Roche, Francios (2009), R&Sie(n) ‘Lost In Paris’, URL: http://www.new-territories.com/lostinparis.htm - Date Accessed, 17/8/13 9 - Edwards, Brian (2001), ‘Green Questionnaire’, Green Architecture: An International Comparison, Jan Kaplicky 10 - Mockbee, Samuel (1998), ‘The Rural Studio’, Architecture Design 68, no. 7/8, pp, 72-79 11 - Benard, Tom, ‘Organ of Evolution’, (2013), URL: http://super-architects.com/?p=2967, Date Accessed 17/8/13 12 - CITA, ‘The Rise’, (2013), URL: http://thisisalive.com/the-rise/, Date Accessed, 17/8/13 13 - Terzidis, Kosta (2011), ‘Computational Design Thinking: Computation Desing Thinking’, pp, 96 14 - Kolarevic, Branko, ‘Architecture in the Digital Age: Design and Manufacturing’, pp, 13 15 - Picon, Antoine (2004), ‘Architecture and the Virtual: Towards a New Materiality’, PRAXIS 6: New Technologies: //New Architectures, pp, 114-21 16 - Harms, Brian (2013), URL: http://nstrmnt.com/#/suspended-depositions/, Date Accessed, 17/8/13 17 - Syntax Error (2013), URL: http://pr2013.aaschool.ac.uk/DRLPHASE2/SyntaxError, Date Accessed, 17/8/13 18 - Schumacher, Patrik (2010), ‘Parametricism’, URL: http://architectsjournal.co.uk/the-critics/patrikschumacher-on-parametricism-let-the-style-wars-begin/5217211.article, Date Accessed, 17/8/13 19 - Davis, Daniel (2010), Patrik Schumacher - Parametricism, URL: http://www.danieldavis.com/patrikschumacher-parametricism/, Date Accessed, 1/9/13 20 - BLOOM (2012) , URL: http://www.bloom-thegame.com/main/, Date Accessed, 1/9/13 21 - BIOTHING (2010), PRIZMA, URL: http://www.biothing.org/?p=484, Date Accessed, 1/9/13

PA R T B

DESIGN APPROACH

DESIGN FOCUS

â&#x20AC;&#x153;We all are witnessing a rapid growth of digital design tools which are pushing the boundaries of design in any possible wayâ&#x20AC;? [22] Inevitably through the advancement of digital design tools, our perception of architectural form and its generation has changed once again. In addition, the promotion of multidisciplinary approaches in all fields to achieve socially and culturally safe designs and concepts has further distanced the traditional notion of segregated disciplines. Growing interest, in conjunction with our pursuit of unique and newness, has directed architectural form generation into realms before seen as impossible and to some, quite unappealing. With help from computational design software and the heavy reliance on mathematics and scripting, architecture has resulted into looking at nature to provide seemingly random precedents or generative examples onto which architectural structures can be created out of. Pushing the limits of material possibilities, the discipline of structural engineering and construction whilst also expanding architectural interest into biomimetic form generation. Whilst bio mimicry is not an original idea, the traditional methodology of incorporating bio mimicry into architectural form has been very limited to being influenced and outright copying structurally sound natural forms such as the termite mound. We suggest delving into the reasons why and the causes for which that particular natural formation came about. Element: Wind Overcoming the traditional notion of wind as a representation of movement we move to wind as representing progression. Why wind? With a relatively flat and exposed site with constant high-speed movement in the surrounding area, it is defiantly a defining characteristic of the site and as mentioned before, a deeper meaning of progression can be subtly conveyed to the multitude of users passing by. With the aid of parametric design software, the generation of the potential form can be controlled so as not to be overly literal and didactic.

The characteristics of wind vary greatly from destroying whole landscapes and cityscapes with an instant gush of strong wind, to the cooling breeze in the middle of summer, these are well known and are often exploited in the design of the foundations of skyscrapers and the planning of passive houses. Our proposal incorporates and studies wind movement and the way pathways and erosion is caused through the movement and progression of wind across landscapes, such as sand dunes are never the same and are being constantly manipulated by wind and natural rock formations slowly being eroded overtime. Wyndham is known for its substantial population growth and rapid urbanization, although this can be seen as a negative and therefore we propose that Wyndham be seen as the progressive city through our parametric approach for the design. And as mentioned previously, computational design software will aid in yielding interesting geometries that can be interpreted in a multitude of different ways depending on the users previous experiences. [1] This can be done through generative algorithms and is heavily reliant on mathematical equations and definitions to guide the form and to increase/decrease complexity in the outcome. The intricacy generated will create ongoing interest and questions into the design and why and what does it represent. This, in combination with our proposal to explore materials that can reflect the connotations of wind we have attached to it, will greatly increase the general discourse surrounding the future of architecture which will definitely lead to exciting and brilliant new architectural typologies that will be referenced back to Wyndham.

E X P R E S S I O N

O F

I N T E R E S T

CAS E ST U DY 1.0

Starting off with the basic geometry and inputting it within a physics based simulation program, the effects of gravity upon our base geometry can clearly be seen within the first row. By changing the anchor points of the geometry, the geometry can be manipulated into interesting and unusual forms. These anchor points can be grouped or be singled, thus creating sharp spear-like points or a more solid rectangular arm of sorts. Again, just be moving, adjusting and defining different sets of anchor points and changing the strength of the desired force acting on the geometry, different outcomes are produced and start to take on the form of alien-like geometry. The results donâ&#x20AC;&#x2122;t vary much if anchor points and the strength of the force are the only parameters changed. To get slightly more interesting forms, the initial geometry must be changed. What we found interesting were the ones that had a sense of mass and space to it, and outcomes that we could picture users interacting, walking within/under/above it and something that had the same uniqueness as the original design had.

Although a particular characteristic presented itself through this processes, and that was the creation for interior space. Interesting ways of creating seemingly enclosed space with wall sections curving around itself providing a sense of enclosure that a typical four walled room has, and the different experiences one would have going into a double height ceiling space to one that was barely tall enough for yourself, can provide and aid in positive user experience. This sublime interactivity of user and space is critical in producing a design that will last. The overall simplicity and lack of actual physical, touching and pulling, interaction between the user and design will again generate this interest for what the design means and a continuous questioning of the design and space will be created.

Taking this sequence of geometric variation the architectural application of the outcomes was considered to be quite restricted. A complete dwelling typology created entirely from one of the variations was deemed incomplete and inadequate in providing security, structural stability and efficient design. This is the same for commercial uses, but for a pavilion or perhaps a ceiling acoustic barrier and/or art installation with a perforated surface hung from the ceiling would achieve the same effect that the original design has done. 35

E X P R E S S I O N

O F

I N T E R E S T

CAS E ST U DY 2.0

PRECEDENT: find(&)MERGE by SVEN This project by SVEN approaches the method of designing a building in a manner similar to our intent. SVEN studies and researches solar radiation different levels of exposure the site is subjected to and maps them out into clouds of data points. This strategy will allow the same approach to be applied elsewhere but with the outcome to be completely different and unique in form due to the particular characteristic of the site inputted. Indeed, this is quite a new approach to form generation, using two sets of agents performing and creating the geometry can be seen as over the top and questions regarding the necessity. It is successful nevertheless, in producing continuously unique form for different places that the structure could potentially be created in. OUR DEFINITION Creating a similar effect was quite challenging, the complex skeletal-like structure with varying thicknesses and apparent randomness was difficult to replicate. Unlike the project mentioned above, our definition produced a skeleton-like structure that closely represented stalactites rather than the stick bird nest form the precedent project had. Without adequate knowledge into other various software packages that apparently enables knowledgeable users to create such form, we were limited as to how close we could replicate the original.

Although, we were able to constrain the skeleton mesh to within our boundaries, much like the project by SVEN, but our boundary was not as data informed as the solar radiation depiction the find(&)MERGE project had. Different aspects as to how this form could be applied at an architectural scale in regards to having the entire geometry as our structure or whether it was only the roof or a section or sculpture alongside the highway. And as such the boding geometry was explored to accommodate the different uses. Further exploration into the scale of each member of the skeleton, potential of creating rather obvious thicknesses and to perhaps have a larger concentration of members in a particular area compared to another for the creation of space without having solid blank walls. This would allow natural light to filter through and interesting crevices that younger users could potential explore.

E X P R E S S I O N

O F

I N T E R E S T

Technique: Development

With feedback and some of our own concerns, a higher focus on the representation of movement as progression for Wyndham was decided. It was recommended that we explore one aspect of our interest to its fullest capacity before incorporating more, if any. And as such we happen across patterning, and its integration within the actual material surface. Rather than an added feature on top of an existing surface, we wanted the surface to already house the pattern, which will create the sense of movement for the users passing by at high speeds. Rather than working with rectangular boundaries, a rough imitation of the footprint of our chosen site was decided upon as our base form or outline. This teardrop shaped geometry was subjected to the same physics based simulation program as Case Study 1, but instead of gravity as one of the forces acting down upon the design, predetermined wind loads were applied and the resultant affect upon the teardrop surface was recorded. The direction and strength of the wind loads used was determined through wind rose data graphs provided by the Bureau of Meteorology for the Wyndham city area. Most of the initial iterations through adjusting the parameters of the force of the wind and a slight variation of the direction, caused most of the variations to look quite similar and unfortunately, uneventful. Also, with each different variation, the initial concept of having it being one big pipe-like structure where users could pass through and within, slowly diminished and was replaced by the idea of having the structure act sort of like a blanket or drape, which will have its own topography and crevices on the surface and below it as well. Even so, through sticking with this process and exploring different methods of applying our underlying principle of movement as progression, we start to develop a greater appreciation for patterning across the entire surface, which will be the surface. 40

The outcomes emerge as a landscape of sorts lying upon a landscape, and the ridges created through our highly mathematical definition, although quite simplistic and easy to understand, the constant repetition being applied onto a non-linear surface and being distorted by the surface, creates the illusion of the pattern being not universal. This intricacy within the design is now crucial to our design and intent to producing the iconic gateway for Wyndham City.

E X P R E S S I O N

O F

I N T E R E S T

Technique: prototypes & proposal Resin Molding Having never worked with resin before, the entire process of mixing and waiting for the resin to harden was new to me. The first attempt at casting the resin was terrible, the entirety of the resin poured into the initial mold poured out overnight. Asking around, the majority said the resin would harden up enough to not leak through tiny gaps, this led me to wonder if my particular method was wrong. Eventually after a few more attempts I realized the resin I was using was different to all the others and that it needed to be heated to around 25-30 degrees before it would harden up. With this in mind I devised a mold that would take this into account. This particular molding application was devised with the thought of ease in removal in mind. By having a larger piece that runs vertically down the length of a particular segment of the cast allows smaller molds to be slotted underneath which will be held by the larger piece. Once the large segment is removed and thus the main connection for all the pieces is gone, each smaller segment can easily be removed. This method will also create a rough voronoi-esque polygonal grid pattern across the surface of the casted material, which would be the consequence of this particular mold. Toffee/Caramel casting Looking at cheaper alternatives into casting and potentially moving away from the need for a mold, we studied the practicality of food or sugar casting. There would still be the option casting the caramel into a mold, but the rough hand-made aesthetic appeal that a caramel nest can portray is one that we would be most interested in. This material would be best suited for our earlier skeletal proposition as a drip technique can be applied on a large scale to create the thin members of the skeleton structure.

Although, caramel casting did have its limitations, the interior spaces, unlike the model, would be a great open space due to the restrictions whilst casting and the need for having to rest the caramel upon a surface for a short while whilst it cooled and hardened. This would ultimately lead to an alteration with our digital model or a compromise and further exploration into the material would need to be looked into.

Proposal

x years b5

x + years

ref

22 - Khabazi, Zubin (2010), â&#x20AC;&#x2DC;Generative Algorithms using Grasshopperâ&#x20AC;&#x2122;, pp, intro

PA R T C

PROJECT PROPOSAL

DESIGN concept

Reevaluation: Argument Justification Creating the link between wind, movement and progression was always ambitious and without solid justifications lead to an unconvincing argument. Nevertheless, as previously mentioned in part B of this report, our focus was on the site and the characteristics it already provided and the potential for it to be manipulated to create a proposal. This led to an ever growing interest in the elements and more specifically in wind.

The proposed materialization of casting the form also drew criticism and presented complications of excess molding, reinforcement and material sustainability. It was thought to be the most effective way to communicate our core desires but it lacked actual evidence of eventuality. Part C will investigate another possible method of materialization and more importantly, the fabrication and construction process to produce the final design outcome.

This notion of a wind-informed form was accepted with the promise of further intricacy in the details and an exploration of what this would mean for user experience. The idea of progression rather than movement, in regards to wind, drew the most criticism due to the movement of wind over the landscape, as what was mentioned in part B, was just that, movement. However, that general perspective is only scratching the surface, the underlying principle of wind movement is that it is progressing rather than just moving across a landscape. As it will become more evident later in part C, the proposed dual patterning across the surface of the proposal is embedded in this principle of wind progressing and changing the landscape rather than just moving across it. It is blatantly obvious that sand dunes are created through the movement of wind across the desert, but this movement turns into progression as soon as a disruption or displacement of the landscape occurs. Thus the need to represent movement across a surface whilst still maintaining the initial concept of progression urged the design process to explore ways to imbed another layer of â&#x20AC;&#x2DC;disruptionâ&#x20AC;&#x2122; to further reinforce this notion. Therefore in part C, several aspects of the proposal are introduced and explained to further drive home the idea of progression, movement, wind and how this all relates back to Wyndham wanting an iconic and innovative gateway design that will create discourse into the future of Wyndham and its role in the field of innovation. Reevaluation: Materiality & Fabrication 51

Wind Direction Realisation: Implementation & Development From Fig. 34 (left page) the proposed design concept, which will be discussed in more detail in the following sections, is situated approximately 30 meters from the service station towards the center of site B. The orientation and shape, as previously explained in part B, are indicative of the wind direction and strength parameters set in a physics program. The aforementioned reevaluation of materiality sparked an investigation to simplify the fabrication process that would not only reduce costs, labor, time and also improve on a material choice that could provide additional characteristics to further articulate our design intent of progression. The results led to a fiberglass paneling system held together through a steel reinforcement framework, the advantages, considerations and construction details will be deliberated in the following pages. Thus with the newly proposed material choice, implementation of the desired design outcome can simply be organized into four phases, the fabrication of steel framework coupled in groups, fabrication of fiberglass panels, transportation to site and finally assembly. 52

With such a versatile framework, the bulk of the steel bracing can easily be transported to the site in pieces and welded together on site. Likewise, the fiberglass paneling can also be transported to the site on the back of large trucks with adequate bracing between the panels to prevent damages. Depending on what is needed and wanted, the actual size of the proposals span can vary somewhat. The chosen fabrication method will allow for some extensions and can be manipulated fairly quickly through some tweaks on the modelling software. Multiple structures similar yet slightly different in terms of form and use could perhaps be erected on the site in the future as depicted by fig. 34 (right page). Thus creating a landscape of varying sized structures some of which can be entered and explored while others are for viewing and experiencing the exterior. Again, since a computational method of architectural design process was used, the parameters implemented to generate the form can be changed to Wyndhamâ&#x20AC;&#x2122;s discretion. This will create an ever growing and changing gateway landscape that can be updated depending on the progression Wyndham makes throughout the years. With the potential of adding multiple structures of varying dimensions, the users experience will also

Proposal

x years

change from their first visit thus producing a changing understanding of Wyndham and generate interest and discourse about the design and Wyndham in general. This proposed symbol and landmark of Wyndham will undoubtedly cause a chain reaction of interest, discussion and information relating back to Wyndham and what Wyndham is achieving and is going to achieve in the future.

x + years

x ++ years 34

Possible Projection of Design Growth53

DESIGN C ONC E PT

D ES I G N DE RIV IATIO N - FABRIC AT ION & C ON S T R U C T I ON

FORM GENERATION Base form derived from an abstract depiction of the site. Final form uses a physics modelling software to produce a simulation of wind movement across the form, with the parameters set to wind strength in the Wyndham area.

BASE RIPPLE PROGRESSION Series of numbers multiplied by a factor of pi (p), each number then used in a sine equation to plot and move each number (point). This changes the position of each point in both the x/y direction and also the z axis. Then using the points, create an interpolated curve through the set of points, weaving a curve through thus allowing a loft to be performed. The resultant surface is then used in conjunction with the wind generated form to map the ripple pattern onto the desired form.

TATTOO PATTERNING Using a Python script a reference image is reflected onto the mesh ripples through an environment mapping technique. This approximates the reflectance of the reference at each vertex and is then interpolated across the polygon to which the vertex is attached, thus creating the final tattoo design.

T E CTO NIC ELEMENT S

STRIP PANEL FABRICATION The surface undergoes a UV mesh transformation, creating x number of faces. With a mesh it can be divided into strips for smaller panels for fabrication purposes. The fabrication process would include preparing a mould, fig. 35, for the fiberglass sheets to be sculptured onto through a vacuum forming process. The division of the mesh will have to consider the standard size of truck transportation, with adequate bracing in between multiple panels in order to prevent damages.

TATTOO FABRICATION Deconstructing the mesh allows for the isolation of each cell that houses a white or black colour. Through culling the white cells, the black pattern can be separated and can potentially be used for the fabrication of the black pattern only and then integrated onto a base white panel later. 56

JOINT SYSTEM Protruding from the steel framework are spider clamps that will tie in each panel together and hold the ripple fiberglass surface in place. In terms of assembly, the panels will be numbered in a logical manner and will easily be clamped to the fiberglass on site. Depending on the size of each panel created and also on the particular paneling method of strips or tiles, the amount of assembly time needed to apply and join each panel to a spider clamp would vary, but would undoubtedly be quite time consuming. This choice of construction technique will also restrict the ability of users, seeing as how it would be unsafe for one to walk upon a fiberglass sheet simply attached to a steel framework by spider clamps. But through this restriction, a lightweight and very experiential structural piece of architecture is created. The wind whistling through the gaps between the panels, and the shadows created by the black patterning on the surface will create an atmospheric space inside. Coupled with the sun movement constantly moving the shadows inside showing a continuous movement across the floor of the space, further accentuating the initial design concept. All these features are all beneficial and worthwhile to construct an iconic gateway for Wyndham.

C3 58

FINAL MODEL

FINAL MODEL - 3D Print

ALGORITHMIC SKETCHES

Working with the basic ripple pattern and adding a third dimension rather than a flat 2d pattern and then mapping it to a surface, the added axis of movement allowed for the outcome of a radically move intricate and complex surface pattern which was only further manipulated and accentuated by the nonlinear surface form.

Learning Objectives & Outcomes

Objective 1

Objective 4

Through the high usage of parametric methods of design, and specifying exactly what our intentions were and then justifying with arguments why they were more beneficial than others. Optioneering in the computational age of digital design, allows us designers to radically produce almost instantaneous scenarios of the relationships between desired parties to produce a design outcome. Shown previously, the generation of our form had a multitude of similar yet different iterations in which any one of them was possible for the final form. Yet a specific choice was made, which enabled the incorporation of different aspects to the form in regards to what our interpretation of the brief was. This meant choosing a form that had enough height for an interior space to be included and with enough variation on the surface to produce continuous intrigue and interest.

Although, wholly focused on the usage of air and using air to manipulate form, a direct relationship between the final outcome and air was not fully investigated. The lightweight structure proposed presents noise issues wherein the panels are not sealed together, it also leads to more climatic issues of water. Although, this could be argued to further accentuate the idea of a transparent structure, not hiding from the elements but rather, embracing them.

Objective 2 Likewise, the various iterations of forms produced by the physics simulation program and the ability for the software to depict changes live, contributed greatly in visualising what was needed. Further investigation into the definition of interior space and the method to measure said space would have been ideal in creating a unique interior, and by linking or creating a method of space measurement through parametric and algorithmic programming, will eventually lead to individual spaces that could potentially be controlled by the user. Objective 3

Objective 5 Throughout the report, arguments were put forth mostly though the investigation of precedent projects and their surrounding discourse. By analysing past projects and reflecting upon their consequences, allowed for the creation of a reasonable and logical explanation and rationalisation of our design intent. For example, in response to, â&#x20AC;&#x2DC;Is it enough of a reason to make this (user experience) the driving force of the project?â&#x20AC;&#x2122; You may interpret that user experience is the main driving force, but more essential is our idea of wind movement progressing through a landscape and making change, this ties back into the brief and is paramount for Wyndham to be seen as progressive and innovative. The intricacy of the dual patterning system that was presented, only amplifies this desire to eventual users, and will strike conversations for years to come as to why and how, Wyndham is doing what itâ&#x20AC;&#x2122;s doing.

Through this gateway proposal, numerous methods of digital techniques were explored. Especially the creation and preparation of a solid mesh to be 3D print ready was new and extremely exciting. Exploration into different materials that were previously never considered, caramel and resin, led to thinking of possibilities that could potentially arise through the use of non-traditional materials. Part B shows this and part C depicts a steady methodology into the digital fabrication of the final model. 63