Finaljournal 339655 justinmilesi

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STUDIO/AIR

S1.

ARCHITECTURE DESIGN JOURNAL /JUSTIN MILESI /339655

2013 CHRIS GILBERT ROSIE GUNZBERG

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CONTENTS

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INTRODUCTION

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PART A. EOI 1: Case for Innovation

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A.1 Architecture as a Discourse

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A.2 Computational Architecture

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A.3 Parametric Modelling

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CASE STUDY ONE: The Water Cube

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CASE STUDY TWO: The Train Shed

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A.4 Algorithmic Explorations

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A.5 Conclusion

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A.6 Learning Outcomes

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References

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Image References

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INTRODUCTION My name is Justin and I’m‌ (remember to insert something funny and/or clever) , DP FXUUHQWO\ LQ P\ ÀQDO \HDU RI WKH %DFKHORU RI (QYLURQPHQWV GHJUHH majoring in Architecture. 'HVLJQ KDV DOZD\V DSSHDOHG WR P\ H\H IRU GHWDLO D SULPDO QHHG WR EXLOG DQG FUHDWH P\ FXULRVLW\ DERXW WKH KXPDQ FRQGLWLRQ DQG RXU LQWHUDFWLRQ ZLWK RXU EXLOW HQYLURQPHQW DQG P\ DIÀQLW\ IRU DQ\WKLQJ DQG HYHU\WKLQJ -867 3/$,1 &22/ $UFKLWHFWXUH LV DQ DPD]LQJ RXWOHW IRU PH WR H[HUFLVH DOO WKHVH DWWULEXWHV 7KH HQGOHVV GHEDWH RYHU IRUP YV IXQFWLRQ DQG WKH ZD\ LW FDQ SRODULVH DQ\ URRP LQ ZKLFK LW LV VWUXFN XS IDVFLQDWHV PH )URP ZDWFKHV WR ELNHV WR FORWKHV WR VN\VFUDSHUV , ORYH WKH ZD\ HOHPHQWV FRPH WRJHWKHU WR FUHDWH EHDXW\ DQG KRZ WKDW EHDXW\ LQ LWVHOI LV HQWLUHO\ VXEMHFWLYH $UFKLWHFWXUH 'HVLJQ 6WXGLR $LU ZLOO be my fourth design studio and the ÀUVW RQH WR LQFRUSRUDWH WKH XVH RI the Rhino modelling program. I’ve KDG VRPH H[SHULHQFH ZLWK *RRJOH 6NHWFK8S DQG OLPLWHG H[SHULHQFH with AutoCad in my previous studies. %HLQJ WKH ҊKDQGV RQҋ W\SH , KDYH always enjoyed the old school WHFKQLTXHV SHQ DQG SDSHU SK\VLFDO PRGHOV FRORXULQJ SHQFLOV and I’ve generally found algorithmic design about as comprehendible DV -DSDQHVH QR QR , GR QRW VSHDN -DSDQHVH +RZHYHU ZKLOH , believe these traditional techniques ZLOO DOZD\V KDYH WKLHU SODFH , DP keen to further my knowledge and H[SHULHQFH LQ ZKDW LV WKH IXWXUH RI design and‌ cool stuff.

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EXPRESSION OF INTEREST: WYNDHAM CITY GATEWAY PROJECT

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PART A. CASE FOR INNOVATION

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A.1 Â ARCHITECTURE Â AS Â A Â DISCOURSE THE Â LEADER Â OF Â THE Â PACK When considering the architectural discourse DQG KRZ LW KDV EHHQ VKDSHG RYHU KLVWRU\ LW LV KDUG WR ORRN SDVW RQH PDQ LQ SDUWLFXODU &KDUOHV (GRXDUG -HDQQHUHW WR EH NQRZQ ODWHU LQ OLIH VLPSO\ DV /H &RUEXVLHU +H ZDV RQH RI WKH PRVW LQĂ XHQWLDO DQG SURJUHVVLYH PDVWHU DUFKLWHFWV RI WKH WK FHQWXU\ DQG ZDV RQH RI WKH IRXQGHUV of the Modernist movement. He continually UHLQYHQWHG KLPVHOI DQG UHVKDSHG KLV LGHDORJ\ resulting in an incredible evolution in design IURP HDUO\ RQ LQ KLV FDUHHU ULJKW WKURXJK WR KLV twilight years.

RI FRQFUHWH VODEV E\ WKH SLORWL 7KH VHFRQG SRLQW of architecture related to capitalising the useable VSDFHV FUHDWHG SURGXFWLYHO\ LQ SDUWLFXODU ZLWK UHODWLRQ WR URRI JDUGHQV 7KH LGHD ZDV WR UHSODFH the lost green space created by the foot print of the structure and in turn create a space of WUDQTXLOLW\ DQG SHDFH HSLWRPLVLQJ /H &RUEXVLHUŇ‹V LGHD RI FUHDWLQJ KHDOWK\ OLYLQJ VSDFHV 1H[W ZDV the point of employing a free (open) plan in GHVLJQLQJ WKH LQWHULRU 7KH 2]HQIDQW KRXVH VHHQ EHORZ 3DULV ZDV D JRRG H[DPSOH RI WKH

2QH RI /H &RUEXVLHUҋV PRVW SURIRXQG DQG LQà XHQWLDO ZRUNV ZDV KLV WKHRU\ RQ Ҋ7KH )LYH 3RLQWV RI $UFKLWHFWXUHҋ ,W UHYROXWLRQLVHG WKH ZD\ architects approached their designs and was a realisation of the full potential of reinforced FRQFUHWH D FRUQHU VWRQH RI WKH EXLOGLQJ LQGXVWU\ WRGD\ DQG RI D PRGHUQLVW KHDOWK\ ZD\ RI OLYLQJ 7KH ÀUVW RI KLV ÀYH SRLQWV ZDV WKDW RI WKH ҊSLORWLҋ 7KLV LGHD ZDV FHQWUHG DURXQG WKH FRQFHSW RI transferring the loads imposed on any given VWUXFWXUH WKURXJK WKLQ VWUDLJKW UHLQIRUFHG concrete columns positioned evenly throughout WKH EXLOGLQJ HIIHFWLYHO\ HUDGLFDWLQJ WKH QHHG IRU ORDG EHDULQJ ZDOOV 7KLV LV FOHDUO\ LOOXVWUDWHG LQ WKH 'RP ,QR GHVLJQ EHORZ DQ HDUO\ concept drawing demonstrating the segregation

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open plan living arrangement (and a dramatically VWDUN FRQWUDVW WR WKH DOUHDG\ H[LVWLQJ KRXVLQJ LQ 3DULV DQ LQGLFDWLRQ RI KLV UHYROXWLRQDU\ LGHDV 7KH UHFWLOLQHDU YROXPH WKDW PDGH XS WKH DUWLVW VWXGLR HPSOR\HG WKLV LGHD RI RSHQ OLYLQJ VSDFH and the use of large windows gave an idea of his recurring theme of letting in large amounts RI VXQOLJKW 7KLV LGHD OHDGV GLUHFWO\ LQWR KLV IRUWK SRLQW RI DUFKLWHFWXUH VWULS ZLQGRZV 7KH ORDG bearing capacity of the piloti frees up the design of window structures as they are no longer determined by the load bearing capacity of the ZDOO 7KLV PHDQV JOD]LQJ FDQ WDNH XS DV PXFK or as little of the facade as the designer wishes LW WR 7KLV EULQJV DERXW /H &RUEXVLHUҋV ÀIWK DQG ÀQDO SRLQW RI DUFKLWHFWXUH WKH IDFDGH

7KH SLORWL DJDLQ HQDEOH WKH GHVLJQHU WR FUHDWH a facade free from the concern of structural ORDGV HQDEOLQJ HQRUPRXV IUHHGRP LQ KLV artistic approach to his buildings. /H &RUEXVLHUҋV GHVLJQV RI WKH ҋV FRQVLVWHQWO\ UHà HFW WKH LGHDOV RI Ҋ7KH )LYH SRLQWV RI $UFKLWHFWXUHҋ ZLWK WKH 9LOOD 6DYR\H EHORZ 3RLVV\ EHLQJ D QHDU SHUIHFW FXOPLQDWLRQ RI WKHP ,W LV ZKDW PDQ\ EHOLHYH WR EH /H &RUEXVLHUҋV 0RQD /LVD DV ZHOO DV RQH RI WKH PRVW VXFFLQFW representations of the Modernist movement at the time. It’s simplistic form adheres to WKH LGHDOV RI 3XULVP DQ DUW PRYHPHQW ZKLFK VWURQJO\ LQà XHQFHG /H &RUEXVLHUҋV ideology and in turn the ideology of the Modernist movement itself). It was built DURXQG D YHU\ JHRPHWULF FRQFHSW ZLWK ORQJ rectangular structures making up the bulk of the house. He strived to create a machined DHVWKHWLF DV LI WKH KRXVH KDG QRW EHHQ EXLOW ZLWK KXPDQ KDQGV &RUEXVLHUҋV )LYH 3RLQWV of Architecture are on clear display in his GHVLJQ 7KH XVH RI SLORWL WR HOHYDWH WKH PDLQ à RRU RII WKH JURXQG LV PRVW HYLGHQW KHUH DQG enabled the incorporation of a driveway into WKH VWUXFWXUH LWVHOI 7KH SLORWL DOORZHG IRU D IUHH SODQ GHVLJQ LQFRUSRUDWLQJ ODUJH OLYLQJ spaces running freely into a dining area as ZHOO DV RWKHU VXFK VSDFHV ,QWHUHVWLQJO\ LQ DQ DFNQRZOHGJHPHQW RI PRGHUQ LQGXVWU\ something in which he was constantly

IDVFLQDWHG E\ /H &RUEXVLHU WRRN DGYDQWDJH of his freedom in planning to create a drive way at ground level that enabled the driver to enter at one corner of the building and drive ULJKW DURXQG WKH ERWWRP Ă RRU WR FRPH RXW WKH RWKHU VLGH HUDGLFDWLQJ WKH QHHG WR UHYHUVH 7KH GLPHQVLRQV RI WKH GULYHZD\ PDWFKHG H[DFWO\ WKRVH RI WKH WXUQLQJ FLUFOH RI WKH ODWHVW &LWULRQ FDU DW WKDW WLPH 9LOOD 6DYR\H KDG ODUJH H[SDQVH RI ULEERQ ZLQGRZV VSDQQLQJ WKH IDFDGH DQRWKHU RI KLV SRLQWV RI DUFKLWHFWXUH 7KH\ FUHDWHG D VWURQJ FRQQHFWLRQ EHWZHHQ the leafy surrounds and the interior of the KRXVH SURPRWLQJ D FOHDU VHQVH RI KHDOWK\ OLYLQJ 7KHUH ZDV DOVR D VWURQJ IRFXV RQ WKH LGHD RI URRI JDUGHQV 7KH 9LOOD FRQWDLQHG D number of garden terraces on the living level as well as on the roof of the building. 7KH 9LOOD 6DYR\H HQFRUSRUDWHV DOO RI /H &RUEXVLHUŇ‹V )LYH 3RLQWV RI $UFKLWHFWXUH WR FRQYH\ RQH RI WKH PRVW HOHJDQW H[DPSOHV of Modern architecture to date. It combines modern technologies to produce a machine that promotes a healthy lifestyle which was a revolutionary concept at the time. It is so DZHVRPH WKH\ HYHQ PDGH LW LQWR /HJR /(*2

)LJXUH 7KH 9LOOD 6DYR\H 3RLVV\ /H &RUEXVLHUŇ‹V Modernist masterpiece.

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A.2 Â COMPUTATIONAL Â ARCHITECTURE THE Â Â FUTURE... Â AND Â STUFF 7KH XVH RI FRPSXWDWLRQ LQ DUFKLWHFWXUH LV by no means a new trend. Computers have been used to record and present architectural information for the last half century. +RZHYHU LW LV RQO\ UHFHQWO\ WKURXJK WKH XVH of parametric programming and generative GHVLJQ WKDW FRPSXWHUV KDYH WKHPVHOYHV become a key tool in obtaining the most appropriate design solution. Computers over time have become effective problem VROYLQJ GHYLFHV FDSDEOH RI FDOFXODWLRQV DQG computations the human brain would take OLIH WLPHV WR FRPSUHKHQG DORQH DQG JLYHQ WKH SUREOHP VROYLQJ QDWXUH RI DUFKLWHFWXUH it was only a matter of time before they became a key tool in the design process. 7R DQ\ RQH SUREOHP WKHUH DUH LQYDULDEO\ any number of possible solutions and while LQ WKH SDVW H[SORULQJ PRUH WKDQ RQH RU WZR of the possible solutions to an architectural problem has been inconceivably tedious DV ZHOO DV H[SHQVLYH DQG LQ VRPH FDVHV LPSRVVLEOH FXUUHQW SDUDPHWULF PRGHOOLQJ technologies have enabled architects to H[SORUH DQ HQWLUH IDPLO\ RI SRVVLEOH VROXWLRQV DQG WKHQ SLFN WKH PRVW DSSURSULDWH DOO LQ D WLPHO\ DQG PRQHWDULO\ HIĂ€FLHQW PDQQHU

HIĂ€FLHQW DQG SRZHUIXO QDWXUH RI SDUDPHWULF computing has seen an entire change in an architects approach to problem solving. Rather than designing the best (singular) VROXWLRQ WR WKH SUREOHP WHVWLQJ DQG WKHQ GHYHORSLQJ WKDW WKH DUFKLWHFW LQVWHDG designs the constraints of the project and uses software much more powerful than the human brain to take these constraints and synthesise all possible solutions to WKH SUREOHP 7KLV LV DOORZLQJ DUFKLWHFWV WKH IUHHGRP WR H[SORUH WHVW DQG GHYHORS QHZ DQG LQQRYDWLYH DSSURDFKHV WR GHVLJQ DV well as forms not previously conceivable in the construction world. Where it used to take weeks to tediously produce physical models DQG GUDZLQJV GLJLWDOV PRGHOV FDQ QRZ EH SURGXFHG WHVWHG DQG DOWHUHG LQ D IUDFWLRQ RI that time.

$V ZHOO DV LWҋV EHQHÀWV DV D WRRO LQ WKH GHVLJQ SURFHVV FRPSXWDWLRQ LV DOVR making the entire process from conception WR FRQVWUXFWLRQ D PRUH HIÀFLHQW RQH 3ULRU to it being used as a design tool through SDUDPHWULF PRGHOOLQJ FRPSXWDWLRQ ZDV used more for the recording of the design process. Digitising architectural plans and elevations made the task of producing them PXFK PRUH HIÀFLHQW DV VPDOO FKDQJHV FRXOG While in the past the design process was be easily affected and the accuracy of their KHDYLO\ EDVHG DURXQG ÀQGLQJ D VLQJXODU detail no longer relied entirely on the skill RI WKH SUDFWLWLRQHU 7KLV ZDV SURFHHGHG E\ VROXWLRQ WR DQ\ JLYHQ GHVLJQ SUREOHP WKH the early use of computer generated three GLPHQVLRQDO PRGHOOLQJ D XVHIXO WRRO WKDW

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made the realisation of the architects plans PRUH HDVLO\ DFKLHYHG DW D VPDOO VFDOH where previously the time consuming task of building a physical model was the only way of achieving this. 7KH QH[W VWHS D ELJ RQH RQH WKDW KDV WKH potential to revolutionise the entire design DQG FRQVWUXFWLRQ ÀHOG LV RQH WKDW KDV EHHQ WULHG WHVWHG DQG SURYHQ HIIHFWLYH LQ RWKHU ÀHOGV )RXU GLPHQVLRQDO PRGHOOLQJ KDV WKH potential to see away with architectural plan drawing completely and become the new VWDQGDUG LQ GHVLJQ GRFXPHQWDWLRQ )RXU dimensional modelling involves creating one complete digital model with all the relevant qualitative and quantitative information necessary to see the project through the HQWLUH GHVLJQ DQG FRQVWUXFWLRQ SURFHVV effectively creating one schematic that all the professionals involved with the project FDQ DFFHVV DQG ZRUN RII 7KLV PHWKRG RI design and production has been proven HIIHFWLYH LQ WKH DXWRPRWLYH DHURVSDFH DQG ship building industries for some time as it streamlines a previously tedious process of coordinating a countless number of professionals involved and provides them with all the relevant information required for SURGXFWLRQ LQ UHDO WLPH 7KH IXOO SRWHQWLDO RI this method of creation has yet to be realised LQ DUFKLWHFWXUDO SUDFWLFH +RZHYHU LW LV RQO\ a matter of time before the advantages of having one complete collection of all the information needed for the design and construction of a building (in the form of a digital model) can no longer be disregarded as an design fad.

Computation in architecture is not a new LGHD KRZHYHU LW LV RQO\ MXVW EHFRPLQJ RQH of the key drivers in the design process. It is EHLQJ XVHG WR FRPSUHKHQG V\QWKHVLVH DQG construct forms not previously possible due WR WKH OLPLWDWLRQV RI WLPH PRQH\ DQG RXU RZQ inability to comprehend the mathematics involved in producing such forms. It is also being used to streamline the documentation RI WKH SURMHFW PDNLQJ LI PRUH HIĂ€FLHQW DQG DFFHVVLEOH 5LJKW QRZ LW KDV WKH SRWHQWLDO to completely revolutionise this same SURFHVV EULQJLQJ WRJHWKHU DOO WKH PHGLXPV used to convey design information from its conception through to its construction into RQH FRPSUHKHQVLYH VFKHPDWLF HIIHFWLYHO\ reinstating the architect as the master coordinator on any given project.

)LJXUH 3DUDPHWULF design methods can be XVHG WR PRGHO FRPSOH[ terrain.

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)LJXUH 7KH %HNR 0DVWHUSODQ %HOJUDGH 6HUELD XQEXLOW 7KH team at Zaha Hadid Architects are very much at the forefront of SDUDPHWULF GHVLJQ DQG FRPSXWDWLRQ LQ DUFKLWHFWXUH DSSO\LQJ LW to large scale projects as is seen in this Masterplan for an urban UHJHQHUDWLRQ RI GRZQWRZQ %HOJUDGH

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A.3  PARAMETRIC  MODELLING *HQHUDWLYH GHVLJQ DFKLHYHG WKURXJK SDUDPHWULF modelling is a hot topic in the architectural GLVFRXUVH SUHVHQWO\ 7KHUH DUH VFKRROV RI thought believing it to be the new emerging DUFKLWHFWXUDO VW\OH DV ZHOO DV RWKHUV ZKR believe it’s stylistic qualities to be a passing DUFKLWHFWXUDO IDG :KLFK HYHU VLGH \RXҋUH RQ LW is undeniable to say that parametric design has bought about a paradigm shift in an architects approach to problem solving. 3DUDPHWULF PRGHOOLQJ KDV HQDEOHG DUFKLWHFWV WR EHJLQ WR H[SORUH DOO SRVVLEOH VROXWLRQV WR DQ\ JLYHQ GHVLJQ SUREOHP DV WKH SDUDPHWULF design process does not involve the architect GHVLJQLQJ WKH VROXWLRQ EXW UDWKHU GHVLJQLQJ WKH FRQVWUDLQWV WKDW ZLOO GHÀQH WKH IDPLO\ RI VROXWLRQV SURGXFHG E\ WKH DOJRULWKPV 7KH\ ZLOO WKHQ KDYH the opportunity to test and develop a number of solutions not previously conceivable in the ROG GHVLJQ DSSURDFK 3DUDPHWULF GHVLJQ DOVR SURPRWHV HIÀFLHQF\ LQ WKH GHVLJQ SURFHVV IURP its conception right through to its fabrication and construction. Digital parametric modelling has HIIHFWLYHO\ FRPELQHG WKH SUHGHVLJQ VFKHPDWLF GHVLJQ GHVLJQ GHYHORSPHQW GRFXPHQWDWLRQ and tendering phases of the design process LQWR RQH ҊGHVLJQ LWHUDWLRQҋ SKDVH ZKLFK produces one complete model containing all the information needed to proceed with WKH FRQVWUXFWLRQ RI WKH GHVLJQ 7XUQLQJ WKLV process into one step means that an architect can affect quick and precise changes to the design right up until the construction phase ZLWKRXW WKLV LQFXUULQJ ODUJH H[WUD FRVWV DV ZHOO as not having to go back through the testing and development phases. It has resulted in the conception of design solutions that would not have otherwise been comprehendible without the power of parametric design.

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All of this is well and good. the advantages of parametric modelling in making the design SURFHVV PRUH HIĂ€FLHQW DQG VWUHDPOLQHG DV well as realising forms not otherwise able to EH UHDOLVHG DUH XQGHQLDEOH +RZHYHU LV WKLV necessarily a good thing? I have no doubt that making the design process more timely and FRVW HIĂ€FLHQW LV D JRRG WKLQJ EXW KDYH ZH EHJXQ to let technology replace genuine inspiration? Have we begun to marvel at our own ability to control the forces which we create rather than PDUYHOOLQJ LQ WKH FUHDWLRQV WKHPVHOYHV 7KLV is what divides thinking within the architectural discourse with regards to parametric design. /DUV +HVVHOJUHQ GLUHFWRU RI UHVHDUFK DW .RKQ 3HGHUVHQ )R[ $VVRFLDWHV .3) DQ LQWHUQDWLRQDO GHVLJQ VWXGLR DQG D FRIRXQGHU RI WKH 6PDUW*HRPHWU\ *URXS KDV VDLG WKDW “generative design is not about designing a building. It’s about designing the system that designs the buildingâ€?. Is architecture still the process of creating a synergy between form and function in a building or is it now simply computer programming? Why can’t it be both. $UFKLWHFWXUH LQYROYHV H[SHULPHQWDWLRQ DQG at it’s core that is all parametric modelling is. Why would we frown upon computer generated IRUPV QRW SRVVLEO\ FRQFHLYHG ZLWKRXW WKH XVH RI SDUDPHWULF FRPSXWDWLRQ LI WKH\ VWLOO DSSHDO WR the true artistic sense of architecture? Creating buildings using parametric modelling for the sake of proving that we have the technology to do VR LV D EDG EXVLQHVV DQG LV RQH WKDW ZLOO DOZD\V and forever invoke criticism from architectural contemporaries and the general public alike. +RZHYHU XVLQJ SDUDPHWULF PRGHOOLQJ DV D WRRO to only further advance our own creativity and enable us to create architecture with a strong design theme and purpose is a wonderful use of technology to harness forces greater than which we are capable of alone.

)LJXUH 7KH Ҋ6QRZÁDNHҋ WRZHU D FRQFHSWXDO GHVLJQ SURGXFHG E\ WKH /DERUDWRU\ RI YLVLRQDU\ $UFKLWHFWXUH LV DQ DPD]LQJ H[DPSOH RI D GHVLJQ WKDW ZDV PDGH SRVVLEOH WKURXJK WKH XVH RI SDUDPHWULF PRGHOOLQJ LQ WKH IRUP RI *UDVVKRSSHU G 7KH GHVLJQHUV ZHUH DEOH WR WHVW DQG GHYHORS QHZ DQG LQWHUHVWLQJ VKDSHV DQG FRQÀJXUDWLRQ RSWLPLVLQJ WKH GHVLJQ WR EHVW PHHW WKH FRQVWUDLQWV RI WKH SURMHFW

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CASE  STUDY  ONE ‘THE  WATER  CUBE’

)LJXUH ,QWHULRU YLHZ RI WKH :DWHU &XEH

%HLMLQJ 1DWLRQDO $TXDWLFV &HQWUH %HLMLQJ &KLQD 'HVLJQHUV 37: $UFKLWHFWV $UXS ,QWHUQDWLRQDO (QJLQHHULQJ *URXS &6&(& &KLQD 6WDWH &RQVWUXFWLRQ (QJLQHHULQJ &RUSRUDWLRQ &&', &KLQD &RQVWUXFWLRQ Design International). ,Q JHQHUDWLYH GHVLJQ ZDV EURXJKW WR the world stage in the form of the undeniably XQLTXH %HLMLQJ 1DWLRQDO $TXDWLFV FHQWUH RU 7KH :DWHU &XEH ,W ZDV KRPH WR DOO RI WKH DTXDWLF HYHQWV IRU WKH 2O\PSLFV DQG UHFHLYHG HQRUPRXV JOREDO H[SRVXUH DQG public critique. In an attempt to represent water the designers of the building decided on a literal representation of bubbles to form the VWUXFWXUH &UHDWLQJ VXFK D FRPSOH[ VWUXFWXUH without the use of parametric design would have been near impossible to complete. 7HVWLQJ DQG RSWLPLVLQJ HDFK GLIIHUHQW

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)LJXUH 7KH :DWHU &XEH LV PDGH XV RI DQ LQWLFDWH PHVK RI VWHHO members of varying lengths.

FRQĂ€JXUDWLRQ RI VWUXFWXUDO PHPEHU PDNLQJ up the bubble pattern would have taken VHYHUDO OLIHWLPHV +RZHYHU E\ HQJDJLQJ WKH SRZHU RI SDUDPHWULF FRPSXWLQJ WKH designers were able to create algorithms and apply constraints that iteratively tested WKH GLIIHUHQW FRQĂ€JXUDWLRQ RI VWHHO PHPEHUV making up the structure and came up with the optimal designs based on these constraints. 7KLV PHDQW WKH\ ZHUH DEOH WR FRPH XS ZLWK D GHVLJQ WKDW ZDV EDVHG DURXQG FRPSOH[ JHRPHWULFDO UXOHV KRZHYHU ZDV VWLOO RSWLPDO with regards to structural integrity and cost HIĂ€FLHQF\ $ERXW WKH GHVLJQ RI WKH %HLMLQJ 1DWLRQDO $TXDWLF FHQWUH - 3DUULVK GLUHFWRU RI $UXSVSRUW D FRQVXOWLQJ ZLQJ ZLWK $UXS ,QWHUQDWLRQDO (QJLQHHULQJ *URXS VDLG ´8VLQJ SDUDPHWULFV , ZDV DEOH WR LQYHVWLJDWH IDU PRUH DOWHUQDWLYHV :H EXLOW YHUVLRQ EHFDXVH LW ZDV EHWWHU %XW YHUVLRQ ZRXOG KDYH ZRUNHG Ă€QH *HQHUDWLYH GHVLJQ DOORZHG us to get better results in a fraction of the time.â€?

7KH :DWHU &XEH LV D ZRQGHUIXO H[DPSOH RI how parametric computation can be used WR H[SORUH D QXPEHU RI SRVVLEOH VROXWLRQV WR RSWLPLVH D GHVLJQ LQ D WLPHO\ DQG HIĂ€FLHQW manner. It has been used to create a VRSKLVWLFDWHG EXLOGLQJ EDVHG DURXQG FRPSOH[ geometries which would not have otherwise been possible to conceive in this scale. +RZHYHU LW LV DOVR DQ LPSRUWDQW H[DPSOH of the designers original design idea and inspiration not being lost in this process of computation.

7KH WKHPH RI ZDWHU DV H[SUHVVHG WKURXJK WKH UHSUHVHQWDWLRQ RI EXEEOH RQ WKH H[WHULRU was born out of pure inspiration within the designer and parametric design was simply used to enable the realisation of this idea.

)LJXUH 3DUDPHWULF programming similar to that seen on the right was used in the design of the Water Cube.

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)LJXUH %HLMLQJ 1DWLRQDO $TXDWLFV &HQWUH %HLMLQJ &KLQD 7KH :DWHU &XEH LV D FROODERUDWLYH VXFFHVV ZKLFK HPSOR\V parametric design to create a truely unique and fully optimised structure.

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CASE  STUDY  TWO ‘THE  TRAIN  SHED’

)LJXUH 3DUDPHWULF modelling was used to control the scale of the individual WUXVVҋ ZKLOVW VWLOO maintaining all it’s other structural properties. )LJXUH $ULDO YLHZ RI WKH ,QWHUQDWLRQDO 7HUPLQDO DW :DWHUORR 7UDLQ 6WDWLRQ LQ /RQGRQ

7KH ,QWHUQDWLRQDO 7HUPLQDO :DWHUORR 6WDWLRQ 7KH DUFKLWHFWV LQ WKLV FDVH ZHUH DEOH WR /RQGRQ employ the use of parametric modelling to create a model in which the arch forms were 'HVLJQHUV 1LFKRODV *ULPVKDZ DQG 3DUWQHUV based on the design parameters in which WKH\ VHW %\ FKDQJLQJ WKH VSDQ GLPHQVLRQ RI 7KH ,QWHUQDWLRQDO 7HUPLQDO DW :DWHUORR 7UDLQ HDFK DUFK ZLWKLQ WKH SDUDPHWULF PRGHO WKH\ 6WDWLRQ LV D EHDXWLIXO H[DPSOH RI WKH HDUO\ were able to create the tapering effect yet LPSOHPHQWDWLRQ DQG EHQHĂ€WV RI SDUDPHWULF maintain all the other design characteristics design in architecture on a very structural RI WKH DUFK 7KXV WKH\ FUHDWHG OHYHO 7KH VLWH LWVHOI SUHVHQWHG D QXPEHU dimensionally varying (yet identical in every of constraints on the project that ultimately other way) arches without having to model GURYH WKH GHVLJQ SURFHVV DQG RXWFRPH 7KH HDFK RI WKHP LQGLYLGXDOO\ D WDVN ZKLFK ZRXOG curvy nature of the track layout as well as have otherwise taken more time than is the positioning of the platforms were the feasable on any architectural project. main constraints that ultimately affected the form of the roof structure. As you move 7KLV LV D FDVH ZKHUH WKH GHVLJQ VROXWLRQ along the track away from the main entrace ZDV YHU\ PXFK FRQVWUDLQW GULYHQ PXFK of the building the roof structure becomes PRUH VR WKDQ WKH :DWHU &XEH PHDQLQJ WKDW QDUURZHU WDSHULQJ IURP PHWUHV DW LWV parametric computation was essential in the ZLGHVW WR PHWUHV DW LWV PRVW QDUURZ design process. It enabled the design and SRLQW ,W LV FRQVWUXFWHG RI LQWHUFRQQHFWHG LWHUDWLRQ RI D FRPSOH[ JHRPHWULF IRUP ZKLFK identical arches. would not have been feasible otherwise.

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)LJXUH ,QWHUQDWLRQDO 7HUPLQDO :DWHUORR 6WDWLRQ /RQGRQ 7KH DUFKLWHFWV DW 1LFKRODV *ULPVKDZ DQG 3DUWQHUV XWLOLVHG WKH computing power of parametric programming to create this marvel of modern structural architecture.

19

A.4 ALGORITHMIC EXPLORATIONS

)LJXUH /RIWLQJ LQLWLDOO\ RQO\ LQ WKH 5KLQR environment produced some interesting results. It became apparent I’d used to much detail in the faces so I stripped them back to only outlines.

20

)LJXUH 7KH ÀUVW ORIWHG PRGHO SURGXFHG LQ WKH Rhino environment.

)LJXUH , WKHQ referenced the outlined IDFHV LQWR *UDVVKRSSHU to create this dynamic algorithmic model I could manipulate.

I’ve included a number of images of the week *UDVVKRSSHU FKDOOHQJH WR EXLOG D 'LVQH\ tower. It involved converting the faces of my beloved Disney characters into closed curves and lofting them between one another. I’ve chosen to include these images because IRU PH WKLV FKDOOHQJH EHVW DUWLFXODWHG WKH FUHDWLYH SRZHU RI DOJRULWKPLF GHVLJQ 7KH IUHH à RZLQJ FXUYDWXUH RI WKH WRZHUV VHHPHG to be incredibly random yet could all be mapped out within a mathematical equation. 7KH RUJDQLF G\QDPLF IUHH IRUPV FUHDWHG seemingly beyond the comprehension of the KXPDQ EUDLQ DORQH ZHUH D YHU\ LQWULJXLQJ VWDUW WR P\ RZQ H[SORUDWLRQ RI SDUDPHWULF design and have driven my desire to see how far it can go. 7KH VHHPLQJO\ XQOLPLWHG QXPEHU RI UHVXOWV PDNH LW D YHU\ H[SORUDWLRQDO DSSURDFK to design and one that challenges one’s everyday comprehension of what is SRVVLEOH ZLWKLQ WKH ÀHOG RI DUFKLWHFWXUH DQG FRQVWUXFWLRQ 3DUDPHWULF PRGHOOLQJ KDV the potential to prove an incredible tool in designing an installation for the Wyndham *DWHZD\ SURMHFW WKDW ZLOO FKDOOHQJH WKH FXUUHQW public perception of the built environment as well as positively effect current opinions on parametric modelling within the architectural discourse.

)LJXUH 3URJUDPPLQJ LQ WKH *UDVVKRSSHU HQYLURQPHQW

21

22

)LJXUH 7KH PDMRU DGYDQWDJH RI ORIWLQJ LQ WKH *UDVVKRSSHU environment was that I was able to manipulate the faces that made up the tower and have the program update the model in UHDO WLPH VRPHWKLQJ \RXŇ‹UH XQDEOH WR GR LQ WKH 5KLQR HQYLURQPHQW DORQH 7KLV PHDQW , FRXOG SOD\ ZLWK VFDOH DQG SRVLWLRQ RI WKH IDFHV WR H[SORUH GLIIHUHQW RXWFRPHV , ZDV WKHQ DEOH WR ŇŠEDNHŇ‹ that iteration back into the Rhino environment so as to be able to FRPSDUH DQG FRQWUDVW WKH GLIIHUHQW RXWFRPHV , KDG SURGXFHG DV seen here.

23

A.5 Â CONCLUSION

%\ HQJDJLQJ DQG KDUQHVVLQJ WKH SRZHU RI SDUDPHWULF PRGHOOLQJ P\ GHVLJQ VROXWLRQ to the Wyndham city western gateway project will both inspire and engage with the general public as well as further advance the use and credibility of parametric modelling with in the current architectural discourse. , DP NHHQ WR H[SORUH KRZ IDU SDUDPHWULF modelling can push my own design LQVSLUDWLRQ ZLWKRXW FRPSURPLVLQJ LW )RU QRZ DV VKRZQ LQ WKH FDVH VWXGLHV DQG H[DPSOHV SUHVHQWHG LQ WKLV GRFXPHQW WKHUH LV PXFK PRUH URRP IRU DQ ŇŠLI \RX FDQ WKLQN LW \RX FDQ EXLOG LWŇ‹ DWWLWXGH 7KLV inspires an invigorating sense of freedom LQ PH DQG , DP H[FLWHG WR VHH ZKHUH LW FDQ JR )ROORZLQJ XQH[SHFWHG UHVXOWV DQG DQRPDOLHV DV ZHOO DV HPEUDFLQJ QHZ dynamic and unimaginable forms will be ZKDW GULYHV PH LQ WKLV SURMHFW 8VLQJ WKLV powerful tool to further advance my own creative impulses shall be my prerogative. ([SHULPHQWDWLRQ LV WKH NH\ WR SURJUHVV DQG what parametricisim has given us above all HOVH DUH WKH WRROV WR H[SHULPHQW WHVW DQG develop an enormous range of solutions. 3DUDPHWULFLVP LV SURJUHVV DQG ZKDW EHWWHU place to put this on display than at the gateway to metropolitan Melbourne.

24

A.6 Â LEARNING Â OUTCOMES In the process of compiling this document my own knowledge and appreciation of computation in architecture has increased enormously. I was aware of the advantages of the digitisation of architectural plans and modelling in terms of streamlining the GHVLJQ SURFHVV LQ WXUQ VDYLQJ WLPH DQG money. However I was unaware of the true potential of computer programming in realising designs and concepts that would QRW EH SRVVLEOH RWKHUZLVH ([SHULPHQWLQJ with forms that I would not have imagined SRVVLEOH LV ERWK PLQG EORZLQJ DQG GDXQWLQJ 7KH SRWHQWLDO IRU SDUDPHWULF PRGHOOLQJ to ccompletely revolutionise the way we as architects approach any given design SUREOHP DV ZHOO DV WKH ZD\ ZH DQG the general public interact with the built HQYLURQPHQW LV WUXO\ H[FLWLQJ

25

REFERENCES

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6RORPRQ 1DQF\ % HGLW $UFKLWHFWXUH &HOHEUDWLQJ WKH 3DVW 'HVLJQLQJ WKH )XWXUH 9LVXDO 5HIHUHQFH 3XQOLFDWLRQV ,QF &DSRQ 'DYLG 6PLWK $UFKLWHFWXUDO 7KHRU\ /H &RUEXVLHUҋV OHJDF\ SULQFLSOHV RI twentieth century architectural theory DUUDQJHG E\ FDWHJRU\ 9ROXPH -RKQ :LOH\ :HEHU 1LFKRODV )R[ /H &RUEXVLHU $ OLIH $OIUHG $ .QRSI /RXNLVVDV <DQQL &R 'HVLJQHUV &XOWXUHV RI &RPSXWHU 6LPXODWLRQ LQ $UFKLWHFWXUH /RQGRQ 5RXWOHGJH <HKXGD ( .DOD\ $UFKLWHFWXUHҋV 1HZ 0HGLD 3ULQFLSOHV 7KHRULHV DQG 0HWKRGV RI &RPSXWHU $LGHG 'HVLJQ &DPEULGJH 0DVV 0,7 3UHVV .RODUHYLF %UDQNR $UFKLWHFWXUH LQ WKH 'LJLWDO $JH 'HVLJQ DQG 0DQXIDFWXULQJ 1HZ <RUN /RQGRQ 6SRQ 3UHVV :RRGEXU\ 5REHUW (OHPHQWV RI 3DUDPHWULF 'HVLJQ /RQGRQ 5RXWOHGJH www.arup.com ZZZ ]DKD KDGLG FRP

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27

EXPRESSION OF INTEREST: WYNDHAM CITY GATEWAY PROJECT

28

PART B. DESIGN APPROACH

29

B.1  DESIGN  FOCUS ‘Our  Space’

Creating a design space centred around Geometry within the parametric environment has raised some interesting points of architecture, many of which are completely QHZ FRQFHSWV WR PH DQG DOO RI ZKLFK FDQ EH applied to the Wyndham project in new and LQQRYDWLYH ZD\V UXOHG VXUIDFHV SDUDERORLGV minimal surfaces, geodesics, relaxation and JHQHUDO IRUP ÀQGLQJ DV ZHOO DV ERROHDQV DUH DOO emerging concepts within parametric modelling and the architectural discourse and provide a QHZ DSSURDFK WR WKLQNLQJ DERXW D GHVLJQ DQG its environmental impact. The application of different techniques within this design space are revolutionising the ZD\ ZH DSSURDFK PDWHULDO HIÀFLHQF\ DV ZHOO FUHDWLQJ D PRUH VXVWDLQDEOH GHVLJQ SUDFWLFH ,Q particular, the concept of minimal surfaces. The LGHD ZDV ÀUVW H[SORUHG ZLWKLQ WKH PDWKHPDWLFDO fraternity through the experimentation of RSWLPLVDWLRQ RI D VXUIDFH DUHD E\ PLQLPLVLQJ LW WR LWV EDUH HVVHQWLDO ,W LV EHVW VHHQ LQ experimentation with dipping a wire frame into a soapy solution and analysing the surface area it creates. The application of the concept within an architectural context is heavily reliant on the use of computer aided parametric modelling and is an interesting exploration into RSWLPLVDWLRQ DQG HIÀFLHQF\ KRW WRSLFV ZLWKLQ the current architectural discourse.

30

One project in particular that has explored this is LAVA’s Green Void sculptural piece within the heritage listed Sydney Customs House. The project successfully used parametric modelling to create not only an architecturally sophisticated design, one that GHÀQHV LQWHUHVWLQJ VSDFHV ZLWKLQ WKH EXLOGLQJ DQG MX[WDSRVHV EHDXWLIXOO\ ZLWK WKH KHULWDJH OLVWHG LQWHULRU EXW DOVR RQH WKDW RSWLPLVHV WKH HIÀFLHQF\ RI WKH HQWLUH SURMHFW IURP PDWHULDO usage to installation time to make WKH SURFHVV PRUH VXVWDLQDEOH DQG DGG WR WKH strength of the argument for moving towards a PRUH VXVWDLQDEOH GHVLJQ SUDFWLFH Another project that falls within this design space is Smart Geometry’s Gridshell. It also had a strong lean towards creating an architecturally VWULNLQJ SLHFH WKDW PD[LPLVHG HIÀFLHQF\ WKURXJK optimisation of the design process from start to ÀQLVK D SURFHVV WKH\ FRPSOHWHG LQ RQO\ IRXU days! It employed parametric tools to aid in this GHVLUH IRU HIÀFLHQF\ XVLQJ WKHP WR FUHDWH WKH natural looking form you see through applying geodesic lines to its original geometry. this model was created with the material performance of WLPEHU LQ PLQG DQG ZDV DQ H[SHULPHQW LQWR KRZ LWV SURSHUWLHV FDQ EH PDQLSXODWHG ZLWK WKH DLG of parametric modelling. The result is again an aesthetically impactful design that proved the XVH WR SDUDPHWULF PRGHOOLQJ WR EH D ELJ VWHS

WRZDUGV FUHDWLQJ D PRUH VXVWDLQDEOH IXWXUH IRU optimising the process and maximising the design. VWUXFWXUDO DQG PDWHULDO HIĂ€FLHQF\ RI WKH EXLOGLQJ A large scale 7KH &DQWRQ 7RZHU E\ ,%$ LV D SURMHFW WKDW example of the application of geometry and again highlights the real potential of computer geodesics in the parametric environment DLGHG SDUDPHWULF PRGHOOLQJ EHFDXVH ZKLOH WR FUHDWH D EHDXWLIXO VWUXFWXUH WKDW QRW RQO\ QRW LPSRVVLEOH WR FRPSOHWH ZLWKRXW LW LW ZRXOG VDWLVĂ€HV WKH DUFKLWHFWV GHVLJQ LQWHQW EXW DOVR have taken several life times to fully realise the RSWLPLVHV WKH HIĂ€FLHQF\ DQG VXVWDLQDELOLW\ RI design without the use of computation. Like the design. the Gridshell, the Canton Tower employs the use to geodesics to create a grid-like mesh to $V KLJKOLJKWHG , EHOLHYH ZH KDYH SLFNHG FRPSULVH WKH VWUXFWXUH RI WKH EXLOGLQJ MXVW RQ D a design space to work within that has the much larger scale. The interesting component potential to revolutionise the design practice, of this project was the twisting motion the XUJLQJ DQG HQDEOLQJ LW WR PRYH WRZDUGV D PRUH architects wanted to incorporate into the design. VXVWDLQDEOH DQG HIĂ€FLHQW IXWXUH 7KH SRWHQWLDO It was an attempt to satisfy the design intent of to create architecturally sophisticated and creating a feminine form within a skyscraper, a aesthetically engaging designs is more than very successful attempt. Parametric tools were evident, making it an appropriate space to work again employed to model this design, within for the Wyndham City Gateway project.

31

B.2  CASE  STUDY  1.0  Matsys  Gridshell

, VWDUWHG WKH H[SHULPHQWDWLRQ SURFHVV E\ UHFUHDWLQJ 0DWV\V *ULGVKHOO ZLWK WKH DLG RI *Z\OOLPŇ‹V ZHHN GHPRQVWUDWLRQ YLGHR ŇŠ&UHDWLQJ D *ULGVKHOOŇ‹ , WKRXJKW LW EHWWHU WR FUHDWH WKH DOJRULWKP P\VHOI VR DV WR JDLQ D EHWWHU XQGHUVWDQGLQJ RI KRZ LWŇ‹V SDUWLFXODU FRPSRQHQWV ZRUN )URP KHUH , VWDUWHG WR SOD\ DERXQG ZLWK WKH QXPEHU VOLGHUV ZLWKLQ WKH DOJRULWKP FRQWUROOLQJ ERWK WKH QXPEHU RI SRLQWV SRSXODWLQJ WKH FXUYHV DQG WKH RUGHU LQ ZKLFK WKH JHRGHVLFV DUH FRQQHFWHG through the shift list component. This process created varying patterns of geodesics, some more engaging than others.

I experimented with applying the Grasshopper algorithm to different curves that I modelled ZLWKLQ WKH 5KLQR HQYLURQPHQW WR VHH ZKDW HIIHFW GLIIHUHQW VKDSHV ZRXOG KDYH 0L[LQJ XS WKH ORIW order had some interesting results (upper right). I also played around with the size and location RI WKH RULJLQDO FXUYHV ZLWKLQ WKH 5KLQR HQYLURQPHQW WR VHH WKH GLIIHUHQW IRUPV WKDW FRXOG EH JHQHUDWHG EHORZ

32

6HHQ DERYH LV H[SHULPHQWDWLRQ VXUURXQGLQJ WKH DSSOLFDWLRQ RI WKH EUHSPHVK FRPSRQHQW WR D EDNHG LWHUDWLRQ RI WKH RULJLQDO IRUP , WKHQ VPRRWKHG WKDW PHVK DQG XVHG D QXPEHU VOLGHU WKH affect the iterations of that process.

7KLV LV D FRPELQDWLRQ RI WKH SUHYLRXV WZR H[SHULPHQWV , SOD\HG DURXQG ZLWK WKH SRVLWLRQ DQG VFDOH RI WKH RULJLQDO JHRPHWU\ EDNHG LW DQG DSSOLHG D VPRRWKHG EUHSPHVK WR WKDW VXUIDFH 7KH UHVXOW ZDV D VWULNLQJO\ EHDXWLIXO IRUP

6HHQ DERYH DQG EHORZ DUH LWHUDWLRQV ZKLFK LQYROYHG PH FUHDWLQJ D FRQLFDO DV ZHOO DV VSKHULFDO VKDSH DW HDFK SRLQW SRSXODWLQJ WKH RULJLQDO FXUYHV , WKHQ SOD\HG DURXQG ZLWK QXPEHU VOLGHUV altering the radius of these forms. It created a suprisingly interesting and compelling form.

33

B.3  CASE  STUDY  2.0  â€˜The  Supermodel’ The Canton Tower, Guangdong, China, 2010 'HVLJQHUV ,%$ ,QIRUPDWLRQ %DVHG $UFKLWHFWXUH Architects, Arup International Engineering Group “We wanted to create a ‘female’ tower, being complex, transparent, curvy, gracious and sexyâ€? -Mark Hemel IBA architect and director $V 0DUN KDV GHVFULEHG ,%$ VHW RXW WR FUHDWH D form that had more feminine connotations having QRWHG WKDW ´PRVW VN\VFUDSHUV EHDU ŇŠPDOHŇ‹ IHDWXUHV EHLQJ LQWURYHUW VWURQJ VWUDLJKW UHFWDQJXODU DQG EDVHG RQ UHSHWLWLRQÂľ ,WŇ‹V VOHQGHU FXUY\ SK\VLTXH XQGRXEWHGO\ HYRNHV WKH IHPLQLQH DIIHFW ,%$ VHW RXW to convey, making its nickname, the ‘supermodel’, more than appropriate. This form is achieved very effectively through the rotation of two elipses, one at the top and one DW WKH ERWWRP 7KLV LQ WXUQ WZLVWV WKH VWUXFWXUDO FRPSRQHQWV RI WKH EXLOGLQJ FUHDWLQJ WKH IHPLQLQH Ă€JXUH \RX VHH ,%$ UHOLHG KHDYLO\ RQ FRPSXWDWLRQDO GHVLJQ WR manufacture the complex lattice design that makes up the structural framework of the tower. The twisting nature of the design meant that each individual component of the lattice was unique and to realise that type of design at this scale, the computational power of parametric modelling was DEVROXWHO\ QHFHVVDU\ DQG XVHG WR JRRG HIIHFW

34

REVERSE Â ENGINEERING

7KH RUGHU RI WKH FXUYHV ZKHQ XVLQJ WKH ORIW FRPDQG EHFDPH DQ LQWHUHVWLQJ YDULDEOH SURGXFLQJ ERWK XQH[SHFWHG DQG SRWHQWLDO ZRUNDEOH UHVXOWV

)LQDO PRGHO Reverse engineered Canton Tower

*HWWLQJ WKH FXUYH RUGHU ULJKW VWDUWHG WR VKRZ D IRUP PRUH FORVHO\ UHVHPEOLQJ WKH &DQWRQ Tower.

- Relocating the original geometry in the Rhino environment produced more unexpected results, sparking ideas for the potential of this shape in the Wyndham project.

$SSO\LQJ JHRGHVLFV WR WKH H[LVWLQJ JHRPHWU\ DQG HPSOR\LQJ WKH 6+,)7 /,67 FRPSRQHQW LQ *UDVVKRSSHU SURGXFHG D UHVXOW PRVW FORVHO\ UHVPEOLQJ WKH &DQWRQ 7RZHU LW ZDV MXVW D PDWWHU RI VKLIWLQJ WKH FRQWURO SRLQWV E\ WKH ULJKW DPRXQW

Reference 3 curves Divide curve into Create arcs through Explode tree - - Loft arcs together Connect geodesics a tree, N=10 points using 3 data matching for geodesic curves into Grasshopper to loft for first - Rebuild curves with point arc geodesics 10 control points - Reloft - Close loft

Description of the Grasshopper model we created in an attempt to reverse engineer the Canton Tower.

Turn on wrapping: Copy geodesics and Shift list of control For second Explode tree Shift lists: Boolean true geodesics: data matching - Shift control points on apply to second set points on first curve Divide curves a of curves by 2 third curve second time, N=20 - Amount controlled by slider - Shift by 8

35

B.4 TECHNIQUE: GRIDSHELL DEVELOPMENT

36

1. Started with randomly placed circular curves.

2. Used a simple loft tool in the grasshopper environment to loft EHWZHHQ WKH curves. Didn’t produce the desired result.

3. Altering the location of the curves within the rhino environment.

4. Adding in another FXUYH EHORZ originals. Starting to develop into the desired shape more so.

5. Adding in more curves. Referecing in all the curves into the one curve component in the grasshopper environment and connecting that to a loft componet, results in a confused order.

6. Referencing them into the grasshopper environment individually EXW QRW lofting them individually also results in a confused loft order.

7. Ordering the curves correctly into the loft component produces a more desired result.

8. Playing around with the size and location of the curves

9. Certain placement of the curves results in unappealing twists in the loft.

10. Creating the desired worm shape appearing to move randomly through the space.

11. 3 curves divided into 10 points 10 arcs EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10

12. 3 curves divided into 10 points 10 arcs EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 Parameters DERYH FRSLHG and applied to curves 1-6 37

38

13. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 1-8

14. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 1-11

15. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 1-13

16. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 1-15

17. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 1-5 and 10-15

18. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to curves 5-9

19. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation

20. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 50 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation

21. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 50 Shift list: list 1: 10 list 2: 5 new curve formation

22. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 20 Shift list: list 1: 8 list 2: 2 new curve formation

23. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation Change in curves lofted

24. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied Curve Integers: list 1: 10 list 2: 10 Shift list: list 1: 1 list 2: 10 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation Change in curves lofted 1XPEHU VOLGHU changing size of 39 original curves

40

25. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation twisting of original curves in rhino

26. 3 curves divided into 10 points DUFV EHWZHHQ Acs lofted Geodesic curves applied 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation twisting of original curves in rhino removal of lofting to form mesh

27. 3 curves divided into 10 points Curve division to create points geodesic curves applies ORIWLQJ QHZ EHWZHHQ curves

28. 3 curve curve division applied tree explosion arc component UHEXLOG DUF geodesic curve applied to form

29. 3 curve curve division applied tree explosion arc component UHEXLOG DUF geodesic curve applied to form twist 3 curves in rhino- changing from circles to unique forms

30. 3 curve curve division applied tree explosion arc component UHEXLOG DUF geodesic curve applied to form twist 3 curves in rhino- changing from circles to unique forms copy form apply mesh geometry

31. 3 curve curve division applied tree explosion arc component UHEXLOG DUF geodesic curve applied to form twist 3 curves in rhino- changing from circles to unique forms copy forms apply mesh geometry

33. 3 curve divided into 10 points. Tree data exploded, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result with intermediate w-shaped curve with closed loft option

35. Parameters from 33. copied and applied to 3 new curves in different formation. Curve Intergers List 1= 15 List 2= 20

32. 3 curve curve division applied tree explosion arc component UHEXLOG DUF geodesic curve applied to form twist 3 curves in rhino- changing from circles to unique forms copy forms apply mesh geometry twist entire form 34. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. 3DUDPHWHUV DERYH copied and applied to 3 new curves in different formation, SDivide (U= V= 8), polyline and exoskeleton created (r= 2) 36. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Shift Intergers: List 1= 8 List 2= 10 SDivide Intergers: U List= 10 V List= 12 Exoskeleton frame: R= 1.5

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37. 3 curve divided into 10 points. Tree data exploded, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Paramaters copied and applied to 3 new curves, Curve Intergers: List 1= List 2= 10, SDivide Intergers U= 7, V= 15, Exosk. r= 1.0

38. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied from 35. Curve Intergers: List 1= 20 List 2= 25, SDivide Intergers U= 7, V= 15, Exosk. r= 1.0

39. Parameters copied from 37. and applied to 3 new curves. Curve Intergers: List 1= 15 List 2= 40, Shift Intergers: List 1= 5 List 2= 10 SDivide Intergers U= 10, V= 17, Exosk. r= 1.2

40. Parameters copied from 37. and applied to 3 new curves. Curve Intergers: List 1= 20 List 2= 52, SDivide Intergers U= 10, V= 17, Exosk. r= 1.2

41. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 20, List 2= 52, SDivide Intergers U= 10, V= 17, Exosk. r= 1.2

42. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 20, List 2= 52, SDivide Intergers U= 7, V= 9, Exosk. r= 1.5

43. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 20, List 2= 52, SDivide Intergers U= 7, V= 9, Exosk. r= 1.5

44. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 20, List 2= 52, SDivide Intergers U= 7, V= 12, Exosk. r= 1.0

45. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 20, List 2= 52, SDivide Intergers U= 12, V= 9, Exosk. r= 2.0

46. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Curve Intergers: List 1= 7, List 2= 70, SDivide Intergers U= 12, V= 9, Exosk. r= 2.0

47. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 7, List 2= 70, SDivide Intergers U= 7, V= 15, Exosk. r= 2.0

48. 3 curve divided into 10 points. Tree data explode, arc component and UHEXLOG DUF WR FUHDWH curves Geodesic curve applied to lofted result. Parameters copied and applied to 3 new curves. Curve Intergers: List 1= 7, List 2= 70, SDivide Intergers U= 20 V= 20, Exosk. r= 3.0 43

B.5. TECHNIQUE: PROTOTYPES

([SHULPHQWLQJ ZLWK WKH LGHD RI ҊLQYLVLEOHҋ suspension and the aesthetic effect of forces SXOOLQJ RQ WKH PDOOHDEOH IRUP PDGH XS E\ the pipe cleaners.

44

Having a clearer vision and design intent within the group for the potential form of the design for the gateway project, prototyping WKH IRUP ZDV WKH QH[W VWHS 7KH XVH RI EDVLF materials and experimentation with the ideas of tension and suspension have fostered some unexpected results as well as generated new and interesting ideas and concepts. These results have affected change and caused IXUWKHU GHYHORSPHQW RI WKH SRVVLELOLWLHV RI the design for the Western Gateway project. It was a good reminder that iteration of any JLYHQ GHVLJQ VKRXOG QHYHU EH FRQVWUDLQHG WR RQH PHGLXP EH LW LOOXVWUDWLRQ GLJLWDO PRGHOOLQJ RU SK\VLFDO PRGHOOLQJ DOO VKRXOG EH XWLOLVHG WR realise the full potential of a design. )LUVWO\ ZH FUHDWHG D EDVLF IRUP E\ WZLVWLQJ WKH ends of four pipe cleaners together. We then SURFHHGHG WR DWWDFK D SLHFH RI LQYLVLEOH ZLUH to the middle section of each pipe cleaner. Immediately, we found the result intriguing DV ZKHQ ZH VXVSHQGHG WKH IRUP E\ WKH ZLUH LW DSSHDUHG WR EH VXVSHQGHG LQ PLG DLU RI LWŇ‹V own accord (seen left). This instantly got the imagination going on the implications this could KDYH IRU D SXEOLF VFXOSWXUH SURMHFW %\ SXOOLQJ

RQ WKH GLIIHUHQW ZLUHV ZH ZHUH DEOH WR PDQLSXODWH the original form, contorting it into new and H[SHFWHG VKDSHV :H ZHUH DEOH WR GR WKLV RYHU DQG RYHU , FRXOGQŇ‹W KHOS EXW LPDJLQH D URDG VLGH VFXOSWXUH DSSHDULQJ WR EH VXVSHQGHG LQ PLG air, that is constantly changing its own form, HIIHFWHG E\ IRUFHV QRW LPPHGLDWHO\ SHUFHLYHG E\ WKH YLHZHU L H WKH ZLQG RU WKH Ă RZ RI WUDIĂ€F ,W ZRXOG EH DQ LQFUHGLEO\ LQWULJXLQJ VSHFWLFOH We then proceeded to create another form XVLQJ D VLPLODU SURFHVV EXW ZKLFK PRUH FORVHO\ UHVHPEOHG RXU JULG VKHOO H[SORUDWLRQV VHHQ EHORZ :H FUHDWHG WKH VWUXFWXUH RXW RI SLSH FOHDQHUV DQG D ŇŠSODQHŇ‹ IRU LW WR PRYH RQ E\ attaching small wire loops along the pipe FOHDQHUV DQG WKUHDGLQJ VWULQJ EHWZHHQ WKHP :H DJDLQ IRXQG WKDW E\ DIIHFWLQJ IRUFH RQWR the string (support structure), the form of the pipe cleaner (sculptural structure) changed and contorted into new and unexpected forms, again prompting the vision of a design that LV HYHU FKDQJLQJ DQG FRXOG EH YLHZHG LQ D GLIIHUHQW ZD\ E\ HYHU\ VLQJOH SHUVRQ ZKR VHHV it. An exciting concept and one that deserves further investigation.

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PROTOTYPING Â CONT. We undertook further prototyping, developing the idea of a dynamic, moving structure. We started to focus our attention on the joints of the structure and how they might incorporate PRYHPHQW &RQVLGHULQJ SRVVLEOH PDWHULDOV that we could use and their properties opened up more room for interest and innovation within WKH GHVLJQ :KHWKHU ZH XVHG ULJLG PHPEHUV WKDW DUH FRQQHFWHG E\ PRYDEOH MRLQWV DV LV EHVW VHHQ LQ 0RGHO $ RQ WKH OHIW RU LQVWHDG XWLOLVH Ă H[LEOH PHPEHUV WR PDNH XS D VWUXFWXUH WKDW ZRXOG EH FRPSOHWHO\ PRYDEOH VHHQ LQ 0RGHO % EHORZ EHFDPH D FRQVLGHUDWLRQ :H GHFLGHG WKDW ERWK RSWLRQV KDG HQRXJK SRWHQWLDO WR H[SORUH WKHP IXUWKHU LQ ERWK WKH SDUDPHWULF environment and through iterative model making.

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02'(/ $ 5LJLG PHPEHUV Ă H[LEOH joints incorporating lateral movement

02'(/ % 5LJLG VHFWLRQV Ă H[LEOH PHPEHUV LQFRUSRUDWLQJ twisting

Courtesy Ivan Tang

Courtesy Ivan Tang

7KLV PRGHO LQFRUSRUDWHG WKH LGHD RI PRYDEOH ‘expansion’ joints. We wanted to design a PRGHO WKDW ŇŠEUHDWKHGŇ‹ 7R GR VR ZH KDG WR incorporate expansion and contraction into WKH VWUXFWXUDO MRLQWV %\ ORRSLQJ WKH HQGV RI WKH ZLUH DURXQG LWVHOI ZH HQDEOHG LW WR H[SDQG DQG FRQWDFW ZKLOVW VWLOO DFWLQJ DV RQH PHPEHU 7KH

material properties of the wire we used to construct the model hindered the process and PDGH PRYHPHQW ZLWKLQ WKH PRGHO GLIÀFXOW WR REWDLQ 7KH LGHD ZDV ULJKW WKH H[HFXWLRQ ZDV not. We played around with applying different ҊFODGGLQJҋ WR LW VHWWOLQJ RQ WKH PHVK ÀQLVK DV one that conveyed our design intent.

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B.6 Â TECHNIQUE Â PROPOSAL

Given the lack of success in creating expansion joints within the last model further FRQFHSW GHYHORSPHQW RI D G\QDPLF ŇŠEUHDWKLQJŇ‹ sculptural piece through iterative modelling was needed. in this model, We decided to maintain WKH VDPH VWUXFWXUDO FRQFHSW RI WKH ŇŠULQJVŇ‹ EHLQJ ZKDW MRLQV WKH ORQJHU PHPEHUV KRZHYHU ZH took a different approach to the design of the expansion component within these rings. We VWDUWHG E\ PRXOGLQJ WKH SODVWLF WXELQJ XVHG WR make the ring into a circular form using heat. :H WKHQ WKUHDG DQG DWWDFKHG UXEEHU EDQGV WR WKH WXELQJ DW LWV RSHQ HQGV HIIHFWLYHO\ FORVLQJ

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WKH ULQJV ZLWK D Ă H[LEOH MRLQW :H WKHQ SURFHHGHG to use wire to link the rings together, simulating the lofting process and to create a form that UHVHPEOHG WKH VWUXFWXUDOO\ HIĂ€FLHQW IRU ZH previously modelled in Rhino 3D. As seen LQ WKH SKRWRJUDSKV WKH PRGHO FRXOG WKHQ EH PDQLSXODWHG WR VLPXODWH WKH ŇŠEUHDWKLQJŇ‹ PRWLRQ we had previously wanted to develop within the design. It was a far more successful model and informed the way in which the joints could EH GHVLJQHG DQG WKH SRWHQWLDO IRU PRYHPHQW within the structure.

7KH VHFRQG PRGHO SLFWXUHG EHORZ ORRNHG DW D different approach to creating movement within the structure. referencing the success of Smart Geometry’s Gridshell design, we worked with the idea of material properties and selecting VRPHWKLQJ WKDW FRXOG EHQG LQ WKH ZD\ WKH WLPEHU

PHPEHUV GR LQ WKH *ULGVKHOO %\ WKHQ LQFRUSRUDWLQJ Ă H[LELOLW\ IRU PRYHPHQW ZLWKLQ the joining nodes of the design we were again DEOH WR PRGHO D VWUXFWXUH WKDW KDG HQRUPRXV potential for expansion and contraction, a VHQVH RI ŇŠEUHDWKLQJŇ‹

EXPANSION JOINTS... SO WHAT??

ZKHUHDV IUHH Ă RZLQJ WUDIĂ€F ZRXOG KDYH LW acting in a more fast paced, energetic fashion. Coming up with an advanced engineering VROXWLRQ WR WKLV GHVLJQ LQWHQW ZLOO EH WKH QH[W step. An idea of a pump contained within the URDGV VXUIDFH ZKLFK SXPSHG XS D PHPEUDQH VLWXDWHG LQVLGH WKH VWUXFWXUDO PHPEHUV RI WKH GHVLJQ ZDV Ă RDWHG $QRWKHU LGHD LV WR OLQN D SXPS GLJLWDOO\ WR WUDIĂ€F UHSRUWV VR DV LW LV ZRUNLQJ ZLWKLQ WKH FRQVWUDLQWV RI WUDIĂ€F Ă RZ WKDW we program in. The idea is a complex one and ZLOO WDNH FRQVLGHUDEOH IXUWKHU GHYHORSPHQW WR UHĂ€QH

Whilst the expansion joints provide scope for innovation and freedom for movement within the structure, what actually makes the structure PRYHV QHHGV WR EH FRQVLGHUHG 7KH SXEOLF DUW work of Janet Echelman has inspired a lot of the concept of a structure that would appear WR EUHDWK WKURXJK VPDOO JHQWOH PRYHPHQW However, it is only the wind that creates this within her design. We have considered the SRVVLELOLWLHV RI WKLV DQG RWKHU QDWXUDO IRUFHV DIIHFWLQJ LW EXW JLYHQ WKH SURMHFWŇ‹V FRQWH[W D different force seemed appropriate. We want to H[SORUH KRZ WKH WUDIĂ€F FRXOG DIIHFW PRYHPHQW RQWR WKH VWUXFWXUH DQG KRZ GLIIHUHQW Ă RZV RI WUDIĂ€F FRXOG PDNH LW EHKDYH LQ GLIIHUHQW ZD\V +HDY\ WUDIĂ€F PLJKW UHVXOW LQ LW PRYLQJ LQ D YHU\ VORZ Ă XLG PRWLRQ HYRNLQJ D VHQVH RI FDOP DQG tranquility on commuters stuck in heavy delays,

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THE RUN DOWN

MID-SEMESTER PRESENTATION

BREATHING SPACE

Utilising a design space centred around geometry and sharing a common interest in the potential of geodesic patterns we set out to explore the parametric design environment. Taking inspiration from precedents and through our own parametric explorations we started to develop a design centred around a worm like skeletal structure, VRPHWKLQJ WKDW ZLWK ZHDWKHULQJ ZLOO EHJLQ WR DSSHDU DQFLHQW DQG DZH LQVSLULQJ LQ LWV VFDOH D WKURZ EDFN WR SUHKLVWRULF WLPHV 7KLV GHVLJQ OHQW itself to a static form, however we quickly started playing with the idea of a dynamic structure, something that would move with the natural forces applied to it. The idea of a structure that is constantly expanding and FRQWUDFWLQJ DOPRVW EUHDWKLQJ SLTXHG RXU LQWHUHVW 7KLV HYRNHG D YHU\ different connotation to our original path, however it appeared to have PRUH SRWHQWLDO WR EH GHYHORSHG LQWR D WUXO\ HQJDJLQJ SXEOLF GHVLJQ We started modelling prototypes that incorporated movement within WKHLU MRLQWV FUHDWLQJ WKLV LPDJH RI D EUHDWKLQJ IRUP 7KLV RSHQHG PRUH avenues to play with factors such as materiality and scale, all of which furthered the potential to create an engaging design solution. THE TECHNIQUE /RIWLQJ FLUFXODU JHRPHWU\ RI YDU\LQJ VL]HV EHWZHHQ RQH DQRWKHU ZLWKLQ WKH 5KLQR ' HQYLURQPHQW ZDV RXU VWDUWLQJ SRLQW :H ZHUH WKHQ DEOH WR play around with scale and position of the geometry to create interesting forms and it was through this experimentation that we settled on an idea worthy of further development. We played around with the application of geodesics to our form through the Grasshopper plugin for Rhino and EHJDQ WR VHH WKH IRUP \RX VHH QRZ *HRGHVLFV OHQG WKHPVHOYHV WR WKH RSSRUWXQLW\ RI RSWLPLVDWLRQ DQG H[WUHPH OHYHOV RI HIĂ€FLHQF\ ZLWKLQ the structural elements of the form yet still maintain an aesthetic true to our design intent. It was through experimental prototyping that we GHYHORSHG WKH LGHD RI D ŇŠEUHDWKLQJŇ‹ VWUXFWXUH &UHDWLQJ MRLQWV WKDW QRW RQO\ PRYHG EXW H[SDQGHG DQG FRQWUDFWHG EHFDPH WKH QHZ IRFXV Playing with the ideas of tension and elasticity as well as the potential RI GLIIHUHQW FRQVWUXFWLRQ PDWHULDOV ZH ZHUH DEOH WR H[SORUH D QXPEHU RI options that have enormous scope for further development.

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THE PRECEDENTS Our fascination with this structural form really started with Smart *HRPHWU\Ň‹V *ULGVKHOO LQVWDOODWLRQ DV ZHOO DV 7KH &DQWRQ 7RZHU E\ 0DUN +HPHO DQG %DUEDUD .XLW RI ,%$ 7KH\ SURYLGHG HVWDEOLVKHG SUHFHGHQWV that supported the application of minimal geodesics and geometric IRUPV WKURXJK SDUDPHWULF GHVLJQ WR FUHDWH D VWUXFWXUDOO\ HIĂ€FLHQW \HW architecturally engaging form. It was through the process of reverse HQJLQHHULQJ 7KH &DQWRQ 7RZHU WKDW EHJDQ WR VHH D IRUP ZH FRXOG develop. We looked at nature itself for inspiration, siting the worm as an RUJDQLVP UHSUHVHQWDWLYH RI RXU GHVLJQ ,WV KLJKO\ HIĂ€FLHQW QDWXUH DV ZHOO DV LWV EHQHĂ€FLDO FRQWULEXWLRQ WR LWV VXUURXQGLQJ HQYLURQPHQW EHFDPH DQ analogy for our design intent. It prompted us to look at the movement of worms and the way they expand and contract within their joints, as well DV WKH DOPRVW JHRGHVLF IRUP RI WKHLU QHUYRXV V\VWHPV :H DOVR EHJDQ to look at other projects that used the worm as a design theme such DV WKH XQUHDOLVHG 8UEDQ (DUWKZRUP E\ 6RXWK .RUHDQ GHVLJQHU /HH Seungsoo.

Smart Geometry’s GRIDSHELL installation

We started to really explore movement and the potential of a dynamic design, which led us to the work of Janet Echelman. She uses netting WR FUHDWH ODUJH VFDOH SXEOLF VFXOSWXUHV WKDW XWLOLVH ZLQG WR FUHDWH DQ HIIHFW RI JUDFHIXO JHQWOH PRYHPHQW ҊEUHDWKLQJҋ ,W ZDV (FKHOPDQҋV work that really led our explorations into materiality through prototyping H[SDQGDEOH MRLQWV DV ZHOO DV UHLQIRUFLQJ WKH LGHD RI PRYHPHQW ZLWKLQ RXU design as a valid and engaging concept worthy of further development. THE PITCH 6R ZK\ XV" 6LPSO\ ZHҋYH FUHDWHG D FRQFHSW WKDW LV DFFHVVLEOH RQ D QXPEHU RI GLIIHUHQW OHYHOV ,W HPSOR\V KLJKO\ WHFKQLFDO VWUXFWXUDO WHFKQLTXHV WKURXJK SDUDPHWULFV WR RSWLPLVH DQG UHÀQH WKH GHVLJQ WR LWV PRVW HIÀFLHQW IRUP ,W GUDZV RQ QDWXUH IRU LQVSLUDWLRQ XVLQJ WKH HDUWKZRUP DV D PRGHO RI HIÀFLHQF\ DQG D OLQN EDFN WR D QDWXUDO DHVWKHWLF ,W WUDQVFHQGV VWDQGDUG VWDWLF SXEOLF VFXOSWXUH E\ LQFRUSRUDWLQJ PRYHPHQW LQWR LWV GHVLJQ 0RYDEOH MRLQWV ZLOO FUHDWH VFRSH IRU LQQRYDWLRQ ZLWKLQ WKH project as well as an engaging form. It has the potential to occupy the entire site as well as span the freeway itself, creating a more immersive experience for the audience. Our design will not only add to the current DUFKLWHFWXUDO GLVFRXUVH RQ DQ LQWHUQDWLRQDO OHYHO EXW ZLOO DOVR FUHDWH LQQRYDWLRQ LQ WKH ÀHOG RI SXEOLF VFXOSWXUH :KDW EHWWHU SODFH WR SXW WKLV RQ GLVSOD\ WKDQ DW WKH *DWHZD\ WR PHWURSROLWDQ 0HOERXUQH

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B.7 Â ALGORITHMIC Â DEVELOPMENT

Having modelled the original geometry in the Rhino 3D using the Grasshopper plugin, we EHJDQ WR H[SHULPHQW ZLWK WKH FRQFHSWV ZH developed through the physical prototyping phase, digitally. Playing around with the control points created new and unexpected forms and informed us on how the structure might react WR IRUFHV SODFHG XSRQ LW 7KH .DQJDURR SOXJLQ SURYHG GLIĂ€FXOW WR PDVWHU \HW KDG WKH SRWHQWLDO WR EH YHU\ LQIRUPDWLYH RQ KRZ WKH VWUXFWXUH ZLOO SHUIRUP ZKHQ PRUH VSHFLĂ€F IRUFHV DUH DSSOLHG WR LW IRUFHV WKDW ZH ZDQW WR GHVLJQ WR EH DSSOLHG

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The Rhino generated images you see here VKRZ RXU VWUXFWXUH DW LWV EDUHVW +RZ RU ZKHWKHU WKH VWUXFWXUH ZRXOG EH FODG LQ VRPHWKLQJ WKDW EHFDPH DQG VWLOO LV D FRQVLGHUDWLRQ WKDW LV relatively unresolved. The structure reacting WR GLIIHUHQW ORFDOLVHG IRUFHV EHLQJ SODFHG upon it is what you see here. It demonstrates WKH H[SDQVLRQ DQG FRQWUDFWLRQ WKH ŇŠEUHDWKLQJŇ‹ concept we have chosen to explore and develop further.

B.8 Â LEARNING Â OBJECTIVES Â AND Â OUTCOMES &5,7,&$/ )(('%$&. The critique that came with the mid-semester SUHVHQWDWLRQ ZH EHOLHYH ZDV YHU\ SRVLWLYH DQG FRQVWUXFWLYH DQG KDV JLYHQ XV D QXPEHU of things to put into our consideration set surrounding our design.

KDG QRW UHĂ€QHG DQ\ RQH LQ SDUWLFXODU ,W EHFDPH DSSDUHQW DQG QRZ VHHPV REYLRXV WKDW WKLV part of the design is of extreme importance and has enormous scope for research and GHYHORSPHQW +DYLQJ EHHQ LQVSLUHG E\ WKH ZRUN of Janet Echelman, we had partially rested RQ WKH LGHD RI WKH ZLQG EHLQJ WKH PDLQ IRUFH affecting its movement. However, we were propmted to think of other factors than could SURYLGH WKH QHFHVVDU\ IRUFH 7KH Ă RZ RI WUDIĂ€F within the area was one we had considered EULHĂ \ DQG ZKHQ PHQWLRQHG VHHPHG WR HYRNH the most excitement within the critical panel. Its an idea we are now developing and applying WR WKH GHVLJQ ZRUNLQJ RQ KRZ LW PLJKW EH implemented within the site.

)LUVWO\ LW EHFDPH REYLRXV WKDW ZKLOH KDYLQJ VWDWHG ZLWK D VWURQJ FRQFHSW ZH KDG EHFRPH set on the idea of incorporating movement within the structure without any real motivation driving the purpose of this movement. 5HĂ€QHPHQW RI WKH FRQFHSW QHHGV WR RFFXU LQ FRQMXQFWLRQ ZLWK UHĂ€QHPHQW RI WKH GHVLJQ :H GLVFXVVHG ZKDW WKH SRVVLEOH UHDVRQV IRU WKLV ŇŠEUHDWKLQJŇ‹ FRQFHSW FRXOG EH RQH EHLQJ WKDW LW FRXOG FRQVXPH FDUERQ IURP WKH DWPRVSKHUH and excrete it’s residual. This moved the design into something that has the potential to leave /($51,1* 2%-(&7,9(6 a positive environmental foot print, something that could revolutionise the way we minimise 2EMHFWLYH 'HYHORSLQJ ´WKH DELOLW\ WR PDNH D our impact on the environment. FDVH IRU SURSRVDOVÂľ &DUERQ RIIVHWWLQJ WKH LPSDFW RI WKH FDUV RQ the environment would make the design so much more than a sculptural piece that adds to the architectural discourse. This sparked discussion of the projects potential to have a positive social impact. Safe injecting rooms were mentioned as a project that has had a positive social impact. We were prompted to consider how our design could have a similar effect on how people view the environment and their place within it. the discussion left us WKLQNLQJ DERXW RXU SURMHFW ZLWKLQ LWV FRQWH[W in a much more holistic way. Rather than considering only its impact on the architectural discourse, we started to consider the impact it could have on society as a whole and how it FRXOG ZRUN WRZDUGV LWV EHWWHUPHQW

, EHOLHYH ZH ZHUH VXFFHVVIXO LQ GHYHORSLQJ a strong proposal for the Wyndham City *DWHZD\ SURMHFW :H ZHUH DEOH WR UHVHDUFK apply and present relevant and interesting precedents as well as show how they helped to inform our design process. we demonstrated the development of a strong design concept, understanding its shortcomings and limitations and working through an iterative design process to overcome them. The presentation of sophisticated models, demonstrating effectively our design intent added to the strength of our proposal.

We were also prompted to consider what would actually affect movement onto the structure. :H KDG FRQVLGHUHG D QXPEHU RI RSWLRQV EXW

7KH LGHD WKDW WKHUH DUH DQ\ QXPEHU RI GHVLJQ VROXWLRQV WR D SDUWLFXODU EULHI LV D JLYHQ 7KH DELOLW\ WR H[SORUH WKHVH VROXWLRQV ZLWKLQ D GHLVJQ

2EMHFWLYH 'HYHORSLQJ ´DQ DELOLW\ WR JHQHUDWH D YDULHW\ RI GHVLJQ SRVVLELOLWLHV IRU D JLYHQ VLWXDWLRQ¾

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LEARNING  OBJECTIVES  AND  OUTCOMES  CONT. space quickly and acuratly, is what is at the KHDUW RI SDUDPHWULF PRGHOOLQJ , EHOLHYH ZH KDYH SURYHQ ZH DUH DEOH WR ZRUN ZLWKLQ WKLV ‘solution synthesis’ framework effectively. Playing around with an already existing project ZLWK % GLVSOD\HG WKH SURFHVV RI FRPSXWHU generated iterative modelling, while the matrix SURGXFHG LQ % KDV SURYHQ WKDW ZH DUH DEOH WR XVH SDUDPHWULF WRROV WR H[SORUH ERWK WKH IRUP and the function of our own designs. 2EMHFWLYH 'HYHORSLQJ ´VNLOOV LQ YDULRXV WKUHH GLPHQVLRQDO PHGLDÂľ

H[SORUHG WKH UHODWLRQVKLSV EHWZHHQ DUFKLWHFWXUH and air critically and creatively. 2EMHFWLYH 'HYHORS FDSDELOLWLHV IRU FRQFHSWXDO technical and design analyses of contemporary DUFKLWHFWXUDO SURMHFWV The selection and analysis of precedent projects relevant to the course and design EULHI DUH HYLGHQW WKURXJKRXW P\ GHVLJQ MRXUQDO ,Q GHSWK DQDO\VLV RI ERWK WKH %HLMLQJ 1DWLRQDO Aquatics Centre and the International terminal at Waterloo Train Station in London as well as Lava’s Green Void and Smart Geometry’s Gridshell show an excellent understanding of KRZ SDUDPHWULF PRGHOOLQJ FDQ EH XWLOLVHG WR QRW RQO\ VWUHDP OLQH D GHVLJQ SURFHVV EXW WR drive that process from the start. It shows an XQGHUVWDQGLQJ RI KRZ LW FDQ EH XVHG WR FUHDWH DQG UHÀQH GHVLJQV GRZQ WR WKHLU PRVW HIÀFLHQW and optimised form.

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The reverse engineering of the Canton WRZHU LQ % IXUWKHU H[SHULPHQWDWLRQ ZLWK DQ H[LVWLQJ SURMHFW LQ % DV ZHOO DV JHQHUDWLRQ DQG UHĂ€QHPHQW RI RXU RZQ GHVLJQ ZLWKLQ WKH Grasshopper environment through our matrix LQ % KDV SURYHQ P\ GHYHORSPHQW RI D foundational understanding of computational programming and its design potentials. The reverse engineering of the Canton Tower in particular shows a sound understanding of whats SRVVLEOH ZLWKLQ WKH SDUDPHWULF HQYLURQPHQW DQG KRZ LW FDQ EH DSSOLHG LQ UHDO ZRUOG VLWXDWLRQV The development of an algorithm for our our :\QGKDP *DWHZD\ GHVLJQ DQG WKH UHĂ€QHPHQW of that algorithm shows development of key computational skills.

REFERENCES

%DNHU *HRIIUH\ + /H &RUEXVLHU 7KH &UHDWLYH 6HDUFK &KDSPDQ +DOO

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Sutcliffe, Anthony. Paris - An architectural History. Yale University Press, 1993.

KWWS ZZZ FDGDO\VW FRP FDG EXLOGLQJ GHVLJQ JHQHUDWLYH GHVLJQ LV FKDQJLQJ IDFH architecture-12948

6RORPRQ 1DQF\ % HGLW $UFKLWHFWXUH &HOHEUDWLQJ WKH 3DVW 'HVLJQLQJ WKH )XWXUH Visual Reference Punlications, Inc, 2008. Capon, David Smith. Architectural Theory: /H &RUEXVLHUŇ‹V OHJDF\ SULQFLSOHV RI twentieth century architectural theory DUUDQJHG E\ FDWHJRU\ 9ROXPH -RKQ Wiley, 1999.

KWWS ZZZ JUDVVKRSSHU G FRP SKRWR DOEXPV ODERUDWRU\ IRU YLVLRQDU\ KWWS ZZZ O D Y D QHW SURMHFWV PVZFW VQRZĂ DNH WRZHU

:HEHU 1LFKRODV )R[ /H &RUEXVLHU $ OLIH $OIUHG $ .QRSI Loukissas, Yanni, Co-Designers - Cultures of Computer Simulation in Architecture, London: Routledge, 2012 <HKXGD ( .DOD\ $UFKLWHFWXUHŇ‹V 1HZ 0HGLD 3ULQFLSOHV 7KHRULHV DQG 0HWKRGV RI &RPSXWHU $LGHG 'HVLJQ &DPEULGJH 0DVV 0,7 3UHVV .RODUHYLF %UDQNR $UFKLWHFWXUH LQ WKH 'LJLWDO $JH 'HVLJQ DQG 0DQXIDFWXULQJ 1HZ <RUN London: Spon Press, 2003 :RRGEXU\ 5REHUW (OHPHQWV RI 3DUDPHWULF Design, London: Routledge, 2010 www.arup.com www.zaha-hadid.com

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