Luke Calabro 781245 Part A & B & C - Air by Luke Calabro

STUDIO

AIR 781245 Luke Calabro Semester 02

PART

CONTENTS Page No. A. Self Introduction 3 & 4 A.I. Designing Future - Museum of European and Mediterranean Civilisations

5&6 - West Fest Pavilion 7 & 8

A.II. Design Computation - International Business Center, IBC / Yerevan, Armenia

9 & 10

A.III. Composition / Generation - Evolution Computation 11 & 12 A.IV. Conclusion 13 A.V. Learning Outcomes 13 A.VI. Appendix - Algorithmic Sketches

Bibliography 15

A. Self Introduction

Luke Calabro - 23 - Melbourne

My name is Luke Calabro and currently in my third year at Melbourne University. I hope to one day complete my undergraduate studies to further my knowledge in architecture through the masters that is offered. I was born in Victoria, Australia and have lived in Melbourne all my life. I have a great passion for modern residential architecture, and always try to push the limits of my designs. Coming from a family of builders, designers, and tradesmen, it has been almost second nature to see the design as well as the construction process of newly built homes, extensions, and renovations. This in a way has inspired me to continue to pursue my dream of becoming an architect, as well as owning and running my own firm. I will attempt push the boundaries in Studio Air on what can and can not be done as well as experiment with different design techniques and formations.

A.I. DESIGNING FUTURE Museum of European and Mediterranean Civilisations

Architecture is creating that bridge between dream and reality. It is to inspire others through imagination and wonder, and highlights the advances in technology and how far we have come as a civilisation, from the dark ages to post-modernism we have continued to excel. Modernism architecture is now the inspiration for young designers and The Museum of European and Mediterranean Civilisations defines mans creativity and pushes the boundaries on extraordinary. The photo above is The Museum of European and Mediterranean Civilisations in Marseille, France. This was designed by Rudy Ricciotti, an Italian architect with an eye for aesthetics.

This museum is the brain child of revolutionary thought to use software mediums as to impose there wanted design. It was built project so the effort and time gone into the drawings was imperative that it was followed accordingly when built. This building will cease to age and will inspire architecture students like myself to push the boundaries on what can and what can not be created. The contribution this museum has brought to the community, as well as the general populace and tourists continues to be a place for people to admire historical artefacts, as well as books and other literature. The building is a testament to what people are able to create through the use of digital technology.

A.I. DESIGNING FUTURE West Fest Pavilion

Architecture is a universal language interpreted by all, whether it be by the designer, user, or observer. To design is to create space and bring life to an area that suits the needs of the user, therefore, an architect must adapt and change utilizing different platforms to engage people in a common interest. The photo above is the West Fest Pavilion in Switzerland. It was designed by a group of collaborators which conceived a temporary spatial structure which worked as a complete skin, incorporating the structural support, roof and skin of the structure. It was used to host a major public event for Hochbauamt Kanton Zurich, a large architectural firm based in Switzerland.

The collaborators of this project maximized the use of digital design technology, using this pavilion as a precedent that imagine everything, it is all possible. The pavilion was a built project and had to be followed to the letter as the use of software such as grasshopper allowed the design of this structure. Unfortunately, the structure was a temporary pavilion but has inspired future designers like myself to create and donâ&#x20AC;&#x2122;t hold back, basically be diverse and look at structure as a working system rather than just architecture. This small temporary contribution still holds value through photos and its lengths the collaborators went to in achieving this particular design, as it will continue to inspire others.

A.II. DESIGNING COMPUTATION

IBC, International Business C

PROJECT: ARCHITECT: Moh Architects LOCATION: Yerevan, Armenia TYPE: Polyfunctional (Competition Architecture) CLIENT: Municipality of Yerevan

Center

In this piece, I draw your attention to the IBC, also better known as the International Business Centre. This was a conceptual piece designed by Moh Architects, an architectural firm based in Vienna, Austria for a competition. The building is situated in Yerevan, Armenia and was commissioned by the municipality of Yerevan to be the new architectural highlight to the city. I have chosen to showcase this conceptual design because I intend to use it as a precedent for my work and what I would like to achieve to throughout the semester. I enjoy seeing architecture that continues to change and adapt to its surroundings, as well as take on new undiscovered forms. Knowing that something can be built, with an odd looking structural arrangement or form excites my design ideas to perform at a higher level and create, but we cannot forget that computation design enables this. Computing plays a large role in the design process of these megastructues, so much that the sole design is reliant on these platforms. Software like Rhino with plug-ins allows the user / designer to create and design technical, radical, abstract shape forms that push the limits of design capabilities. Computing currently is be used to re-define how we perceive architecture today. An example is

the architectural firm of choice, Moh Architects. Simply investigating there previous works, as well as competitive pieces you will see that if not all there designs are computer aided designs. This is just one architectural firm looking at the world on a different spectrum, one that wishes to re-define how people are meant to perceive architecture. Computation has aided designers with the tool that allows them to experiment with complex geometries and shapes, ideas and things to create that were once unimaginable. Programmes such as grasshopper enables designers to turn dreams into reality by breaking down design patterns into algorithms that we can use to create different geometric patterns, over and over again. We are in a revolutionary era where architecture is now at a pinnacle to inspire others with design through the various software and programmes. This can only lead to greater opportunities for larger mega-structures and future designs. Through innovative design process people have been able to create master pieces all around the world, and this is only the beginning. Concluding this piece, Moh architects have a bright future ahead of them for design and I hope in my works this semester, my work will some what inspire to be like theirs.

A.III. COMPOSITION / GENERATION Evolution Computation

Here is a photo of the of a design called ‘Computation Evolution’. It was created by Moh Architects. Yes. I am using them as a precedent again but after investigating and researching their works, it is a practical choice as all their designs are computer generated e.g. Grasshopper. However, that it not the topic at hand. Composition to Generation is a movement within the design industry and currently growing at an exponential rate. Departing with out ‘composition’ roots and branching out to Generation is a whole new way to think about design. Aspects that people did not consider when beginning and new design would shape the way they look at architecture and what they

can offer to the world through the use of computational design. Moreover, Through the use of computation design, people are able to translate morphological designs through a series of patterns that hot linked through a software that allows them to change, shift, shape, morph, and evolve designs to be a organism of design. Through this new source of innovation in the field of architecture and design, designers themselves now have the power to turn dreams into reality and to create that utopian city through algorithmic thinking, parametric modelling as well as pattern scripting. Obtaining and harnessing these tools of design will allow architecture and infrastructure to be more innovate on the things people create.

This photo above the text is none other than the Abu Dhabi Performing Arts Centre. It is a concept design that is currently underway and located in Abu Dhabi, United Arab Emirates. Mentioning as well that this is a working creation but the famous and recently late, Zaha Hadid. Construction on this master piece begun in 2007 and is still continued today to be worked on. This type of forward thinking and innovation is the new generation. Composition and form are not widely seen as ‘impressive’ as it used to be, take for example ‘The Pentagon’, ‘Soho Towers’, all master pieces that all have the same symmetrical composition. Nothing is to say that it is incorrect, but is dated. Heavily.

Through new innovation and technology, designers of all disciplines have the tools to push the limits on what can and what can’t be achieved in the realm of design. Zaha Hadid is but of only one iconic architect that has chosen the path of pushing boundaries and ‘try and fail’ attempts. Due to these past experiences, it made her creative thinking reach new heights that only people have dreamt of. However, this is just but one of the many architects out there experimenting with design and creating and willing to go the distance. Architecture has taken on a new shape, a liquid state almost that now, anything seems possible in the architectural discipline and continues to only grow bigger and bigger.

A.IV. CONCLUSION Concluding the Part. A - Journal. I would like to reflect back on Parts. I - III. Beginning with designing Futures, we were given an understanding of what was expected of us. This also included, how we should think about architecture; How we should think about design; How we should interpret new forms of architecture; How we should starting looking at parametric design and algorithm. These keystones set the mind in motion to start thinking about as designers what we would like to achieve and what is possible. In Part. II, we looked at Design Computation and the rewards that come with it. Using parametric design, algorithmic thinking and innovative new software, we are able to create organisms and morphological designs and creations with ease and simplicity. This has taken off within the world of design as there are already architects in the world using and creating with these very tools. Part. III, the shift from composition to generation in design. A touchy field for some but innovation and technology have paved the way for generation to shine through. Using computation design, people are able to harness the power to create, shift, morph, and evolve design, especially in architecture, to what it is today. Parametric modelling is becoming widely used all over the world and it setting the benchmark for what is now expected for our cities in the futures. Understanding this chronological shift will help us as designers to see that technology is the new way of life in the design field and it is only ever increasingly getting more popular. Finally, my design intent that I hope to achieve this semester shifts from the sustainable to more of the innovative and structural balance I want to achieve, incorporating, aesthetics and structure of the building into one and manipulating the boundaries on which I can explore to create a master piece as seen in other pages of this booklet.

A.V. LEARNING OUTCOMES Throughout this semester, Ihave applied myelf to my learning and tried to come up with the best result possible. Through the use of the internet and other platforms, I have been able to research, identify, and understand the shift that design has take and the course work that has been provided to us. I really enjoy the lectures and the information that is offered. Some are a little dense and hard to understand but once applying what was spoken about in the lecture, to my studies makes me realise there is a purpose to what is being taught. In the past, I had a very cold, dark imagination of computation design and what it stoof for. However, with the new skill and knowledge that I have now, I would have liked to incorperate more of a design based approached on particular assessments as well as try to look at my previous works with more design intent and use of algorithmic thinking.

A.VI. APPENDIX

I have selected this vase design that we were asked to complete in the first week of Air. My reasoning behind you such a simple vase is to elaborate of the my personal reflection from no knowledge in computational design, to now. This vase is also a symbol that would represent ‘composition’, a symmetrical object with all sides equally the same.

I have selected this second vase, as a follow on or explanation from ‘composition’ to ‘generation’. Through the skills I have learnt on computation design, as well as learning the difference between composition as well as generation. I felt this vase was a good explanation to how these two world are separate but yet both elegant, and beautiful to look at and admire.

BIBLIOGRAPHY West Face Pavilion - Image has been sourced from Timbertown website. Image source: https://timbertown123.files.wordpress.com/2014/03/20140307_150305.jpg West Face Pavilion - Image has been sourced from Archilovers website. Image source: http://img.archilovers.com/projects/18026a07dffa4714b0f3eeafa235b629.jpg Museum of European and Mediterranean Civilizations - Image has been sourced from Media Cache website. Image source: https://s-media-cache-ak0.pinimg.com/originals/93/0c/e4/930ce42c97b5a8b92320fc133efb3d86.jpg Museum of European and Mediterranean Civilizations - Image has been sourced from WordPress website. Image source: https://1mein.files.wordpress.com/2014/03/31.jpg Image has been sourced from Moh Architects website. Image source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.v79:4/issuetoc Image has been sourced from Timbertown website. Image source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.920/epdf Image has been sourced from Moh Architects website. Image source: http://www.moh-architects.com/EC.html Image has been sourced from Zaha Hadid Architects website. Image source: http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

PART

CONTENTS Page No. B.I Research Field 19 & 20 B.II Case Study 1.0 21 - 28 B.III Case Study 2.0 29 - 34 B.IV Technique: Development 35 - 46 B.V Technique: Prototype 47 - 48 B.VI Technique: Proposal 49 - 58 B.VII Learning Objectives & Outcomes 59 - 60 B.VIII Appendix - Algorithmic Sketches 61 - 62 Bibliography 63 - 64

B.I. RESEARCH FIELD

Fig. 01 Wooden Folded Parallel Strips, Image sourced from: http://www.karamba3d.com/wp-content/ uploads/2013/08/wooden_folded_parallel_ stripes-render.jpg

STRIPS & FOLDING__ Strips & Folding is an interesting, as well as complex architectural discipline to understand. Through the use of mathematical calculation and algorithim, along with localised points, can we start to define the spatial entities as areas of design. We, the designer’s can create form and shape that differs from other architectural styles by implementing the computational systems that create ‘organic’ designs. The dynmaic nature of Strips & Folding is a technique practiced through-out the years of modern architecture. It allows for more fluid design and as stated before, ‘organic’ systems. I am intrested in this particular area of architecture because I like the consistency of clean lines and rounded curves, edges, and surfaces. Through the use of parametric modelling and computational geomtry I hope to explore and expand on this theory further

B.II. CASE STUDY 1.0

Fig. 02 BIO-THING, Image sample via Grasshopper. Supplied by The University of Melbourne

STRIPS & FOLDING__ SEROUSSI PAVILION Strips & Folding is an interesting, as well as complex architectural discipline to understand. Through the use of mathematical calculation and algorithim, along with localised points, can we start to define the spatial entities as areas of design. We, the designer’s can create form and shape that differs from other architectural styles by implementing the computational systems that create ‘organic’ designs. I have selected the the ‘Seroussi Pavilion’ by Biothing as a precedent for my research field. Yakubu (2012). states “The Seroussi Pavilion by Biothing is structure described as grown from selfmodifying patterns of vectors based on electromagnetic fields”.1 This clarifies how through mathematical calculation, as well as parametric design through computation geometry was the designers able to formulate and create this organic, free-flowing design.

This creation by Biothing is not only a two dimensional outcome. Described to Yakubu by the designers of the Seroussi Pavilion, Yakubu (2012). recites that “Sinewave functions driving parametric differtiation of angle, orientation and the size of the aperture, relationship of metal and glass components 2 within each cell”. This translates that creating these organic patterns is not only two dimensional, but able to be lofted and ‘shells or domes’ to be created as well, revealing three dimensional objects. I hope to further explore Stips & Folding, this discipline of architecture holds holds a lot pf promise through its dynamic and fluid organic creation, as well as through the use of mathematical algorithim and parametric modelling, you are able to create relationships between structure, environment, and user.

1. Arch2o, “Seroussi Pavilion / Biothing”, Arch2o, 2012. Retrieved information from: http://www.arch2o.com/seroussi-pavilion-biothing/ (accessed 30/08/2016) 2. Arch2o, “Seroussi Pavilion / Biothing”, Arch2o, 2012. Retrieved information from: http://www.arch2o.com/seroussi-pavilion-biothing/ (accessed 30/08/2016)

PATTERNS__

01. Sample BioThing Image

02. More attractor points added

07. Points sunk below 0.00 ‘x’ plane

08. Points sunk below 0.00 ‘x’ plane as well as lines extended

03. Central circl

INTROVERT & EXTROVERT__

GRAPH__

12. Shape of sunken caps manipulated through graph gradient

13. Shape of sunken caps manipulated through graph gradient - Verticle points raised

les widened

04. Central circles widened even further

09. Points sunk below ‘x’ plane 0.00 as well as sample lines reduced to shink cap

14. Shape of sunken caps manipulated through graph gradient - Dome shells created

05. Lines length changed to longer points

10. Points lifted above 0.00 ‘x’ plane as well as length of lines lengthend

15. Shape of sunken caps manipulated through graph gradient - verticle point becomes wave / nipple

06. Lines length changed to longer points

11. Points lifted above 0.00 ‘x’ plane as well as samples reduced and points isolated

16. Shape of sunken caps manipulated through graph gradient - verticle point sunk in on itself to create a mushroom effect

ELEVATION & VOLUME__

17. Referenced new curves and played with elevational curve

18. Wriggly straight elevational curves with added points

SHAPES__

22. Referenced new curves in the shape of a cube to see patterns that would form

23. Referenced new curves in the shape of a sphere to see patterns that would form

LOFTS__

27. Points lifted above 0.00 ‘x’ plane and then lofted

28. Points lifted above 0.00 ‘x’ plane and points on graph changed to more vertical length - object is saved then lofted

19. Wriggly straight elevational curves with less points

20. Referenced new curves and played with elevational curve. Widend central circles of points

24. Referenced new curves in the shape of a cylinder to see patterns that would form

29. Points lifted above 0.00 ‘x’ plane and points on graph changed to more vertical length - spires created by isolating points, object is then saved and lofted

25. Referenced new curves in the shape of a pyamid to see patterns that would form

21. Layering applied referenced lines

volume

26. Referenced new curves in the shape of a prisim to see patterns that would form

30. Points lifted above 0.00 ‘x’ plane and points on graph changed to more rounded angle on graph - object is then saved and lofted

PATTERN__ IMAGE 03 I have selected this image of the sampled grasshopper iteration because I enjoy seeing the central circles of the intersecting points widen. Considering this image is read by observing it from this view, it resembles contouring within land and the widened central circles are acting as plateau’s that which form the structural foundation for the impending build. INTROVERT & EXTROVERT__ IMAGE 07 The second image I would like to draw you towards is the method of introvert & extrovert. Simply by changing the depth in pitch by using a slider, I was able to raise the central points of the biothing above, and below the ‘x’ plane on grasshopper. This displayed a variety of alternatives and iterations that would eventually form this journal piece. GRAPH__ IMAGE 13 This image I have selected was created via the graph on grasshopper. I was able to manipulate curves to on a 3 point axis within the graph, This allowed flexibility when designing a particular curve that would like to be represented via three dimensional modelling. I chose to excel the vertical lengths whilst ‘buttoning’ the lower half of the inflated biothing. This was done on purpose. 27

ELEVATION & VOLUME__ IMAGE 21 In this set of images, I started playing around with elevation and volume. Creating different lines of elevational axis and referencing them into grasshopper. One design was this, layer upon layer, I wanted to see how this organic piece dealth with stacking and form on top of it. I felt this was a dead end but good ideas for potenial possibilities. SHAPES__ IMAGE 26 This image was in truth once a three faced prisim. I wanted to explore the relationship between image sample and shapes and to my beliefe this image, or result was the one that I liked the most. Flaring off downwards, as well as up, it had charisma and style and elegance but felt it lacked depth. Would like to continue to experiment with this idealogy of relationships. LOFTS__ IMAGE 29 Finally, the last section of my iterations. This one, resembling a spire would be my most interested, as well as biggest failure. I say this because I would have liked to make more of these and play around with mirroring but the time it took to create a singlular one was not worth it. However, achieving this brought me happiness as the sharp erect points and sloping sides give it mass. 28

B.III. CASE STUDY 2.0

Fig. 03 Canton Tower, Guangdong, China Image sourced from: http://www.worldfortravel.com/wp-content/ uploads/2013/02/Beautiful-Canton-Tower.jpg

GEOMETRY__ CANTON TOWER Geomtry comes from a precedent of geometric deisgn. In others words, it has key characteristics which differentiate from from other styles of architecture. Three key focal points are the extrapolation and use of free-form curves, the mateirality and surface aesthetics, and the volumetric mass within 3 the design. That is why I beleive the Canton Tower is the perfect precedent for this assessment piece. It challenges architectural limits and continues to grow in industry. The precedent I have chosen is the Canton Tower. It is located in Gaungdong, China. Designed by Information Based Architecture, they set out to create something that stood out and was different to towers around the world. Hemel (2010). States that “ Where most skyscrapers bear ‘male’ features; being introvert, strong, straight, rectangular, and based on repetition, we wanted to create a ‘female’ tower, being complex, transparent, gracious and sexy.

curvy,

Our aim was to design a freeform tower with a rich and humanlike identity that would represent Guangzhou as a dynamic and 4 exciting city.” IBM achieved their overall vision by conceputualising the complex aesthetics of a female and reflecting it through parametric design architecture. Through the use of exoskeleton, they were able to design the large verticle cylinders which made up majority of the total structure, as well as the complex, curvy aesthetic they hoped to deliver. Conceptualising Mark Hemels dream through the use of computational design made this dream a reality. Only through the user of parametric modelling and design would he been able to design this modern marvel. The twisting structure gives it life, the organic flowing pattern that circulates the external of the building. I hope to throughout part B, to explore this kind of geomtry and understand its fundamental nature, as well as to create something as beautiful, and elegant as this master piece.

3. Farin, G.: A History of Curves and Surfaces in CAGD, Handbook of Computer Aided Geometric Design, 2002. 4. ArchDaily, “Canton Tower / Information Based Architecture”, ArchDaily, 2010. Retrieved information from: http://www.archdaily.com/89849/canton-tower-information-based-architecture/ (accessed 26/08/2016)

I. CANTON TOWER__ To create this geomtry, I created a series of points controlled by ‘x’ values and ‘y’ values to regulate the shape of the base floor plan.

Plan view Oval of the ground floor base as well as top floor base.

Once complete, I used the oval that you see to the left as the starting point to engineering the Canton Tower. Using ‘z’ values, and the move & copy component I was able to drag another oval as the reference points between my loft in the next step.

Perspective Isometric This is the earliest stage of the design process.

II.

CANTON TOWER__

During this stage. I added a loft component and lofted between the two curves. At this point, it design the initial preliminary concept of what was to be the Canton Tower. Getting to this step allowed me to understand the boundaries of which I can work in and what needs to be done. Plan view Lofted between 2 curve references.

Perspective Isometric Twisting funnel acting as main design concept.

III.

CANTON TOWER__

Diving the referenced curves into points, it allowed me to cast lines between to the two already created curves. This allowed me create the external columns that encase the entire TV tower.

Plan view Overall external aesthetic to Canton Tower.

Using components such as cylinder & capping, allow line work to be extrude via radius allowing structural systems to be created by grasshopper.

Perspective Isometric External column facade created via linework.

IV.

CANTON TOWER__

Having an understanding of the external column construction, it then made me get an idea of how to create the flooring system within the Canton Tower.

Plan view Layering of floor slabs within confines.

Using components like planar surface and surface brep, it allowed me use the original curves referenced from stage one and use that as the plate that would form the floor slabs between each level. Setting up sliders that determined how many floors, in conjunction with a slider that set depth. This allowed me to easily create the flooring system through the tower.

Perspective Isometric Understanding the flooring constructs implemented.

CANTON TOWER__

During this procress of the reverse engineering. I new I needed to emphasise the floor to ceiling walls. Using and copying previous components from stage four, I was able to use the surface previously, as awell as the extrude component to raise the level of the wall heights. Plan view Floor to Ceiling levels.

Perspective Isometric Floor to Ceiling levels on â&#x20AC;&#x2DC;zâ&#x20AC;&#x2122; axis.

VI.

CANTON TOWER__

The final stage was brining all these components together and using them in-sync with one another to create the Canton Tower.

Plan view Completed Canton Tower.

Perspective Isometric Fully pieced together Canton Tower.

Above is a diagram of how I believe they architects created the Canton Tower. It is certain that they used Grasshopper to engineer the this parametric marvel creation. This suggests that greater diversity in design isnt always thought through, but potentially stumbled upon and created by accident through the constant baking and designing of processâ&#x20AC;&#x2122; with grasshopper.

my less fortunate achievements were not being able to successfully get the internal column structure to form as well as the external. I will be looking over and attempting to rectify my actions by completing the Canton Tower to its fullest, as well as experiment with the various techniues that the architects played with on this building.

I would like to take this technique further by playing with and designing even crazier patterns and formations. I believe some of 34

B.IV. TECHNIQUE: DEVELOPMENT

FIFTY ITERATIONS__ During this section, I will be displaying the fifty iterations of the Canton Tower. The first section will display a plan view of the iterated originals and the second will display the perspective views of the iterated originals.

Fig. 04 Canton Tower (50 Iterations), Image sample via Grasshopper & Rhino 5 Student Edition. 36

01. External Column Structure 02. Starting Point - Column radius from 2 > 0 - Grasshopper Definition

03. External Column structure 04. External Column structure 05. External Column Structure - Column radius from 2 > 4 - Column radius from 2 > 6 - Column radius from 2 > 10 (Attempted failure - Columns Exceed size of each other and overlapping is evident)

11. Internal & External Column Structure External Column radius from 2 Domain Start Location 0 > 100

12. Internal & External Column Structure External Column radius from 2 Added Offset component - Set to 15

13. Internal & External Column Structure External Column radius from 2 Added Offset component - Set to 15 Central core turned off

14. Internal & External Column Structure External Column radius from 2 Added Offset component - Set to 15 Columns A, B, C, D Offset 15 Rest of Columns Offset 40

21. External Column Structure External Column Radius 2 > 1 Floor Height 43 > 15

22. External Column Structure External Column Radius 2 > 1 Floor Height 43 > 100

23. External Column Structure External Column Radius 2 > 1 Floor Height 43 > 100 Domain Changed 110 > 0

25. Base Floor Structure 24. Base Floor Structure ‘x’ variable changed from 30 ‘x’ variable changed from 30 > 20 Bottom > 20 Top variable Top & Bottom Plates remains unchanged

15. Internal & External Column Structure External Column radius from 2 Added Offset component - Set to 15 Columns A, B, C, D Offset 15 Rest of Columns Offset 40 Core Removed

06. Internal & External Column Structure External Column radius from 2>0 Internal Column radius 1, Rotate -1.2 degree

07. Internal & External Column Structure External Column radius from 2>0 Internal Column radius 1, Rotate -1.2 > 0.0 degree

08. Internal & External Column Structure External Column radius from 2>0 Internal Column radius 1, Rotate -1.2 > 3.5 degree

09. Internal & External Column Structure External Column radius from 2 Internal Column radius 1, Rotate -1.2

10. Internal & External Column Structure External Column radius from 2 Domain rotation 110 > 55

16. Internal & External Column Structure External Column radius from 2 Added First Layer Offset component - Set to 15 Added Second Layer Offset component - Set to 30 Core Removed

17. External Column Structure Column radius from 2 Added First Layer Offset component- Set to -20 Added Second Layer Offset component - Set to -40 Core & Storeys Removed

18. External Column Structure Column radius from 1 Added First Layer Offset component- Set to -20 Added Second Layer Offset component - Set to -40 Core & Storeys Removed

19. External Column Structure Column radius from 1 Added First Layer Offset component- Set to -20 Added Second Layer Offset component - Set to -40 Storeys Removed

20. External Column Structure Added First Layer Offset component Added Second Layer Offset component Floor Height 43 > 15

26. Base Floor Structure ‘x’ variable changed from 30 > 20 Bottom Bottom ‘x’ variable changed from 30 > 40 Top

27. Base Floor Structure 28. Base Floor Structure ‘x’ variable changed from 30 > ‘y’ Top variable changed 40 Bottom 10 > 50 Bottom ‘x’ variable changed from 30 > 20 Top

29. Base Floor Structure ‘y’ Bottom variable changed 10 > 50

30. Base Floor Structure ‘y’ Bottom variable changed 10 > 50

31. Base Floor Structure ‘y’ Bottom variable changed 10 > 20 ‘z’ Bottom variable changed from 32 > 90

32. Base Floor Structure ‘y’ Bottom variable changed 10 > 20 ‘z’ Bottom variable changed from 32 > 90 Reciprocated to Top of building

33. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom unchanged

34. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom unchanged Columns Radius 2 > 0

35. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom unchanged Columns Radius 2 > 5

41. Base Floor Structure Sqaure Base instead of Oval Bottom & Top Reciprocated ‘x’ variable set to 100 ‘y’ variable set to 100 Columns Radius: 2 Core Re-inserted & Offset to corner

42. Base Floor Structure Sqaure Base instead of Oval Bottom & Top Reciprocated ‘x’ variable set to 100 ‘y’ variable set to 100 Core Re-inserted & Offset to corner

43. Base Floor Structure Sqaure Base instead of Oval Bottom & Top Reciprocated ‘x’ variable set to 100 ‘y’ variable set to 100 Column Radius set to 5 Core Re-inserted & Offset to corner

44. Base Floor Structure Sqaure Base instead of Oval Bottom: ‘x’ variable set from 100 > 300 ‘y’ variable set to 100 Top: Unchanged Column Radius set to 5 > 2 Core Re-inserted & Offset to corner

45. Base Floor Structure Sqaure Base instead of Oval Bottom: Unchanged Top: ‘x’ variable set from 100 > 300 ‘y’ variable set to 100 Column Radius set to 2 Core Re-inserted & Offset to corner

36. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom Reciprocated Columns Radius 2 > 5

37. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom Reciprocated Columns Radius 2 > 0

38. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom Reciprocated Columns Radius 2 > 0 Floor to Ceiling walls left out

39. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom Reciprocated Columns Radius 2 > 8

40. Base Floor Structure ‘y’ Top variable changed 10 > 20 ‘z’ Top variable changed from 32 > 90 Bottom Reciprocated Columns Radius 2 > 8 Core removed

46. Base Floor Structure Sqaure Base instead of Oval Bottom: Unchanged Top: ‘x’ variable set from 100 ‘y’ variable set to 100 > 300 Column Radius set to 2 Core Re-inserted & Offset to corner

47. Base Floor Structure Sqaure Base instead of Oval Bottom: Unchanged Top: ‘x’ variable set from 100 > 300 ‘y’ variable set to 100 > 300 Column Radius set to 2 Core Re-inserted & Offset to corner

48. Base Floor Structure Sqaure Base instead of Oval Top: Unchanged Bottom: ‘x’ variable set from 100 > 300 ‘y’ variable set to 100 > 300 Column Radius set to 2 Core Re-inserted & Offset to corner

49. Base Floor Structure Sqaure Base instead of Oval Top: Unchanged Bottom: ‘x’ variable set from 100 > 300 ‘y’ variable set to 100 > 300 Column Radius set to 2 > 8 Core Re-inserted & Offset to corner

50. Base Floor Structure Sqaure Base instead of Oval Top: ‘x’ variable set from 100 > 150 ‘y’ variable set to 100 > 150 Bottom: ‘x’ variable set from 100 > 75 ‘y’ variable set to 100 > 75 External Column Radius set to 2 > 3Internal Column Turned on: Radius 1 Internal Points offset to External

This iteration, I wanted to highlight the the dynamic intention of my design by incorperating what worked and what did not. I believe that the beauty and integrity of design also lies within the mistakes we make to achieve a logical closure point.

B.V. TECHNIQUE: PROTOTYPES

This prototype is a concept I wanted to explore of geometric design and vertical expansion. Another concept I also wanted to explore was structural integrity and how this design takes shape and what is it key components. Wanting to recreate this spiraling effect, I used plastic tubing for its elasticity to define what material would be suit my design propoal. This prototype that I have created has no relation to the design proposal as I wanted to first discover if the creation of my design was achievable and if yes, how would I go about creating it.

Fig. 05 Canton Tower (50 Iterations), Image sample via Grasshopper & Rhino 5 Student Edition.

B.VI. TECHNIQUE: PROPOSAL

BRIEF__

MERRI CREEK

The brief I have put together for the Merri Creek design is something that I have played around with this semester. I will explain in a few short points my technique chosen, why I have chosen this technique and my intentions. I will also be covering my intended brief, along with the mental and physical aspects that I hope to encompass within my design. I will also be considering the location for my design. I have practiced with the design technique â&#x20AC;&#x2DC;Geometryâ&#x20AC;&#x2122;. I constructed the reverse engineer design from the key characteristics of geometry and would like to implement some of the same technique to my final Merri Creek design. I have chosen this technique because I want to experiment with curves and rounded surfaces, minimizing square and rectilinear edges and crevices.

I believe having soft rounded edges makes the user want to interact with the surrounding architecture and not perceive it to be just walls. Through the use of parametric modelling and design, I want to indulge the userâ&#x20AC;&#x2122;s sensors in awe as the gallery they are walking through is the art itself, along with the artefacts it holds. The intention of breaking down the visual barrier between internal and external is a key theme for me that I want to explore further. Enabling the user to engage with the outside world, giving them a sense of realism.

Guggenheim Museum, Bilbao, Frank Gehry

Fig. 06 Guggenheim Museum, Bilbao, Spain Image sourced from: https://4.bp.blogspot.com/-k-SYHQBunt8/ UoW-oUAnQ3I/AAAAAAAAVbc/317sQoVuEU/s0/Guggenheim-Museum_ultra_ HD.jpg

The first precedent I have chosen is the Guggenheim Museum, Bilbao, Spain. This piece of architecture is the brain-child of the famous architect, Frank Gehry. This design incorporates how people use space within a museum, as well as how the sync themselves within the architecture itself. I specifically chose this precedent as well because it highlights a pinnacle point of architecture through the use of parametric modelling and computer aided design. The organic shapes and wave patterns used throughout the building engage the user, internally as well as externally, enabling the user to get the most out of the building. The priceless artefacts that this museum holds are the contents of

5. Guggenheim, “Guggenheim Museum, Bilbao”, Guggenheim - About us, 2016. Retrieved information from: https://www.guggenheim.org/about-us

Fig. 07 Guggenheim Museum, Bilbao, Spain Image sourced from: http://www.oddcities.com/wp-content/ uploads/2013/05/Guggenheim-Museum.jpg

That is, the museum itself. The author of the Guggenheim page (2016). states that “The Guggenheim Museum Bilbao is a pinnacle in Gehry’s outstanding architectural career as well as in the field of museum design. It remains unsurpassed in its integration of art and architecture, maintaining an aesthetic and programmatic unity”.5 This brief description is a reflection of what the Guggenheim stands for and what it incorporates into the building itself.

Museum of European and Mediterranean Civilisations

53 55

Fig. 08 Museum of European and Mediterranean Civilisations, Marseille, France Image sourced from: http://media0.trover.com/ T/521473b30845d22cb000006d/fixedw_ large_4x.jpg

Fig. 09 Museum of European and Mediterranean Civilisations, Marseille, France Image sourced from: http://darkroom.baltimoresun.com/wpcontent/uploads/2013/06/REU-FRANCE_.jpg

My second precedent is one I have already spoken about. The Museum of European and Mediterranean Civilisations, located in Marseille, France. I have selected this design to emphasise the relationship that I aim to create with the user, and the internal and external environment. Through the use of parametric modelling and design, it is my intention to engage the user with the artefacts within the proposed design. However, I believe that the external surroundings of my design is another key focal point, and should be incorporated as well.

The building itself. The chosen location of the design, Merri Creek is an awe inspiring, lush, green landscape and would be a pity to conceal from the user engaging in the artefacts within the design. I aim to propose a building that builds the relationship between the environment and user so that the external aesthetic does not go to5 waste.

Through the use of the lattice work around the museum above, it visually captures the users attention and forces the user to engage with

SITE SELECTION & TECHNIQUE__ proposal, the aspect of

In this the Merri Creek that I would like to explore further would be the ecological environment and the effect we have on it. The environment around is beautiful, but it is hidden through the built environment society has created. We erect road ways for transportation, buildings to house families, food, and goods. Parks and built environments that become iconic to go see, e.g. Federation Square. I believe there needs to be an integration between external and internal environment. My proposal considers these factors by making the user engage not only with the internal of the building, but making the external environment engage too. I aim to build the relationship between environment and user, as well as make them engage with it as part of the design.

During the semester, we have been asked to countless create designs through the use of parametric modelling. We were asked to select various techniques during Case Study 1.0 & 2.0. The technique I found beneficial to me was Geometry. I plan to use Geometry to create the design that will be situated on the Merri Creek site. I aim to incorporate my design intent of making the user engage with the internal and external environment through similar design techniques used within the â&#x20AC;&#x2DC;Reverse Engineeringâ&#x20AC;&#x2122; part of this journal, as well as concepts that were created throughout the fifty iteration. Soft, rounded edges is a key theme I will explore in my design.

PROPOSAL__ MERRI CREEK I propose to create a museum space that will hold multiple artefacts that the users of the building can engage with. I also propose to create the internal and external relationship between the outside environment, as well as the internal space inside the museum. Creating this relationship will be defined through the design concepts that were explored during the fifty iterations stage. Using Geometry, I aim to create a spiralling rounded central core with circular columns that impose the general aesthetic of the external built environment outside. Through the use of glazing, I want to create transparency between the internal and external. This will break down the virtual barriers between the two worlds, as well give to more life to the internal by viewing the native flora and fauna. Concepts of the fifty iterations will be also be the inspiration to my proposed design.

Fig. 10 Cliff Mesh (Virtual Mesh), Image sample via Christopher Ferris via Melbourne University 56

MERRI CREEK DESIGN PROPOSAL__

Fig. 11 - 13 Design Proposal - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro

Fig. 14 Design Proposal - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro

My design is inspired from a gridshell, with the use of metal or timber columns to structurally hold up the transparent glazing so that on-lookers may engage with the external as well as the internal. The columns that intersect and spiral are inspired by the museum of European and Mediterranean Civilisations lattice work. I hope to create a fully visual experience when walking through the pavilion. This is only the concept stage and I aim to refine this design even further during Part C and create multiple prototypes which reflect the design procress of the project.

B.VII. LEARNING OBJECTIVES & OUTCOMES

PERSONAL REFLECTION__ During this semester, we touched on parametric modelling and tools that designers use in the field of creation that allow them to be so diverse and create things in magnitude. I was able to play around with grasshopper and manipulate geometry to the way I saw fit. Research in the various fields have opened my eyes to a whole type of design, one that is entirely reliant upon a system of design and fail until you create something that you like, and run with it. I feel after the tasks undertaken I am capable and ready to move further and create using parametric modelling. I still feel at certain points that there are things I could be doing better but I am willing to persist and continue to try harder. I really enjoyed the 50 iterations as it gave me alot of joy in manipulating an existing design that was engineered by us. However, I feel that at certain points there were things I could have done much better. Hopefully I can improve for Part C and finish strong.

B.VIII. APPENDIX - ALGORITHMIC SKETCHES

01. Curve > Divide Curve > Slider (set to 2) This method is a sure way to find the mid point of a curve as the divide curve will create a series of points on the curve and by adjusting the slider to 2, it nominates the middle and end point of the curve along with the start point. 02. Curve > Evaluate Curve > Slider (set to 20) > half the maximum number This method of locating the mid point is another way I found it easy to understand where I needed my lines to intersect with a mid origin. I found setting the slider options to 20 maximum integer and 1 being the minimum integer. Halving the total maximum number with the slider gave you the mid point. 03. Curve > Evaluate Curve > Points List > Series > Divide Curve > Slider This method is a mixture of both 01. & 02. I felt it was necessary to show this due to some grasshoper canvasâ&#x20AC;&#x2122; being loaded with components, that sometimes certain inputs and outputs go together or the order there in doesnt suit, but adding a points list it made it available for the user to quickly find the mid point of a curve.

REFERENCES__ Arch2o, “Seroussi Pavilion / Biothing”, Arch2o, 2012. Retrieved information from: http://www.arch2o.com/seroussi-pavilion-biothing/ (accessed 30/08/2016) Farin, G.: A History of Curves and Surfaces in CAGD, Handbook of Computer Aided Geometric Design, 2002. ArchDaily, “Canton Tower / Information Based Architecture”, ArchDaily, 2010. Retrieved information from: http://www.archdaily.com/89849/canton-tower-information-based-architecture/ (accessed 26/08/2016) Guggenheim, “Guggenheim Museum, Bilbao”, Guggenheim - About us, 2016. Retrieved information from: https://www.guggenheim.org/about-us (accessed 13/09/2016)

PART B__

CONCLUSION

PART

CONTENTS Page No. C.I Design Concept 67 - 98 C.II Tectonic Elements & Prototypes 99 - 102 C.III Final Detail Model 103 - 110 C.IV Learning Objectives and Outcomes 111 - 112 References 113

C.I. DESIGN CONCEPT

PRELIMINARY CONCEPT__ This is now the final chapter to this design booklet. Throughout this semester, I was asked to compile a series of drawings in order to form the skills that I will need to create a final design for this subject.

To showcase my final and refine work, I will be explaining it in a little further detail of what I have created and what has inspired me.

DESIGN CONCEPT ILLUSTRATED DIAGRAM__ This diagram is a story board of how I would like people to experience my design. My main concept is the visual stimulation you undergo when passing through my design. The sounds you hear of the water rushing beside you, the wind hitting your face and native flora, swaying from side to side, the homing calls and cries from the natural fauna. The visual stimulation from shadowing and overgrowth around you. All these aspects is what makes up my concept of visual stimulation one percieves when entering my design.

01.

Entry access path to design

02.

Standing at the cross-roads of path selection of upper path and lower path

03.

Upper path closer to cliff face

04.

Lower path closer to creek

05.

Upper path interaction with native flora

06.

Overall perspective diagram of design 70

Fig. 15 Design Concept - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro This a side view of the refined design concept that I will use as the last piece of my work for this subject. I was inspired by architect Frank Gehry and his many works, as well as native flora that is found throughout Merri Creek. The cross-hatching that intersects at different points creates this floral aesthethic that reflects the natural environment around it.

Fig. 16 Design Concept - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro This a front view of the refined design concept that I will use as the last piece of my work for this subject. Creating an area that allowed movement and mobility throughout was crucial to my design as I wanted the museum to be an experience internally, as well as externally.

Fig. 17 Design Concept - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro Top View 74

DESIGN CONCEPT ILLUSTRATED TECHNIQUE__

My design is quite straight forward and is seperated into 3 segments. The first is the spiraling intersecting columns that form the external skeleton for my design. This skeleton like design forms the external and the overall aesthetic of the proposed pavilion design.

The second segment that makes up my design is the glazing that is to take shape throughout the design. Tying together the external environment, with the internal built environment. Creating a relationship between both spaces is a crucial aspect I want to explore with this design. I want to break the segregation between technological and natural environments.

The third and final part of the design is the preliminary structural aspect of the design. This part oft he design ties each layer of intersecting arc to an anchor point in which holds and laminates that structure together. Poles constructed will act as the vertical support that will counteract the verticle loads of at weak or counter-balanced points.

The construction procress to my model is simple. I aim to use computational fabrication to create this piece of work. I intend on using 3D printing to create the external skeleton of the building, along with the frame work and vertical support structurally holding the design concept.

The second part of the construction will take place using a piece of plastic , heated with either a heat gun or boiling water to create elasticity throughout the sheet. I will then lay the sheet over the top of the frame work in a heated state to that the plastic moulds to the shape of the design. The plastic will act as the glazing that will be permenently fixed to the structural skeleton of the building.

Fig. 18 Design Concept - Rhino Creation, Image sample via Rhino 5, created by Luke Calabro This is the final concept for the prelimary design. I like this design but believe it doesnâ&#x20AC;&#x2122;t fully address my design intended concept. However, I do enjoy the spiral pattern that I created, but the glazing effect creates the visual barrier between internal and external, which contradicts my design concept. 81

DESIGN CONCEPT PRELIMINARY __

PERSONAL REFLECTION__ I feel that my design did not address my initial design intent and to achieve this, I must re-look out how I percieve the internal and external relationship of merri creek. Overall, I do really like the design I created of the glazed patterned gridshell inspired pavilio. I need to start looking out how I can formalise the relationship between internal and extenal environments, and fusing them to become one. I quite enjoyed working with the path & pavilion style design specification I am addressing and would continue to use steel columns curving and not being horizontal, nor vertical, but curvy and chaotic in nature of curve. I also aim with my final design to incorporate a green wall which will be able to house native flora and fauna along merri creek, as well as produce beautiful scenery for the walk along Merri Creek.

FINAL DESIGN CONCEPT__ I believe I addressed my concept properly by creating a pavilion / greenery walking path for Merri Creek. I have broken down the barrier between internal and external environments, this is so the user can engage with aspects of the Merri Creek from the path, and allows them to also touch, smell, and hear the native flora and fauna that has called Merri Creek its habitat.

Fig. 19 Design Concept - Merri Creek, (Left Photo) Image taken by Luke Calabro at Merri Creek Trail Path - River Location

Fig. 20 Design Concept - Merri Creek, (Mid Image taken by Luke Calabro at Merr

Fig. 22 Design Concept - Vines Image sourced from PhotoBucket. Link: http://i301.photobucket.com/albums/nn64/Storm_cross/Dev%20textures/vines.png

ddle Photo) ri Creek Trail Path - River Location

Fig. 21 Design Concept - Merri Creek, (Right Photo) Image taken by Luke Calabro at Merri Creek Trail Path - River Location Re-looking at my design required me to re-look at the environment and design I anticipated to create. Formally, my design concept is the visual barrier between internal and external broken down. In other words, I want to repair the relationship between man-made internal environments and external native environments. To the right, is an image of vines climbing along a surface. This native floral system is one of the many forms of radical action used within the architectural communities to create green walls that are not only ecologically friendly, but also give back to the natural environment by sustaining oxygen levels. Incorporating this element into my design would build the relationship between user and environment, stimulating the user as he/ or she passes through my design.

Fig. 22 Design Concept - Cable Wire Image sourced from: http://www.prorig.com.au/image/ cache/data/Wire%20Baustrade/ Wire%20Balustrade%20 Systems/PRS1-2-500x500.png

Fig. 23 Refined Design - Elevational Image (Side) Image design created by Luke Calabro

Fig. 24 Refined Design - Plan Image (Top) Image design created by Luke Calabro

Fig. 25 Refined Design - Perspective Image (Entry) Image design created by Luke Calabro

Fig. 26 Refined Design - Elevational Image (Front) Image design created by Luke Calabro

These images are of my final design. They address my concept and will play a large role in Merri Creeks ecology for both native fauna and flora.

Fig. 27 Refined Design - Plan Image (Virtual Walking Path) Image design created by Luke Calabro

This image above is the virtual diagram that you will walk along, viewing each aspect of my design.

Fig. 28 Refined Design with Foilage - Plan Image (Side) Image design created by Luke Calabro

Fig. 29 Refined Design with Foilage - Plan Image (Top) Image design created by Luke Calabro

DESIGN CONCEPT FINAL FLORAL STAGE __ This part of the design highlights that end progress I aim to achieve with this design. Incorporating natural plants and vines that will grow around the skeletal structure will highlight the ecological aspect, along with my conceptacle of breaking down the internal and external barriers.

C.II. TECTONIC ELEMENTS & PROTOTYPES

Fig. 30 Prototype Connection - Perspective Image Drawn by Luke Calabro - Connection type

Fig. 31 Prototype Connection - Detail Image Drawn by Luke Calabro - Connection type

Fig. 32 Prototype Connection - Detail Image Drawn by Luke Calabro - Connection type

Fig. 33 Prototype Connection - Perspective Image Drawn by Luke Calabro - Connection type

Fig. 34 Prototype Connection - Detail Image Drawn by Luke Calabro - MDF types & thicknessâ&#x20AC;&#x2122;

My prototype is make the materiality and texture of my design the focal point. With the facilities of University at my disposal, I was able to create something that you can feel and touch and understand. I began by drawing out connections and thicknessâ&#x20AC;&#x2122; of different materials Melb Uni offered, then I started drawing out ways in which I would be able to create connections that best represented my design. Figure 32 & 33 are my final design conclusion on how to properly create the concept of freedom within my prototype. Drawing out these images was my first priority because these help me, and you understand how I got from nothing to something, and is am important part of the design process.

PROTOTYPE CONSTRUCTION__

Fig. 34 Prototype Connection - Perspective Image Designed and Created by Luke Calabro - Connection type This image above shows the connection between base plate and left side curve with holes drilled at critical points for cable wire insertion. 99

Fig. 35 Prototype Connection - Perspective Image Designed and Created by Luke Calabro - Connection type In this image, I began applying the connection technique I drew in the diagrams above. Threading the cable between holes cut within the curve pieces.

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Fig. 36 Prototype Connection - Perspective Image Designed and Created by Luke Calabro - Connection type In this image above, I hav thread the first of nineteen cable wires through and taken this photo as the begining of my prototype

Fig. 37 Prototype Connection - Perspective Image Designed and Created by Luke Calabro - Connection type

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PROTOTYPE MODEL__ I have began prototyping my design. With this prototype I aim to understand the materiality that would be used for my design, as well as aim to clarify my concept.

Understanding that my concept is freedom, breaking down the barrier between internal controlled environment and external native environments and fusing them to become one. I believe that my prototype will give insight to my design and its functionality, as well as rationality behind my design. The curves used within my prototype are 25.00mm thick MDF, not exactly what the design was made of but to get an understanding of not the column/curve structure, but the aesthetic itself to give understanding to those that cannot visually perceive my design.

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C.III. FINAL DETAIL MODEL

103

Fig. 38 Final Model - Perspective Image (FrontShot) Designed and Created by Luke Calabro

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Fig. 39 Final Model - Perspective Image (Side Shot) Designed and Created by Luke Calabro

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Fig. 40 Final Model - Perspective Image Designed and Created by Luke Calabro

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Fig. 41 Final Model - Perspective Image Designed and Created by Luke Calabro

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Fig. 42 Final Model - Perspective Image Designed and Created by Luke Calabro

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Fig. 43 Final Model - Perspective Image Designed and Created by Luke Calabro

MODEL - PROTOTYPE FINAL & REFLECTION__ In the images above, I have chosen the photos that best highlight my prototype. I have selected these photos because they showcase the prototypes most important focal features. The visual stimulation from shadows, as well as the general aesthetic of the cable wire that will one day give back to the ecology of Merri Creek. My design is about breaking down the barriers between internal and external environments and by creating this design, and prototype, it addressâ&#x20AC;&#x2122; my concept as well as makes the user understand and engage with the building.

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C.IV. LEARNING OBJECTIVES & OUTCOMES

111

PERSONAL REFLECTION__

This is the final reflection piece I will be doing and have a lot to cover within this short message so I will keep it brief.

This studio was to serve as the main design subject and to expand our knowledge within the field of computational design, and I firmly believe it has done just that. In the beginning I was quite uneasy with the grasshopper software, but after playing around with it, I did come to realise it is a fantastic tool and great design software to have. Undertaking the multiple designs has increased my knowledge and has pushed me to further this knowledge with this new software. I feel comfortable with the use of parametric design and confident to go out and re-create more designs with the same software that has helped me achieve my final design. Admittedly, there has been speed humps throughout the semester and times when I had my low points and didnâ&#x20AC;&#x2122;t think I would be able to keep up with the work but in truth it has actually has improved my organisational skills.

I am more than happy with the final outcome and what was addressed during my final presentation and think I have a strong design, that supports my original concept of breaking down internal and external barriers. This subject has broadened my knowledge in not only computational design, but design itself and the various forms design can take. Being able to manipulate and render constantly allows for greater transformation within design and can create some pretty wild things. However, in terms of an architectural tool, computational design has to be taken into consideration because generally most of the forms and creations were not buildable and would never pass for permits. With that said though, this subject and semester has been a great experience for myself and I hope to carry on what I have learnt within this subject to my next design subject and improve in the areas I believe I fell short in.

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REFERENCES__ Figure 22. Vine Texture Image Image sourced from Photobucket Website. URL: http://i301.photobucket.com/albums/nn64/Storm_cross/Dev%20textures/vines.png Figure. 23 Cable Wire Image Image sourced from Prorig Website: URL: http://www.prorig.com.au/image/cache/data/Wire%20Baustrade/Wire%20Balustrade%20Systems/ PRS1-2-500x500.png (No texts referenced within Part C)

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PART C__

CONCLUSION

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STUDIO

AIR 781245 Luke Calabro Semester 02

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