Preen_Mitchell_699205_PartA+B+C by Mitchell Preen

aRCHITECTURE DESIGN STUDIO AIR

PART A MITCHELL PREEN SEMESTER 1, 2015

COURSE COORDINATOR DR. STANISLAV ROUDAVSKI

SENIOR TUTOR ROSIE GUNZBURG

STUDIO TUTORS FINNIAN WARNOCK PHILIP BELESKY BRAD ELIAS

ALESSANDRO LIUTI SONYA PARTON GEOFF KIMM CAITLYN PARRY CANHUI CHEN

TABLE OF CONTENTS

INTRODUCTION ...........................................................................................................

PREVIOUS WORK .........................................................................................................

DESIGN FUTURING .......................................................................................................

DESIGN COMPUTATION ..............................................................................................

COMPOSITION/GENERATION ....................................................................................

CONCLUSION ............................................................................................................... 12 LEARNING OUTCOMES ...............................................................................................

ALGORITHMIC SKETCHES ........................................................................................... 14 PART B ............................................................................................................................ 18 PART C ........................................................................................................................... 43

Introduction MITCHELL PREEN My current experience with parametric modelling, as of this semester, is basically non existant as I have never used Rhino or Grasshopper before and barely have an understanding of what is meant by parametric modelling. However, I do hope to gain an understanding of how some of the more complex and often fluid designs often made by larger companies are actually created in the virtual environment and then rationalised so that they can actually be built. In contrast to this though, I am not ‘new’, in the sense of the experience a typical student would have, with digital modelling. I first started learning digital modelling with programs such as SketchUp during highschool and then in my first year at Deakin University I learned how to use AutoCAD and Microstation in order to convert my drawings to the digital state and explore them through composition and also rendering, as can be seen across the page. CURRENT POSITION: Undergraduate student (3rd Year) INSTITUTION: University of Melbourne COURSE: Bachelor of Environments MAJOR: Architecture My current experience with parametric modelling, as of this semester, is basically non existant as I have never used Rhino or Grasshopper before and barely have an understanding of what is meant by parametric modelling. However, I do hope to gain an understanding of how some of the more complex and often fluid designs often made by larger companies are actually created in the virtual environment and then rationalised so that they can actually be built.

I’ve progressively been gaining more confidence in my digital work through post editing work to renders in Photoshop to add more life to the images produced. ie. people, dirt marks, environmental effects, etc. However the current program I use for rendering - Microstation - is very limiting in the sense that it cannot handle or create complex three dimensional forms easily leading me to feel that my current knowledge of digital architecture and design is insubstantial. Because of this, I am excited to learn something new, which seems to be gaining more ground in the commercial sector of architecture, and also just to gain new skills in terms of having the capability to diversify how I might design a particular building - as abstract as it may potentially be.

Previous work ARCHITECTURE DESIGN STUDIO WATER SEMESTER 2, 2014

Figure 1. Entry into boathouse based on Louis Kahn’s design style.

The semester’s task was to emulate a chosen master architect’s - Louis Kahn - work and apply it to replace an existing boat house for an area along the Yarra River. One of the difficulties was figuring out how to combine Kahn’s monumental and often large scale work into a more refined and intimate boathouse structure. In doing so, I tried to pick out some recurring themes of Kahn’s work and combined these with what I collected from my site analysis and decided to go with the idea of duality in that lots of Kahn’s work is often contradicted or represented with opposites of each other and this is also seen in the site in terms of indigenous vegetation against non-native vegetation, and also in terms of the land against the water of the Yarra. For the final result I used contrasting materials of light (wood) and mass (concrete) and areas of extreme light followed by a rigid drop off into shadow, seen through the deep overhang in the right hand side of the image. One of the main difficulties was getting a good balance between Kahn’s often imposing design and that of a typical elegant boathouse design.

A1 DESIGN FUTURING - CASE STUDY 1.0

GUANGZHOU OPERA HOUSE, GUANGZHOU, CHINA ZAHA HADID ARCHITECTS

Figure 3. Entry into Guangzhou Opera House at night.

The Guangzhou Opera House in reality is a multifunctional building whereby many activities are supported, with the main focus being the opera theatre, however every space fits seamlessly and with an incredible atmosphere that is specific to each. Much of Zaha Hadid’s work is revolutionary in a sense that a large portion of her work is parametrically modelled, which is very much an emerging way of creating architecture, and may influence a new generation of architects emerging through her typically large scale, high budget work. In light of this I think it may instigate change in terms of how the younger generation is often influenced by their predecessor.

Zaha Hadid’s design for the Opera House won the competiton and her work can often be categorised with the radical as it is very obvious use of parametric and fluid forms and I think that in order to win an architectural competition for a major landmark of a city it needs to be quite iconic. This does not always mean that radical architecture is the most iconic, however Zaha Hadid’s work is quite radical and revolutionary in the sense that there are not many works that are similar to hers and they are very iconic. For example, when looking at Frank Gehry’s work, who also uses parametric modelling in his firm, his work is much different from Zaha Hadid’s and yet they are both iconic.

The Opera House was built between 2003 and 2010 and itâ&#x20AC;&#x2122;s important in the sense that despite such a radical and unique design, it was actually crowned as the winner of the design competition and went on to be built because often they are deemed to expensive or too complex and so in the sense that they were built suggests that either the computing output was clear enough to be built. Or that the allowed cost was large enough.

A1 DESIGN FUTURING - CASE STUDY 1.0

GUANGZHOU OPERA HOUSE, GUANGZHOU, CHINA ZAHA HADID ARCHITECTS

This building will likely continue to be appreciated due to its interesting design and distinct form, and may very well become a predecessor for later work if this type of work beceomes the norm. It is perhaps too soon to predict what this building has done to influence others, however Zaha Hadidâ&#x20AC;&#x2122;s body of work is already an highly influencing character to many young architects throughout the world.

Figure 4. Guangzhou Opera House entry lobby.

I think with most work in parametric modelling comes a greater understanding and also if there is a demand for more work like this then the supply of similar works will also increase going into the future. The Opera House is still very much used for its intended purpose, however it has spaces that are flexible and can change if need be and so as a result these flexible spaces change as needed and these spaces continue to be utilised as intended.

A1 DESIGN FUTURING - CASE STUDY 2.0

ContemPLAY PAVILION, MONTREAL, QUEBEC, CANADA McGILL SCHOOL OF ARCHITECTURE

Figure 5. Looking into ContemPLAY pavilion during day.

I think with this being a student led university project their contribution in terms of an idea is nothing farfetched - as it has to be made, so nothing to radical is designed - however it is still interesting in terms of the technical achievement. It’s quite a statement to actually build what you have designed, and for someone who is not a master of building things it shows how innovative design can be.

It was important that the project be built, in terms of the students’ success in university, however, it shows that even a group of students with budding careers can put together something parametrically modelled and it makes you wonder what can be achieved throughout the lifespan of architects that adopt parametric modelling. To think that this is just something simple is truly astonishing and may be an indicator of radical new design created in a new way. The building is not so much radical as it isn’t too complex relative to parametrically modelled structures, however it does provide a different form or take on the pavilion which is quite interesting. I think what makes it interesting is that it seems very engaging which I think is vital in terms of the success of a building.

A1 DESIGN FUTUIRNG - CASE STUDY 2.0

ContemPLAY PAVILION, MONTREAL, QUEBEC, CANADA McGILL SCHOOL OF ARCHITECTURE

Figure 6. Aerial view of ContemPLAY pavilion and its use.

The ContemPLAY pavilion contributes a place of respite from the heat and in terms of it’s contribution to its site it has a very interactive role. I think this is highlighted through the dynamic nature of the building as a result of the cladding choice, whereby it gives partial shade from the sun - a function - whilst also being quite fluid, and also the permeability of it gives this sense of openness to it surrounds and so really it doesn’t seem in the open, but also not closed off.

A2 DESIGN COMPUTATION

DESIGN FUTURING

Figure 7. Image of Revit model depicting services of house.

The benefits of using computers in design is the obvious for timesaving and also the ease with which changes can be made. These both tie into each other, because they are ways in which architecture can keep up pace with a capitalist society, however this is only a minute benefit in terms of how a computer can really enhance the designers intellect through its powerful computing capacity to calculate complex situations and circumstances in order to evaluate the proficiency of a particular design.

A2 DESIGN COMPUTATION

DESIGN FUTURING

Figure 8. Image of a fluid skyscraper highlighting design capabilities of computing.

The view that computers can make exploring and refining a design more economically viable is definitely valid, however when taking this view in conjunction with the possibility of using computers to actually generate an idea or concept is what truly reveals the power of the computer in design. The use of computers in order to create design is on the rise, however, it is not utilised as a design generating tool by itself. Firms such as Frank Gehryâ&#x20AC;&#x2122;s uses parametric modelling in order to explore designs, however, the conception is still very much based on the initial hand drawings of Gehry. This is still a strong incorporation of parametric modelling, however it does not fully utilise the unexpected and even unintended possibilities of parametric design.

A3 COMPOISITION / GENERATION

COMPOSITION / GENERATION

As the architecture practice of large scale firms is incorporating, and seeing a shift of using computers for composing a design, towards using them for design generation purposes. The reaction has been different across the audiences involved. This can be observed through the use of algorithmic thinking, parametric modelling and the arrival of scripting cultures.

“When architects have a sufﬁcient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture”

A3 COMPOSITION / GENERATION

As the architecture practice of large scale firms is incorporating and seeing a shift of using computers for composing a design, towards using them for design generation purposes. The reaction has been different across the audiences involved. This can be observed through the use of algorithmic thinking, parametric modelling and the arrival of scripting cultures.

A3 COMPOISITION / GENERATION

GUGGENHEIM MUSEUM BILBAO FRANK GEHRY

I think Frank Gehry’s Guggenheim Museum Bilbao is a good indication of how design can combine elements of free hand drawing, whereby it is easy to sketch that initial idea down, and computation, where it is easier to create fluid three dimensional (digital) forms that are easily changeable.

Figure 9. Sketch by Frank Gehry for design of Guggenheim Museum Bilbao

Figure 10. Final deisgn of Frank Gehry’s Guggenheim Museum Bilbao

The image to the left, drawn by Frank Gehry, shows the initial conception of the overall form, or shape, of the building that was desired and through computation his firm managed to create these flexing and wavy forms clad with metal and I think what is interesting is that computation can increasingly push the boundaries of material properties for the architect, whereas with free hand designs, without the use of computing to evaluate its structural integrity and whether materials can handle the bending for example, it is quite limited to that of a ‘good guess’ which can often times be very safe and no where near the limit of a material. In terms of Gehry’s firm, there has very much been a scripting culture in that a specialised team with knowledge of parametric modelling is employed in order to generate the forms from Gehry’s sketches by hand and I think a possible negative of this, as was raised in Kalay’s piece, there is this almost separation from the specialist team from the architect here in the sense that they are acting as form finding teams. I think in terms of there being this harmony in which Kalay suggests there could be with humans’ ability for creativity and ideation, and the computer’s ability to compute and analyse data, the harmony is not met.

This is a recent project by SHINE architects that were looking at creating a retrofit for a school in order to provide shading and also aesthetics around a ramped area.

A3 COMPOSITION / GENERATION

TEC DE MONTERREY RETROFIT, MEXICO SHINE ARCHITECTS

I personally really like the use of parametric modelling here, and whether or not algorithms were used, I think it is very useful for its function to provide shade, whereby you could determine the spacing of each timber slat as a parameter. Figure 11. Looking into ramp design, showing the progressive change of structure

Figure 12. External view of ramp design, showing shading provided

I find that the design is a great example of parametric modelling for design generation on a smaller scale project, whereby millions of dollars is not needed to create complex and fluid geometry. It is something that I am interested in, as I think the use of parametric modelling has a bad name in terms of how expensive the builds can be, and I would definitely consider something along this path for designs using parametrics and algorithms as I think that there is a clear purpose, although pretty standard, which is being fulfilled, and also through simple geometry without the need for massive amounts of manufacturing through CNC laser, etc. I think if I donâ&#x20AC;&#x2122;t do something similarly inspired to this in my studio this semester, it is something that i would enjoy exploring at a latter time because its viability as a design is what captures me.

A4 CONCLUSION

CONCLUSION PART A

I think looking at the concepts introduced in this part, it’s interesting to see how much my knowledge has changed sinse the beginning of Part A already, despite still being quite new to the world of algorithmics coupled with computation. In terms of my intended design approach for the brief, I would like to obviously try and create my design from data obtained through my site analysis and other forms of data. I think what’s interesting about this is that in the first few weeks I was unsure about how much freedom I would have in creating a design, however, I think now I am beginning to realise how much flexibility I have in the way that I structure that data. As we’ve been working through the weekly tasks this has become apparent, especially through the vase task, whereby much of my vases had very similar beginning geometry and then just simple manipulations of that could make such varying designs with flexibility to change them as I saw fit.

A5 LEARNING OUTCOMES

WHAT HAVE I LEARNT (SO FAR)

So far, having come into this subject with no little idea as to what parametric modelling is, my understanding has been vastly improved however that is the norm when undertaking something new. In order to gain a better grasp of parametric modelling I have to keep a steady head going forward and not overestimate my capabilities, as I am still new to it and would like to become much more preficient. Some things that I have learnt so far would be that true design creativity can actually be achieved through the use of computers. To clarify, I mean this in the sense that having first learnt how to use computer aided modelling I can now see the clear distinction between the two - computer aided modelling and parametric design. Computer aided modelling was more of an extension of hand drawing, whereas thus far, parametric modelling seems to be a creative design process in itself, through input and then manipulation of data in whichever way I decide.

A6 CASE STUDY 1.0 - VOUSSAIR CLOUD

VASE MODELLING WEEK 1 TASK

This was my most successful attempt at making a vase in terms of its complexity. The process involved in making the vase was difficult and required me to think very hard about what it was that I had to do and I think this was really the tipping point for gaining the mindset or way of thinking that is needed to model in Grasshopper, and that is through reverse engineering thinking about how do I get from one state to another. I think the most relevant reading from Part A would be Kalay’s, whereby this real fusion of the computer’s innate processing ability with the designer’s innovation and creativity could be captured and I feel (hope) this is the beginning of this marriage.

A6 CASE STUDY 1.0 - VOUSSAIR CLOUD

PAVILION MODELLING WEEK 2 TASK

Despite there being a step by step instruction of a method for making a pavilion-like form, I decided to test my own skills (limited as they are) and attempt to create something on my own. I think what really inspired me to do the reading from week two, as quoted on page 9, whereby I was really attempting to consolidate my shift to learning how to think algorithmically with some degree of difficulty, as opposed to following a tutorial Iâ&#x20AC;&#x2122;d found or modelling something very simple.

A6 APPENDIX - REFERENCE LIST

REFERENCE LIST PART A

Figure 1 - http://4.bp.blogspot.com/-iZorEy0k-Jk/UDmkLWO4K5I/AAAAAAAAALs/ nKQyapE6pdA/s1600/1wall1.jpg Figure 2 - http://matsysdesign.com/studios/compositebodies/wp-content/uploads/2010/01/inside1. jpg Figure 3 - http://s3.amazonaws.com/europaconcorsi/project_images/4752580/FOA-071-aichiphotos-06_full.jpg Figure 4 - https://s-media-cache-ak0.pinimg.com/236x/e2/a8/57/e2a8570aaa0e4ac38486f8953 0d78623.jpg Figure 5 - http://unstudiocdn2.hosting.kirra.nl//uploads/original/2e0c7b7b-2694-4f1e-9081-1deeb36fb268/2619558604 Figure 18 - http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53a0f36bc07a8079c5000178_t-boutique-studiopha_02.jpg

(1) - http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/ (2) - http://www.archdaily.com/125125/galleria-centercity-unstudio/

PART B criteria design

B1 RESEARCH FIELD

PATTERNING

Figure 1. Dynamic patterning through strips.

Figure 2. Static patterning through regular geometry.

Patterns are those that are repetitive and easily recognisable. This can be through either static - whereby the main component is simply displaced or mildly different from the other in order to create the pattern in a tesselating manner - or it is dynamic - whereby small changes occur over the span of a material or object, which result in a patterned object. In addition to this, patterns can come directly from nature and are readily identifiable, whether this be through the patterns seen on animals such as zebras or giraffes, or patterns seen on plants such as the sunflowerâ&#x20AC;&#x2122;s flower which has previously been explored throughout the subject, however more precisely it can be seen through the plants and trees and through their branching off. Mathematics in Nature : Modeling Patterns in the Natural World Adam, John A.

B2 CASE STUDY 1.0 - VOUSSAIR CLOUD

SPANISH PAVILION FOREIGN OFFICE ARCHITECTS

Figure 3. Spanish Pavilion patterning of facades.

The Spanish Pavilion, 2005 located in Aichi, Japan focuses heavily on the patternisation of a flat facade. The inspiration of the facadeâ&#x20AC;&#x2122;s patterning was attempting to create a hybridization between Jewish-Christian cultures and the Islamic influence on the Iberian Peninsula (1). This abstraction of historical Gothic (Christian) and Lattice (Islamic) resulted in the use of hexagonal shapes that is inherent in most Gothic and Islamic traceries, or patterning - such as the windows patterning, for example (2). The concept for this case study is extremely strong and is a prime example of taking a concept and putting it into readable inputs that can then be computed so that a parametric model can be created. Achieving this sort of cohesion between a concept and the final parametric model is the key between creating something that draws inspiration and is designed, as opposed to something that is merely a group of inputs creating an output.

B2 CASE STUDY 1.0 SPANISH PAVILION

MATRIX OF SPECIES ALTERING THE SPANISH PAVILION - FOA

SPECIES ITERATIONS 01

B2 CASE STUDY 1.0 - SPANISH PAVILION

04 03

B3 CASE STUDY 2.0 - GALLERIA CNETERCITY

PATTERNING CONTOURS

Figure 4. Wexler Aidlinâ&#x20AC;&#x2122;s ceiling contour design.

After completing case study 1.0, the true multitude of patterning became apparent and as a result for case study 2.0 a different form of patterning is used through the use of contouring in order to explore more deeply what the capabilities of patterning can encompass. The case study across the page was chosen because it is a type of patterning which can be easily and quite beautifully manipulated to create fluid forms and most of all it is quite easily fabricated. It also creates the flexibility for a change of the designâ&#x20AC;&#x2122;s purpose from something that is purely facade design to look attractive as a sort of backdrop to the light display behind it, to a design that could potentially morph into a functioning installment that caters to a lacking need.

B3 CASE STUDY 2.0 - GALLERIA CENTERCITY

GALLERIA CENTERCITY UNStudio

Figure 5. Exterior view of patterning on the Galleria Centercity facade.

The design of the Galleria Centercity focuses on using patterning of the facade to create and add life to the immediate external surroundings so as to provide a highly social function and point of interest amongst the potential users and passerbys. UNStudio achieves this through what is said to be a facade that looks different from every angle (3) and so from this standpoint, the design can be a great selling point, however, there is no functional purpose. The design is purely visual, however this does not indicate a limitation to the use of contouring because the form and amount of extrusion that each contour can be varied easily and a lot so a lot of purposes in terms of shelter, seating, and among others, can be formed from this style of patterning.

B3 CASE STUDY 2.0 - GALLERIA CENTERCITY

GALLERIA CENTERCITY REVERSE ENGINEERING

Create the base curves by interpolating a curve through a set of points. These points varied both in the x, y, and z directions which made what is typically a simple contour definition more difficult. The base curves are then divided up into segments at a defined length and lines are then created from each of these points from the top curve to the bottom curve. These curves are then divided up into a number of points and then set up on a flat x and y plane so that an image sample can then be used to displace these points to create a similar effect to that of the original. An image sampler is used to pull the points accordingly and these points are then used to generate a new surface which highlights the resulting form. (points/surface were rotated back to the original plane). From this, the original lines created in step 02 are then projected onto the newly created surface in order to give the contouring pattern similar to that created by UNStudio. To begin finishing off the design, the end points of each vertical curve are found and used to create regular polylines to create the top capping and bottom ground floor details. To finish, the contours are given thickness through extrusion and the details are given surfaces with which to be placed against.

B3 CASE STUDY 2.0 - GALLERIA CENTERCITY

GALLERIA CENTERCITY REVERSE ENGINEERING

Recreating the Galleria Centercity facade was more difficult than orginally anticipated. To begin, the first solution to reverse engineering the facade was to create the curve (only in the x and z axis) and then get the grid of points to displace through use of the image sampler and create lines from these and then use these lines as the facades panels. This worked perfectly and was very simple to achieve, however there is an added complexity to the design as it turns the corner and so when trying to apply this simple definition to a set of curves that were now displaced both in the x, y and z directions, the definition simply broke. This required a total restart of the definition and from there the process is as explained across the page.

B4 TECHNIQUE DEVELOPMENT

TECHNIQUE DEVELOPMENT WORKING FROM GALLERIA CENTERCITY

Figure 6. Collage of activities and inspiration for possible design

The Merri Creek area has a very engaged and socially and ethically aware community and is frequently engaged and present as a very active and healthy community. Things to focus on: -providing a useful functioning structure to broad spectrum of users -sustainability, possibly focus on minimising the need for complicated laser cutting and machine fabrication where needed -recycling or reusing of materials -making a building that can â&#x20AC;&#x153;age beautifullyâ&#x20AC;? by being biodegradable quite easily or even allowing the surrounding vegetation to grow over the design

B4 TECHNIQUE DEVELOPMENT

TECHNIQUE DEVELOPMENT WORKING FROM GALLERIA CENTERCITY

The Galleria Centercity was an interesting case study to work with because the capabilities of the definition was very in built, and the flexibility to incorporate design ideas for the Merri Creek area to create a viable design proposal. Along the Merri Creek area there is a need desperately for more public seating for cyclists and pedestrians walking along the track recreationally and so the chosen design takes inputs from these activities (e.g. speed of movement, differences in speed, etc) in order to change the patterning surface of the panels, whilst inevitably thinking ahead to its purpose as a structure so that the patterning has a double purpose of function and design.

B4 TECHNIQUE DEVELOPMENT

MATRIX OF EVOLUTION 50 ITERATIONS

B4 TECHNIQUE DEVELOPMENT

10 9 8 7 6

B6 TECHNIQUE PROPTOTYPES

WORKING TOWARDS A PROTOTYPE PROBLEMS

Initially the design seemed quite well thought out and very simplistic in terms of taking the concept to the physical environment due to its repetitive planar elements, however it became clear that in order for it to go from digital to physical, there were some issues to resolve. These issues were predominantly structural and how the proposal would: stay vertical. especially under wind loads, and even general use, as it was initially quite flimsy, stay evenly spaced. This problem went hand in hand with the previous and was an indicator that structural reinforcing was necessary in order for the concept to go from digital to physical. In response to these problems, the design trys to maintain its flowing continuity from each panel to the next so as to maintain the contour patterning, whilst also providing a structural performance so that the structure can stand and also stay horizontally spaced as intended. This resulted in the use of simple same dimension structural components so that when laser cutting and then assembling, Time can be saved by not having to worry about which piece is which. And also, in real build situations, it makes assembling much easier for the same reason - each structural component is standardised - and therefore increases the buildability and ease of construction.

The components to make the panels stay evenly apart were made so that they could be applied to any of the panels (correct placement is obviously necessary) so that economy and ease of construction would be ensured in real build situations.

B5 TECHNIQUE PROTOTYPES

MODELLING THE PROTOTYPE STRUCTURAL COMPONENTS

Additionally, the proposal gains support at the base by use of a connecting panel between the seating panels and the major panels so that each is adequately braced to each other and also into the ground to achieve a greater anchoring point and would be achieved so that the overhanging main panels (providing shade), would be braced and held in place as a result.

Figure 7. Structural bracing at the base of the structure.

Figure 8. Structural bracing towards top of panels

B5 TECHNIQUE PROTOTYPES

MODELLING THE PROTOTYPE PROGRESSION/THOUGHTS

Figure 9. Early progression of prototype.

Figure 10. Possible change to model

During the making of the model, it quickly became obvious how the pieces wanted to bend and move around and so preemptively creating structural components to minimise this effect was very beneficial. In terms of the design where the seating starts to raise up and down vertically having just one panel in between would possibly be uncomfortable. In order to try maximise comfort and maintain the designâ&#x20AC;&#x2122;s concept when moving forward with the design, two panels in between the main panels as a solution were theorised

B5 TECHNIQUE PROYOTYPES

MODELLING THE PROTOTYPE PROGRESSION/THOUGHTS

Figure 11. Prototype from infront

The final design flows nicely and performs much better under forces applied to the main panels, with very little deformation. The design needs to be worked a bit more, with more details in order to give it more interest, however.

Figure 12. Southern Approach

B6 TECHNIQUE PROPOSAL

SEATING/REST AREA ALONG PATH

Due to a lack of seating along the Merri Creek Trail, the proposed design takes the form of a stretching seating area. The seating along the Merri Creek Trail is not only sparsely distributed, it is also inadequate for the user group of the trail as there are often times people cycling, walking in medium sized groups. In addition to this the design also plans to cater to cyclists by providing a functional â&#x20AC;&#x2DC;bayâ&#x20AC;&#x2122; in which to park bicycles during time spent relaxing and recovering at the seating area. To allow for adequate rest, the design also provides partial shading through the curving panels flowing outwards as it reaches higher and is given shade by the surrounding trees.

B6 TECHNIQUE PROPOSAL

MODELLING THE PROTOTYPE PROGRESSION/THOUGHTS

Figure 14. Developed design.

Changes: -Number of seating panels between main panels increased from one to two. -Some seating panels removed in order to allow bicycles to be parked upright whilst occupants rest.

In terms of material, the use of timber seems most appropriate and in terms of the seating panels, using recycled timber that is cut by hand or table saw, because they are regular in shape, instead of laser cutting or heavy machine fabrication would be a great way to reduce the embodied energy of the design. In addition to reducing reliance on virgin materials, it could also be a great way to get the local community involved, as they could join in on the construction.

B6 TECHNIQUE PROPOSAL

DESIGN PROPOSAL RENDERINGS OF MATERIALS

Figure 15. Front on view of design

Figure 16. Southern approach to design

The design creates a space for which groups of medium to smaller size are accommodated and acts predominantly as a rest area for users of the trail. In addition to this, the proposal can also serve as a meeting place for groups of cyclists beginning a bike ride or pedestrians. The designâ&#x20AC;&#x2122;s position along the trail is sited so that it is at a natural converging zone between informal and formal paths taken, as well as being placed adequately from the velodrome so that those meeting there or coming from there are able to rest and meet up with friends/peers. The design intends to incorporate salvaged wood in order to create the seating panels in between the main panels as they can be easily made and require no need for heavy machine fabrication.

Figure 17. Northern approach to design

ABILITY TO MAKE A CASE FOR PROPOSAL The proposed design for the Merri Creek area was supported by thorough site analysis in order to determine needs that were being neglected previously, and therefore the proposed design took the form of a seating area, going above that of the typical which is provided in sparsely located areas, whereby group seating and parking of bicycles is conveniently provided.

REPERTOIRE OF COMPUTATIONAL TECHNIQUES From the definitions provided in the proposed design area of the algorithmic sketchbook, the type of computational techniques were quite complex in terms of their manipulation of lists and â&#x20AC;&#x2DC;treesâ&#x20AC;&#x2122; in order to achieve patterning, positioning (for prefabrication and also placement), as well as creating these in a way that they do not break and are easily adjustable to suit design needs.

B7 LEARNING OBJECTIVES & OUTCOMES

LEARNING OBJECTIVES

ABILITY TO GENERATE VARIOUS DESIGN POSSIBILITIES Various design possibilities have been explored through the work of case study 1.0 and although it is not shown as clearly, various possibilities as to the direction with which panels and patterns could be arranged in order to suit the design brief. This also involved determining the best direction with which to run each panel, horizontally or vertically - ultimately vertical panelling was chosen.

DEVELOPMENT OF SKILLS IN VARIOUS 3D MEDIA This learning objective was critical in terms of taking a digital 3D model to a physical 3D model, as it required forward thinking as to how a design could practically be made - although not entirely at the early conception stages - and as a result, encouraged these considerations into the digital realm so that each could work together in tandem.

DEVELOP FOUNDATION UNDERSTANDING OF COMPUTATIONAL GEOMETRY, DATA STRUCTURES, AND TYPES OF PROGRAMMING As stated above, the proposed design relied heavily on the manipulation of data structures and trees in order to create the desired output geometry and so many operations within the definition are geared towards maintaining the grouping of base elements so that their data structures can be maintained as the definition grew in complexity. A stronger understanding can be acquired by looking at the accompanying algorithmic journal and case study 2.0 - Galleria Centercity.

B8 APPENDIX - ALGORITHMIC SKETCHES

T-Boutique by Studio Pha EASTER BREAK EXPLORATION

Figure 18. T-Boutique interior view highlights panel forms and the effect light has on the panels.

This was some work that i did over the Easter break, whereby I just tried to make something interesting that I saw which was a renovation to an existing room and I found it quite successful in bringing the room to life. I basically tried to reverse engineer it from scratch, much like for case study 2.0, and just tried to explore some ways of making complex forms. Figure 19. Attempt at reverse engineering.

I think it could have been more successful had I done the curves with kangaroo physics in order to create a much more alterable and changeable form the curve segments. I think what makes the design succcessful is how the form interacts with the downlight from above, as show in the image below/to the left.

Figure 20. Attempt at reverse engineering.

These definitions were focused on simulating gravity and force on simple objects that everyone knows well - webs. The definitions are formed by creating a series of circles thats spacing is altered by changing the graphs seen above and below, which in this case created circles with spacing that got smaller as they got closer to the centre point.

Figure 21. Vertical plane web acted on by downwards and lateral forces to simulate gravity and wind.

B8 APPENDIX - ALGORITHMIC SKETCHES

CREATING A WEB INTEGRATING PHYSICS SIMULATION

The next part of the definition focuses on creating a web like pattern and so a simple voronoi with a cull pattern is used to remove points and create a quick pattern that resembles a web of a spider. What makes these tasks successful, personally, was getting the physics simulation to work. One of the difficulties moving forward with Part B was getting physics simulations to work for the chosen research field, which was structure previously, in order to create a gridshell form. Ultimately the research field proved too time consuming and difficult and prompted a switch to a different field. In light of this, just creating something that simulates physics is a great success personally, and is worth highlighting despite how simple it may have been.

Figure 22. Horizontal plane web acted on by downwards force to simulate gravity.

B8 APPENDIX - CONCLUSION

CONCLUSION POST PRESENTATION THOUGHTS

Following the presentation, some areas of the design to improve became obvious. -In terms of the design itâ&#x20AC;&#x2122;s quite bit basic, however the overall design purpose is viable. -The sustainability incorporated into the design is only skin deep, however good to be thinking about, needs to be taken a step further by thinking about the large amount of waste created by the main curving panels. This could be combined with the first point in order to create some interesting details, whilst reducing the overall waste of the project. These points are major areas to work on and will ultimately make the design more wholistic and successful in meeting the briefs requirements and creating an interesting design.

B8 APPENDIX - REFERENCE LIST

REFERENCE LIST PART B

Figure 3 - http://s3.amazonaws.com/europaconcorsi/project_images/4752580/FOA-071-aichiphotos-06_full.jpg Figure 4 - https://s-media-cache-ak0.pinimg.com/236x/e2/a8/57/e2a8570aaa0e4ac38486f8953 0d78623.jpg Figure 5 - http://unstudiocdn2.hosting.kirra.nl//uploads/original/2e0c7b7b-2694-4f1e-9081-1deeb36fb268/2619558604 Figure 18 - http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53a0f36bc07a8079c5000178_t-boutique-studiopha_02.jpg

(1) - http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/ (2) - http://www.archdaily.com/125125/galleria-centercity-unstudio/

PART c criteria design

C1 DESIGN CONCEPT

PREFACE - DESIGN CHANGES TO BE EXPLORED AREAS FOR IMPROVEMENT

SUSTAINABILITY REDUCE WASTE OF CURVING PANELS SEATING -

INCORPORATE ERGONOMICS

SHADING -

CREATE SUFFICIENT SHADING

The areas listed are of most importance to the design, as they revolve around the practicality and usefulness of the design. If these areas do not become resolved, the design is not worth undertaking.

C1 DESIGN CONCEPT

DESIGNING: SUSTAINABILITY CONSIDERATIONS

In designing the two panels there are two considerations: making the panels curved making the panels linear

The design seems to flow quite nicely by being curved currently however there is huge amounts of waste being created by the main panels and therefore this needs to be resolved. The first solution involves in someway using the offcuts of the main panels as elements in the design, for example as the bike bays. However, because of the large variance of the curvature of the panels, this was not possible

Utilising the offcuts of the main panels proved to be unsuccessful and so attempting to rationalise the panels was explored.

C1 DESIGN CONCEPT

DESIGNING: SUSTAINABILITY RATIONALISING CURVING PANELS

The design looked at creating a straight line segment through the displaced points and then filleting the points at which these line segments met. The resulting panels were much nicer because they made higher quality offcuts which could potentially be used in the designing of other features.

C1 DESIGN CONCEPT

DESIGNING: SUSTAINABILITY RATIONAL PANELS

These curves, however, were still quite inefficient and so the curving of the panels was removed almost entirely, and was only kept for safety purposes so that the edges werenâ&#x20AC;&#x2122;t so dangerous.

An important aspect as to the success of the design is whether or not the panels for sitting on are adequately spaced so that they are not uncomfortable and also general safety needs to be considered so that limbs canâ&#x20AC;&#x2122;t get stuck or jammed inbetween.

C1 DESIGN CONCEPT

DESIGNING: ERGONOMICS RESEARCH - SEAT PANELLING

An added benefit of not allowing limbs and objects to go between the panels easily is that the design is less able to be vandalised and damaged physically. 40mm

A void of 40 mm between the seating panels was used so that the constant flowing of the seat was achieved without it being clunky and like steps, and also for ergonomic and practicality issues outlined above.

C1 DESIGN CONCEPT

DESIGNING: ERGONOMICS SEATING PANELS SPACING

The seating panels are simplistic and give a slight impression with a gentle curve to give the seating some ergonomics. Through this simple detailing to create a degree of ergonomics the seating reduces the amount of waste that it produces during cutting.

C1 DESIGN CONCEPT

DESIGNING: SHADING CONSIDERATIONS

InItially the design hoped to take advantage of the shadows cast by the main panelsâ&#x20AC;&#x2122; contouring however due to the orientation of the proposal, this proved unrealistic. One of the main challenges with the design is creating a shading area that considers the use throughout the entire year, and the varied users. Some are likely to want just shade, however during the colder months and for those taking a leisurely stroll, there are times where the users will want the sun and so there needs to be a balance between areas that will get shade and areas that will get sunlight and warmth.

C1 DESIGN CONCEPT

DESIGNING: SHADING PRELIMINARY WORK

Initially Init In itia it iall lly ll y the the design desi de sign si gn looked loo ooke ked at ke at attempting att t em mpt p ing to have a full lll o open pen pe n air air feel feel by by creating crea cr eati ea ting ti ng shading sha hadi ding di g that that would cantilever cant ca ntil nt i ev il ever er off off from fro rom m the the main main n panels. pan anel es el s.. It was was quickly quiick ckly ly realised rea ali lise sed se d that that in n order orde or derr for de fo or suffi suffi ffic cient cient ient ie shading shad sh adin ad ing in g to occur, occ ccur ur, cantilevering ur ca ant ntil ilev il ever ev erin er ing in g the th he overhead over ov ver e he head ad shading shad sh adin ad in ng wo woul would uld ul d be unrealistic unrea ea aliist stic ic c and and so so supports supp su ppor pp orts or ts s would woul wo u d have have to to be constructed. con onst on stru st ru uct cted ed.. ed

The design for the shading panels progresses by creating supports on the other end of the shading panels.

C1 DESIGN CONCEPT

DESIGNING: SHADING SHADING DEVELOPMENT

One of the problems at this stage however was that there was an obvious disjoint. The design had essentially been split into thirds and needed to be rectified so that there was continuity and flow occurring with the shading panels.

C1 DESIGN CONCEPT

DESIGNING: SHADING DETERMINING THE SHADING

The basic derivative of the visual interest of the shading panels was created by splitting the panels into a number of segments so that they could be raised or lowered given by the proximity to a given point. However, this proved to be devoid of any real site relationship and so further ways of incorporating site data into the design process were explored. One of the main problems was finding a way in which the panels could create a rhythm and flow that keeps in line with that of the entire design and so a rhythm whereby the panels gradually get closer together is used. This creates a definite separation of space from the path whilst allowing for the rest area to be partially open to its surrounds and not block itself off from the beautiful environment in which it is located.

The design of the shading was determined again by attractor points, however the form was given by using weather data.

C1 DESIGN CONCEPT

DESIGNING: SHADING SOLAR OPTIMISATION OF SHADING

As a result of using this data, the design then attempts to optimise itself through an evolutionary simulator by going through many possibilities to find the best solution - and this meant finding a compromise between aesthetic and absolute performance. However, although solar radiation minimisation was the goal for the computation, this was not the entire goal of the shading. It was to provide maximum shading for the areas that it would affect and leave areas with partially shaded and unshaded parts so that the winter sun could be enjoyed during the cooler months.

C1 DESIGN CONCEPT

DESIGNING: SHADING SOLAR OPTIMISATION OF SHADING

Percentage reduction of total solar radiation on seat by incorporating shading panels: - 23% Although the reduction figure seems relatively modest for all the work achieved, it is misleading because the design takes into account that some areas need to be receiving sun during the year in order to create a comfortable environment, whilst also leaving the space open to the sky.

C1 DESIGN CONCEPT

DESIGNING: SHADING RETHINKING THE SHADING

The progress of the shading panels form through solar radiation information was good, however the overall fluidity with the rest of the design doesnt match. The shading doesn’t integrate well with the whole of the design because it’s very abrupt, looking at giving the shading panels some rhythm or pattern so that shading is achieved more and less in particular areas is needed so that the shading doesn’t look like an afterthought and clunky addition.

An interesting basis for how the shading panels are determined could be by looking at the cadence of frequency of revolution of a cyclists’ pedalling motion by looking at how it varies according to the site.

C1 DESIGN CONCEPT

DESIGNING: SHADING INCORPORATING SITE DATA

For the design of the shading to be wholistic in its approach, it needed to gradually increase its shading capability across the whole of the design.

The data collected is taken as the first 25 individuals to pass by the site for either pedestrians or cyclists and then compiled as shown.

This involved creating a pattern which would gradually remove less and less panels as it progressed to the point defined by the parameters across the page.

PEDESTRIANS SPEED 1-4: WALKING 1 POWER WALKING 2 JOGGING 3 RUNNING 4

The parameters which determined where the centre of the panels would be, was the difference in average speed from each direction, as shown below.

CYCLIST PEDALLING EFFORT 1-4 VERY LITTLE/NONE 1 SLOWLY 2 MODERATE 3 FAST 4

C1 DESIGN CONCEPT

DESIGNING: SHADING INCORPORATING SITE DATA

PEDESTRIANS DAY

AVG. SCORE

2.2

2.08

FINAL SCORE

0.55

0.52

AVG. SCORE

2.64

2.6

FINAL SCORE

0.66

0.65

SPEED

CYCLISTS DAY SPEED

C1 DESIGN CONCEPT

DESIGNING: SHADING DEVELOPING THE SHADING

Each parameter was tried out, however the figure for the cyclists speed on day one was used, as it gave a good sense of balance so that the design wasnâ&#x20AC;&#x2122;t too asymmetrical and only varied slightly from asymmetry

The design also makes use of supports in between the panels in order to give lateral supports, however they also mimic the blurred trails of pedestrians and cyclistsâ&#x20AC;&#x2122; movements, creating an interesting effect above as well as in terms of the patterned shadows the create.

C1 DESIGN CONCEPT

DESIGNING: SHADING RETHINKING THE SHADING

C1 DESIGN CONCEPT

FINALISING THE CONCEPT MOVING THROUGH TIME

The designâ&#x20AC;&#x2122;s aesthetic and forms are based around the effect of a form or shape, as it is displaced over a period of time. The design revolves around a certain flow that is predetermined by parameters from the site, such as observed speeds of those using the site, and then uses this information to slowly change the patterning of the design as it progresses from panel to panel - representing the different states of the object at a particular time.

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C1 DESIGN CONCEPT

DESIGNING: SHADING RETHINKING THE SHADING

Before finalising the design, further research was undertaken in order to look at some interesting ways of detailing and also interaction between the sun and the design. These precedents highlight good attention to detail and functionality, whilst giving a visually pleasing aesthetic.

C1 DESIGN CONCEPT

TECHNIQUE: DIGITAL CONSTRUCTION PROCESS

Create vertical lines amounting to the number of panels (40) and divide these lines equally in order to get five points of reference along them.

Through data collected as to the speed differences of persons travelling in each direction create a series of displacements in the horizontal direction and then plot a line through these points to create the framework for the main panels.

Determine the height of seating panels to come by calculating the change in height of each panel / vertical element previously created.

Add real world dimensions to the panels, giving them thickness and width, whilst giving a small round to sharp corners.

C1 DESIGN CONCEPT

Create the seating panels - taking attention to the spacing of each (30mm) so that it is not so large of a gap that the seating is uncomfortable.

With site data as to the speeds of pedestrians and cyclists, determine the centre point from which to make the cessation of the rhythm occur. The rhythm progressively gets faster, mimicing the concept of speed through time, by increasing the amount of panels that are moved to the other side.

The shading coverage is then determined by creating a number of points between each panel and then through solar radiation input, it is allowed to be processed so that solar radiation on the seating is minimised.

Add real world dimensions to the panels, giving them thickness and width, whilst giving a small round to sharp corners.

C1 DESIGN CONCEPT

TECHNIQUE: REAL WORLD CONSTRUCTION MATERIALS TO BE USED

6mm thickness, spotted gum hardwood timber is to be used so as to use an Australian wood that is durable and strong.

Figure 22. Spotted gum timber

Figure 22. Bullethead nail

The choice between nails and screws was made on the basis that nails are more ductile and are able to withstand more tensile and shear stresses than often brittle screws.

Wood glue in addition to nails in order to strengthen the bonding of the pieces of timber together.

Figure 22. Wood glue

C1 DESIGN CONCEPT

Steel plates used for the connection between shading panels and main panels and are then bolted together

Hex bolt and nut used to fix shading panels and main panels together with cleat plate.

Washer used to ensure there is a smooth surface for the nut to tighten against, reducing the chance that it will loosen, and also so that the force exerted by the nut is distributed evenly onto the timber.

C1 DESIGN CONCEPT

TECHNIQUE: REAL WORLD CONSTRUCTION MATERIALS TO BE USED

Excavate the concrete footings to be poured and create gravel path from Merri Creek trail.

Fix main panels to concrete footing with chemset bolts. Use propping as structure is being erected.

begin fixing together the main panels and their supports with the nails. Whilst waiting for main shading panels and their supports to be fixed, use propping.

C1 DESIGN CONCEPT Fit shading panels on top of main panels and connect with plate, bolt, washer and nut fixings.

Place and fix shading panel supports to provide lateral stability. Props can now be removed.

Continue until all panels are erected and design is completed.

C2 TECTONIC ELEMENTS & PROTOTYPES

CORE CONSTRUCTION TECHNIQUE GROUND CONNECTION

CHEMSET BOLTS INTO CONCRETE FOOTING STEEL ANGLE PLATES WASHERS HEX BOLTS FIXED THROUGH MAIN TIMBER PANELS

Bolts through main panels are tightened with a wrench - both sides must be held in order to tighten up against the washers. Washers are placed on both sides to prevent damage to the face of the panel. Chemset bolts set into the concrete footing bond with the concrete in order to fix the plate to the ground. g

Finished view of ground connection fully tightened and fixed into concrete footing shows how bolts, washers and steel plates interact together.

C2 TECTONIC ELEMENTS & PROTOTYPE

Steel plates are fixed to the ground with bolts and washers, which are to be painted a matte black for the desired finish.

C2 TECTONIC ELEMENTS & PROTOTYPES

PROTOTYPING CONNECTION: MAIN PANELS

For the prototyping, two nails are placed at each point the the two panels intersect with one another, however in real build situations, at least six nails would likely be used to fix the panels to each other adequately.

This image shows the method of fixing the nails into the two surfaces that have previously been glued together with wood glue to increase the bonding strength between the two.

The connection between the main panel and the shading panel is created by using a rebate wood joint. The two panels are brushed with wood glue at the adjoining surfaces, they are then allowed to bond together.

C2 TECTONIC ELEMENTS & PROTOTYPE

PROTOTYPING CONNECTION: MAIN PANELS - SHADING PANELS

For the shading panelsâ&#x20AC;&#x2122; lateral stability the supports are placed in the notchings and then glued down. In the real construction process, this would be done in addition to using nails to provide extra strength to the joint.

C3 FINAL DETAIL MODEL

FINAL DETAIL MODEL 1:10 MODEL OF AN AREA OF THE DESIGN

The final model is made at a larger scale so that the actual slotting into place of panels can occur so that the notching and the rebated panels can slot together correctly. The assembly was done by matching up the pieces with each other through a numbered system and this was then sanded off to gibve a more finished look which could also be done in real world build. Another method of identifying which pieces are which is by using a barcode, or even by drawing in pencil the associated number for the piece, as it is cut. The model was put together by assembling few panels with their accompanying shading panels and supports, as would be advised / done during t a real world construcion.

C3 FINAL DETAIL MODEL

FINAL DESIGN PROPOSAL SITE PLAN

The design focuses on an area of the trail whereby the path naturally converges through both formal and informal paths as previously discussed in Part B. The site is located roughly midway between the local school and also the velodrome, thereby taking advantage of its surrounds to target potential users. There is also a lack of public seating in this area - seating is indicated by the darker blue dots on site plan. As, well as there being a general lack of seating in the area, the seating along the trail also lacks adequate seating for groups.

The site is located at an area that opens up nicely and so the design caters to its target group of pedestrians and cyclists using the path, whilst also allowing groups to stay there. The design attempts to not stand out too much in an attempt to respect the efforts of the local community so that the ecosystem is restored to its previous beauty and so the deisgn tries to strike a balance with natural colours and textures but provides visual interest with the flowing design as it progresses along its length.

Below shows the design in the intended site and it depicts it as desired, having a natural wood feel in line with the desires of the local community around CERES.

C3 FINAL DETAIL MODEL

FINAL DESIGN PROPOSAL RENDERING OF DESIGN IN SITE

The design uses Australian Spotted Gum timber and is unvarnished. The rest area provides the dual function of giving cyclists the ability to â&#x20AC;&#x2DC;parkâ&#x20AC;&#x2122; their bike in between the panel spacing at the back, whilst benefitting from the natural enclosure of the surrounding tree to provide rain protection.

C4 LEARNING OBJECTIVES & OUTCOMES

APPENDIX LEARNING OBJECTIVES

1. INTERROGATE THE BRIEF The ability of interrogating the brief and meeting the brief requirements - although very unrestrictive and few - was always kept in mind from the beginning, even when looking at what sort of techniques to explore and how flexible each technique could be so that it could meet the brief in a multitude of ways for any particular purpose.

2. GENERATE A VARIETY OF DESIGN POSSIBILITES This area proved to be difficult during the semester, whilst looking for different purposes that could be achieved with the intended design, however as the semester progressed and a repertoire of skills and techniques was acquired, the technique changed and morphed so that a particular purpose was easily changed or even reworked so that it was a better functioing component of the overall design.

3. DEVELOP SKILLS IN VARIOUS 3D MEDIA Throughout the semester, skills in regard to 3D media have continually been developed and this is seen through parametric modelling and the main area of interest is through the interpretation of real world data taken from the site spiecific context in order to shape the design.

4. DEVELOP AN UNDERSTANDING OF RELATIONSHIP BETWEEN ARCHITECTURE AND AIR The relationship between fire is something somewhat vague and is very unique from person to person, however from this studio, the idea of design having an almost ever changing and being almost formless due to how many possibilities there are for the design to morph and shape as you like for any given context. This is what makes the studio so interesting as it is left to interpretation.

The ability to make a case for the intended proposal was exercised thoroughly by making a strong connection between the user group of the trail and on what activities it is used for, including the surrounding localities that influence these activities. As such the design focused on the walking and cycling group and caters to them accordingly by providing rest space, bicycle storage, shade, and visual reference to speed and motion

C4 LEARNING OBJECTIVES & OUTCOMES

5. DEVELOP ABILITY TO MAKE A CASE FOR PROPOSAL

6. DEVELOP ABILITY TO ANALYSE CONTEMPORARY ARCHITECTURAL PROJECTS During the design process, reference to contemporary work is continually made in the form of both mandatory case studies, but also of own accord. This is because looking at contemporary work is invaluable to gaining inspiration, but also gaining an understanding as to how they themselves were made and created parametrically.

7. DEVELOP FOUNDATIONAL UNDERSTANDING OF COMPUTATION, DATA STRUCTURES AND PROGRAMMING Throughout the formaulation of design, computation of site data, for example radiation and speed of persons, and also using data structures in the form of ‘trees’ and these were manipulated in terms of their order, and also culled to create patterns of rhythm and also visual aesthetics.

8. DEVELOP A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES Throughout the design, many computational techniques were learned and utilised, however, this may have led to too much complexity in the overall computation in the end. -

However, some techniques that have been acquired are: manipulation of lists digital fabrication tools (notching, laser cutting layout, etc) attraction points physics simulation solar analyses tools evolutionary simulation tools

C4 LEARNING OBJECTIVES & OUTCOMES

CONCLUSION PART C REFLECTION

Reflecting upon the semester, and being introduced to an entirely new program, the final product is a coalescence of all the learning done throughout the semester. When learning something different however, it is easy to get caught up in trying to showcase everything it is that has been learnt and instead of developing and discarding where neccessary, things have remained in the design just to highlight the learning and increasing number of skills acquired in the process. However, an important skill that needs to be exercised is restraint and also the ability to discard something when it becomes obsolete. This is something that is needed with the design and also on the technical side as to how it was created parametrically - it became increasingly complex, to the point where it was cumbersome.

SIMPLIFY THE DESIGN The design is an interesting, although complex design, however it may benefit from simplified design to bring about a more beautiful and cohesive design. FIND A SOLUTION FOR WASTE CREATED BY MAIN PANELS If this were to be solved, the design would likely be a large success but it proved difficult to find a way to reuse the offcuts from the main panels and so this should have been considered as a problem to overcome from the very start, as it beceame much too complex trying to rectify it from midway through the design

C4 LEARNING OBJECTIVES & OUTCOMES

CONCLUSION WHAT WOULD BE DONE DIFFERENT

SIMPLIFY THE COMPUTATIONAL TECHNIQUE The computational aspect of the design became too taxing on the machine and became difficult to easily modify and change parameters due to trying to compile to many techniques into the finished product. If it were to be done again, the connections between the shading panels and main panels would be made more cohesive. CREATE A MORE ELEGANT, FLOWING DESIGN The connection between each components is expressive and the effect of the secondary angled panels creaetes an interesting visual effect similar to that of the case study Galleria Centercity in Part B, however it could look better if it were simplified down.