Architecture Design Studio 3: AIR by Nick

ADS: AIR

WYNDHAM GATEWAY P R O E C T

COMPOSITE MATERIALS NICHOLAS

MCMILLAN

2 0 1 3 _ S E M _ 1

Contents.

Part A Introduction 01 Previous Experience 03 1.0 Case for Innovation 1.1 Architecture as Discourse 07 1.2 Computational Architecture 11 1.3 Parametric Modeling: Scripting in Architecture 15 1.4 Conclusion 21 1.5 Learning Outcomes 25 1.6 Algorithmic Explorations 27 2.0 Part B- Design Approach 2.1 Design Approach: Case Study 1.0 37 2.2 Design Approach: Developing Matrices 41 2.3 Design Approach: Case Study 2.0 43 2.4 Design Technique: Design Development 47 2.5 Design Technique: Prototypes 53 2.6 Deisn Proposal 57 2.7 Conclusion: Lear ning Outcomes 59 4.8 Appendix: ALgor ithmic Sketches 60 3.0 Par t C- Project Proposal 3.1 Gateway Project: Design Conept 65 3.2 Gateway Project: Tectonic Elements 77 3.3 Gateway Project: Final Model 83 3.4 Conclusion: Lear ning Outcomes 95 3.5 Appendix: Algor ithmic Sketches 97 3.6 References 101

PART A 1.0 Introduction.

My name is Nicholas McMillan. I am in my third year at the University of Melbourne studying a Bachelor of Environments and majoring in architecture. I have always had a keen interest in architecture and design, star ting with a keen interest in drawing and doodling. As my appreciation for architecture as not only a profession but as an impor tant piece of the fabric of society developed, I came to be more intrigued and began on the path towards a career in the design profession. My first experimentations with design within a vir tual environment were while in VCE and taking Visual Communication and Design. Here I was introduced to Photoshop and Illustrator. Never theless, it has been in the last few years at University through Design Studios and Vir tual Environments where I fur ther developed and refined my skills in Photoshop, Illustrator, Indesign, Sketchup, and most recently AutoC AD, REVIT Architecture and Rhino whilst on student exchange to the USA. As such, I am still learning about the world of digital design and the possibilities that computational design and architecture present. Its impact upon design is ever increasing in an age of increasing innovation and technological development. With this, I have realized how computational design provides new tools to architects not previously available and believe it has an incredibly impor tant role to play in sustainable and evolutionar y design into the future. Away from my life as an architecture student, I enjoy travelling and seeing the world. This has

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â&#x20AC;&#x153;I hold a strong belief in the importance of architecture in international and community development.â&#x20AC;?

led me on quite an unusual path and architectural education, but also sparked in me a passion for international development. This is something I hope to integrate into my profession as an architect in which I hold a strong belief in the importance of architecture in international and community development. With this studio, I hope to fur ther develop my architectural skill set, expanding it into the world of computational design and learn about how it can be used as a tool in the development and progress of society.

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PART A 1.0.1 Previous Expreience. Experience with Digital Media - Digital Modelling and Digital Photography Below - Studley Park Boathouse

ARCHITECTURAL DESIGN STUDIO 2: WATER

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Clockwise from top.

THE BEACH, SYDNEY, AUSTRALIA; THE PIER, SWEDEN; BOAT ON A LAKE, NORWAY; BRIGHT LIGHTS, NEW YORK, USA; FJORDS OF NORWAY, NORWAY; THE HIMALAYAS, NEPAL

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â&#x20AC;&#x153;Exploring architectural case studies to analyse the discourse of architecture and set the direction for a proposal to the Wyndham City Council Gateway Design Competition.â&#x20AC;?

PART C

A S E FOR I N N O V AT I O N

PART A 1.1 Architecture as Discourse. “Architecture as discourse has a critical value within soceity; one for its exploration and experimentation and two for its social expression.”

Discourse in the sense of the word refers to a written or spoken communication; architectural discourse is therefore related to the discussion, communication and exploration of the built form combined with the ideas and theories behind them. In referring to architecture as a discourse, Stephen Hill considers ‘critical architecture’, an understating “in which there are a number of sites: the drawing, text and building; and authors and agents: the architect, building, user and weather”. With this in mind, I contend that architecture has a critical value within society beyond that of its physical existence, one that is explorator y and experimental, creating debate and discussion. It exists as a social expression and can be critically analyzed as a microcosm of society 1 .

Fur thermore, Hill introduces the notion of ‘immaterial architecture’, where the existence of architecture at this immaterial level relates to the mind, matter and drawings instead of the physical material itself. In linking back to ‘critical architecture’ it demonstrates a theoretical impor tance within architecture, one that exists critically and extends to the exponents of a design or drawing. In this way, Hill points out that architecture includes those designs and projects, which are un-built, demonstrating their role in architectural theor y and the relation between drawing, design and the built form. He writes about how “sometimes a building is not always the best way to explore an architectural idea”.

1. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, in Architectural Research Quarterly, ed. 10, vol 1, pp. 51-55

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Archigram, the avante-garde architectural group from the 1960’s, was based solely on unrealised and hypothetical projects. Their major projects the ‘Plug-in-City” and “Walking City” were both paper designs, never realised, but both extremely significant in modern and post-modernism architectural histor y. The “Walking City” provides a framework for standardised living; divided into cells and components. Both provide a critical analysis of society at the time, relating to the built form and context within society. In commenting on the social fabric of the developing cities, it provides an expression of exploration into futuristic and innovative design. As such, it puts forward an interesting argument concerning the direction of urban and

Right - Walking City, Archigram

‘THE WALKING CITY’ (1964). RON HERRON, ARCHIPRESS_ONE, HTTP:// ARCHIPRESSONE.FILES.WORDPRESS. COM/2012/09/ARCHIGRAMW.GIF

“Archigram, the avante-garde architectural group from the 1960’s, was based solely on unrelaised and hypothetical projects.”

city planning within the context of an increasing number of urban metropolises 2 . If Archigram’s unrealized projects represent Hill’s ‘immaterial architecture’, Steven Holl as a practitioner of ‘architectural phenomenology’, represents ‘immaterial architecture’ that has been realized and links back to Hill’s understanding of ‘critical architecture’. Holl’s ‘Linked Hybrid’ project in Beijing, China, is an example of architecture at an ‘immaterial’ and ‘critical’ level, with a critical relationship between the building, function and user 3 . As such, it exists at a theoretical level, beyond that of its built form. It is a twenty-first centur y urban complex combining residential, commercial, educational and recreational spaces. Existing on a number

of spatial layers with shops, restaurants, public facilities and a hotel it acts like a small micro-organism, a microcosm for society within the context of the greater urban environment of Beijing. In exemplifying architecture as a discourse, it is socially expressive, a metaphor for the fabric of urban society within the boundaries of a small urban-organism. It’s design and matter being highly theoretically based, considering both the site and agents. It aims to engage users and influence behavior and as expression of society, it explores new urban design and concepts, with potential influence on the direction of future urban design and planning. Now more than ever architecture has a critical role to play in society. Since, Palladio

2. Merin, Gili, (2013). ‘AD Classics: The Plug-In City / Peter Cook, Archigram’ in ArchDaily, viewed 10 Aug 2013, http://www.archdaily.com/399329 3. ArchDaily, 2009, Linked Hybrid, Steven Holl Architects, viewed 9 August 2013, http://www.archdaily.com/34302

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“Steven Hill’s ideas of ‘critical architecture’ and ‘immaterial architecture’ demonstrates architectures significance at conceptual level with structural fabric of society.”

first began writing and theorising architecture, many have followed, critically analyzing, exploring and discussing architecture. Stephen Hill in considering both ‘critical architecture’ and ‘immaterial

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architecture’ demonstrates how architecture is significant at many levels and its impor tance within the dialogue of society. The examples of Archigram and Steven Holl’s ‘Linked Hybrid’ demonstrate

the value of architecture at a conceptual level and it’s relevance within the greater structure of society.

Left and Below- Linked Hybrid, Steven Holl ‘LINKED HYBRID’. IWAN BAAN, ARCHDAILY, HTTP://WWW. ARCHDAILY.COM/34302/ LINKED-HYBRID-STEVEN-HOLLARCHITECTS/1252359914-STEVENHOLL-LH-09-06-8692/

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PART A 1.2 Computational Architecture. “Computational architecture provides architects with new tools and opportunities to explore conceptual design and connect it to physical fabrication and construction.”

Opinion on the role of digital technology within architecture varies quite widely depending on whom you speak to. Bryan Lawson for one, is highly critical of its place within architecture describing how “CAD might conspire against creative thought [ . . . ] by encouraging fake creativity”1. Nevertheless, more and more professionals within the industry are beginning to value the role of digital technology and computation within design. Most professionals now accept it as a useful tool in the design process for exploring and developing conceptual work, in relation to fabrication and performance attributes. Within architectural practice ‘computation’ exists as a tool to extend an architect’s ability to deal with complex problems, working with datasets and information models. Here, it is important that it is distinguished from ‘computerization’, that which refers to the ‘use of computer as a virtual drafting

board’2. As such most commonly, architectural firms now include small internal specialist groups that work separately from the design teams acting as consultants with whom the design team can engage. As

such, these computational design teams act as a resource to the design team who are integrated into the design process; their influence and involvement varied depending on the project and its individual requirements. Grimshaw, Foster + Partners, UNStudio, Skidmore

1. Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lesson from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, pp. 174-179 2. Brady, Peter (2013). ‘Computation Works: The building of algorithmic thought’, in Architectral Design, ed, 83, vol 2, pp. 8-13

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Right - Südpark, Herzog & De Meuron ‘SÜDPARK BASEL’. AFASIA, HTTP://AFASIAARQ.BLOGSPOT. COM/2011/11/HERZOG-DEMEURON.HTML

“Computation is redefining the practise of architecture. Architects are developing digital tools that create opportunities in design process, fabrication and construction.” Brady Peters.

and Herzog and De Meuron are all examples of firms which use internal specialist teams to integrate computational design into their work3. In this way, computational design finds a place within conceptual design that is balanced against the ‘pragmatic world of construction’4 while not diminishing the design teams role in creative and conceptual output. At Herzog and De Meuron the internal specialist team is the Digital Technology Group; a small team of twelve people from different fields of digital design. They exist as a team that can be consulted and engaged by the design team at any point in the design process. However, they exist as resource to the design team, their role not to replace the design team but help and support the design team5. Essentially, the design team still exists to come up with a conceptual

design or idea. They are the primary driver’s behind the design, and the Digital Technology Group a resource and tool to help develop the design and allow the design team to realize and develop a conceptual idea they may not normally be able to without the use of computational tools. As an internal team available to the design team, computational designers are a valuable resource that provides the design teams with more tools to create more technologically advanced and complex designs. It affords them more creative exploration abilities with a potential to allow the development of system to materialize conceptual ideas. With this in mind, computation provides designers with more options to explore form more creatively, removing some of the usual constraints by developing systems and algorithms, which allow physical fabrication. As such,

3. Brady, Peter (2013). ‘Computation Works: The building of algorithmic thought’, in Architectral Design, ed, 83, vol 2, pp. 8-13 4. Brady, Peter (2013). ‘Realising the Architectural Intent; Computation at Herzog & De Meuron’, in Architectural Daily, ed. 83, vol 2, pp. 56-61 5. Brady, Peter (2013). ‘Realising the Architectural Intent; Computation at Herzog & De Meuron’, in Architectural Daily, ed. 83, vol 2, pp. 56-61

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Right - ICD/ITKE Pavilion, University of Stuttgart

â&#x20AC;&#x2DC;ICD/ITKE RESEARCH PAVILIONâ&#x20AC;&#x2122;. ICD/ITKE, HTTP://WWW. ARCHDAILY.COM/340374/ ICDITKE-RESEARCH-PAVILIONUNIVERSITY-OF-STUTTGARTFACULTY-OF-ARCHITECTURE-ANDURBAN-PLANNING/

computational tools can be used to create almost any kind of geometry with a systematic algorithm for its physical fabrication. At the University of Stuttgart, the Institute for Computational Design and Institute of Building Structures and Structural Design collaborated on a project using computational tools to design a research pavilion made from carbon and glass fibre composites. Using computational design, the pavilion is entirely robotically fabricated where a robotic fabrication process was developed to allow the winding of carbon and glass fibres to create a vertebrae only four millimeters thick, yet possible of spanning eight

metres6.

the project.

Essentially, the use of a composite material allowed the development of a high performance structure, the form of which, possible only because of computational tools and simulation methods. By using a composite material and consequently creating new materiality properties and then creating simulation methods using these material properties, the design team could develop an innovative conceptual design reflective of the new materiality properties. It was then the computational design tools, simulation methods and innovative fabrication process developed, which allowed the physical fabrication of

As a means of innovation, computation provides designers with a tool with which to experiment and simulate new conceptual ideas. In the case of materiality it allows us to explore new materiality attributes and apply them to computation and simulation methods making fabrication a realistic possibility. Essentially, it gives designers and architects a greater potential to express their conceptual ideas more closely, breaking down some of the usual constraints of materiality attributes and fabrication feasibility.

6. ArchDaily, 2013, ICD/ITKE Reearch Pavilion, University of Stuttgart, Faculty of Architecture and Urban Planning, viewed 10 August 2013, http://www.archdaily.com/340374

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PART A 1.3 Parametric Modelling: Scripting in Architecture. “Scripting in Architecture redefines a new language of architecture with greater potential for redefining a new paradigm within the discourse of architecture.” In terms of computational architecture, scripting refers to the capabilities of nearly all software design packages to adapt, customize or completely reconfigure software, specific to their own working needs or needs of a particular project. Essentially, it ‘affords a significantly deeper engagement between the user and the computer by [affording designers to program software packages to automate] routine aspects and repetitive activities’1. The advantages in ‘scripting’ lie undoubtedly in its ability to automate repetitive activities, computing a greater range of algorithmic data and effectively producing a greater range of outcomes for the same time investment. In this way, it can improve efficiency and remove human-error. Nevertheless, it should not replace design intent and design creativity. Those critical of computational

design and the role of scripting within architecture point to how it may limit a designer’s creativity by binding them to the constraints of the script. But here is where the true advantage of scripting may lie; in unlocking the true potential of ‘scripting’. Instead of using ‘scripts’ already written and formulated, designers are afforded the opportunity to define their own language and write their own ‘script’, essentially writing a ‘script’ to

1. Burry, Mark (2011). ‘’Scripting Cultures: Architectural Design and Programming’, Chicester: Wiley, p. 8-71 2. Burry, Mark (2011). ‘’Scripting Cultures: Architectural Design and Programming’, Chicester: Wiley, p. 8-71

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automate tasks and computations they themself have defined and created. They are essentially designing a computational tool to extend their own design intent and experimentations2. Kokkugia is a progressive and innovative design firm led by Roland Snooks based in New York and London who explore generative design. Their agenda is to ‘develop non-linear architecture, one that

Opposite - Yeosu Thematic Pavilion, Roland Snooks

‘YEOSU PAVILION- CONCEPTUAL DESIGN’. ROLAND SNOOKS, KOKKUGGIA, HTTP://WWW. KOKKUGGIA.COMLINKEDHYBRID-STEVEN-HOLLARCHITECTS/1252359914-STEVENHOLL-LH-09-06-8692/

Below - Yeosu Thematic Pavilion, Roland Snooks ‘YEOSU PAVILION- CONCEPTUAL RENDER’. ROLAND SNOOKS, KOKKUGGIA, HTTP://WWW. KOKKUGGIA.COM

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emerges from the operation of complex systems and questions the established hierarchies that operate within architecture’3. Their Yeosu Pavilion project in Korea in 201 for the Yeosu Exposition provides a clear example of their progressive design statement. In using computational design to push the boundaries of architecture, in their own words ‘the project is a result of moving in and out of the realms of designing and scripting’. In using scripting in a ‘loose manner’, the design intent is not lost nor defined by the use of scripting. Instead, the ‘loose’ application of scripting affords the designer a creative extension, which wouldn’t normally possible if not defined by a ‘script’. Key to the design of the Yeosu Pavilion is the use of composites. Beside the ETFE membranes, the structural shell is made of fibrecomposites. The result is that by using a scripting procedure the surface articulation can be mapped to the specificity of the materiality. What this does is help achieve a structural efficiency. As such, the combination of fibre-composite shell and ETFE membranes explores a new kind of structural facade. Structurally, its program is lightweight while aesthetically, the benefits lie in its ability to reduce the size and volume of its structural program and instead emphasise the materiality of the facade. In this case, the carbon-fibre composite shell allows Snooks to use these very large ETFE membranes with all its aesthetic and transparent attributes.

Although not ultimately used for Yeosu Exposition as planned, this pavilion is nonetheless significant to the discourse, demonstrating an interesting approach to a new directive in architecture surrounding lightweight structure4. In further discussing the potential of composite materials and particularly ETFE is the Eden project in the United Kingdom by Grimshaw from 2001. In receiving around two million visitors a year, it is one of the top attractions in the United Kingdom. Its design is made up of a number of geodesic transparent domes using ETFE layered panels. By employing a computational model, it can generate a repetitively articulated design where ETFE panels are fitted into a structural hexagonal framework. The panels then use multiple layers of ETFE foils welded into the panels created by the structural steel framework. As such, it is an exercise in efficiency of space and materiality, using minimal

framework for maximum ETFE surface area5. Designed and completed over 10 years ago by 2001, this design and use of ETFE technology came before other more famous works using ETFE paneling like the Beijing Water Cube and Allianz Arena in Münich, Germany, both of which have been hailed for the innovate design and use of ETFE paneling6. As such, the biomes of the Eden project as part of the discourse of architecture came somewhat before their time and have been considerably significant in shaping and influencing the development of ETFE and this kind of technology. As a new design material its advantages are many, not least in its ability to achieve maximal efficiency of both space and material. ETFE systems as a system are incredibly lightweight, weighing as little a 1-3% of traditional systems and therefore use less material in their structure. As such, greater single spans and

3. Kokkugia (2013). ‘’Design Intent’, viewed 15 August 2013, http://kokkugia.com 4. Kokkugia (2013). ‘’Yeosu Pavilion’, viewed 17 August 2013, http://kokkugia.com 5. Grimshaw Architects (2013). ‘The Eden Project: The Biomes’, viewed 16 August 2013, http://grimshaw-architects.com/project/the-eden-project-the-biomes/

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Right - The Eden Project, Nicholas Grimshaw

‘THE EDEN PROJECT BIOMES’. NICHOLAS GRIMSHAW, GRIMSHAW, HTTP://GRIMSHAW-ARCHITECTS.

sizes of individual ETFE panels can be achieved. Furthermore, it use with computational design allows for ETFE panels to be engineered and designed to meet any specific loading requirements all by modifying the panel size, panel thickness or the model of the structural framework7. Moreover, the EFTE panels as a composite material have a number of aesthetic and thermal advantages. As a highly transparent material, it can make use of natural day lighting. Furthermore, it is made up of two or more ETFE foils layered together, catching a body of air between the foils and improves its thermal qualities by way of the principles of insulated glazing. All these attributes however, can be modified and adjusted to achieve grater thermal properties or modify the aesthetic performance. Different treatments can be applied to the ETFE panels to achieve different aesthetic outcomes.

The Allianz Area in Münich applied different treatments in this way, where a resin can be added to the ETFE panels to create a tint in the foil and produce any number of translucent colours8. Evidently, parametric scripting can be used a powerful computing tool in architectural design. As a relatively new software program its technology is not static and its bounds and potential are still being explored and developed. As an evolving technology, architects are continually striving to integrate new systems to push building performance, sustainability and aesthetics. Nevertheless, this arguments demonstrates how beyond its use to replicate and automate computational tasks, it provides designers with a tool to extend and materialize their own conceptual ideas.

interaction with composite materials provides a perfect example; the new materiality attributes of a composite material can be mapped and applied to the concept, essentially helping to strive towards efficiency in both materiality and space. The use of parametric scripting affording the architect a greater precision, control and ability to modify and engineer individual parameters to achieve a particular performance or aesthetic outcome. And herein lies the way ‘scripting’ can enhance and contribute design and help to influence it’s future direction; empowering the architect with greater control to work with more complexity and achieve more efficient outcomes. For the same time investment, he or she can achieve more efficient and specific use of individual materiality properties.

Contextually therefore, its

6. Herog and De Meuron (2013). ‘’Allianz Arena’, viewed 17 August 2013, http://www.herzogdemeuron.com/index/projects/complete-works/201-225/205-allianz-arena.html 7. Fabric Architecture (2013). ‘ETFE systems’, viewed 18 August 2013, http://fabricarchitecturemag.com/articles/0911_ce_etfe_systems.html 8. Fabric Architecture (2013). ‘ETFE systems’, viewed 18 August 2013, http://fabricarchitecturemag.com/articles/0911_ce_etfe_systems.html

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Allianz Arena, Herzog & De Meuron ‘ALLIANZ AREA’. HERZOG AND DE MEURON, HTTP://4HDWALLPAPERS. COM/WP-CONTENT/ UPLOADS/2013/04/ALLIANZ-ARENAMUENCHEN.JPG

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PART A 1.4 Conclusion. “In the changing paradigm of architecture, parametric modelling signals a shift in the direction of innovative design.”

Within the current climate where digital design is fully engrained in design and professional practice and with an increasingly wider set of computational tools available at our disposal, we exist at a time in which the paradigm for architecture is changing. Technological advancements over the last twenty to thirty years are creating a new ‘discourse’ within architecture, where computational design is removing previous design constraints, providing new opportunities and tools for exploration and experimentation. Take the increasing use of composite materials within this changing paradigm. Increasingly composite materials are being used in combination with computational tools. The use of scripting not only computes algorithmic data and make fabrication feasible, but also allows us to harness newfound materiality attributes and apply and test them within a computational model. As such, the two are very much

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interrelated. Before moving further with this argument, it is important to set the boundaries for what is meant by composite materials. Composite materials are a broad umbrella term, but for the purpose of this discussion an important division can be made to define ‘composite

materials’ from ‘composite structures’. ‘Composite materials’ being where two materials are embedded together to make a new composite material with new materiality properties. Examples include as fiberglass, carbon fibre and exist at the case study, the ICD/ITKE Research Pavilion at the University of Stuttgart. ‘Composite

Opposite - The Eden Project, Nicholas Grimshaw

THE EDEN PROJECT, THE BIOMES’. GRIMSHAW, HTTP://AWOLTRENDS. COM/2012/02/HEXAGONSHONEYCOMBS/

structures’ refer to structures where the materials remain separate such as that they maintain their material properties yet are combined together such that the structural integrity would be compromised without one of the two materials. Examples include Grimshaw’s Eden Project or Buckminster’s Fuller principle of ‘tensegrity’. With that defined and for the purpose of this argument and in relation to the Gateway Design Project, this journal uses composite materials, using both ‘composite materials’ and ‘composite structures’ as contextual examples to demonstrate the potential of parametric modeling and how it can contribute to the ever-evolving discourse of architecture. As has already been previously explored through previous case studies parametric modeling provides architects with a greater precision, control and ability to define individual parameters to individual material attributes. In the instance of the case studies already mentioned, parametric modeling allowed the ICD/ITKE Research, Pavilion, Eden Project and Yeosu Pavilion to make

the most efficient use of the newly defined material attributes of the composite materials. Essentially, it empowered the architect to combine the attributes of different materials and use an algorithmic model so they are most efficiently combined.

fabrication. Parametric modeling has redefined and removed many of the constraints of physical fabrication. By giving architects a greater level of precision, control and ability to map and replicate individual materiality properties, one can work in the realm of what is possible, developing algorithms and programs to make In terms of the advantages of conceptual design physically possible. computational design and parametric Essentially, what the architect modeling and its usefulness in is doing, and what parametric enhancing architectural design, its modeling is slowly moving towards, use has two main advantages to is an ability to take a conceptual idea contribute to and enhance future and define a ‘script’ to develop a design. The first is efficiency and the program that can make it possible. ability to create and define ‘scripts’ to automate repetitive tasks and This demonstrates a new direction complete the same amount of work in architecture, one that is for a much lesser time investment. constantly changing an evolving with The use of ‘scripting’ and parametric parametricism emerging as ‘this modeling allows architects to work great new style of architecture’1. with datasets much more efficiently Nevertheless, it is a style which is and with greater accuracy than still developing and evolving, and possible using human arithmetic. The as architects and ‘scripters’ alike second main advantage is the ability learn more about the potential of to work at with a greater level of computation design. Whether it complexity, modifying aspects of the should be used as tool to develop design at a much smaller scale. and extend design, or as a driver for concept development is still At a larger, more conceptual level, is uncertain. Nor is it certain the way parametric’s ability to bridge the gap in which it should be integrated between conceptualism and physical into the design process; whether

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Right - Tensigrity, Buckminster Fuller

‘TENSIGRITY’. BUCKMINSTER FULLER, HTTP://TENSEGRITYCHIRO.COM/ WP-CONTENT/FLAGALLERY/ TENSEGRITY-STRUCTURES/ TENSEGRITY-4.JPG

it should be the architects using computational methods or whether there should be a separate digital team to work with the designers. But what this argument aims to put forward, is that parametric design has bounds and potentials which are still evolving and developing and somewhat limitless. Once we acknowledge the benefits in way of efficiency and accuracy, we can quickly realize that its potential may reach much further beyond this. Already, it is a significant part of the architectural discourse for its contribution to redefining and pushing design over the past twenty to thirty years. But, if we as designers can further explore its position within the discourse and further explore its capabilities and possibilities we can perhaps unlock its true potential. This means not only using it as a tool to develop and push design, but ‘scripting’ and defining our own language and parameters and using it as a tool

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to redefine the processes and constraints within which we design. Using this research and this discussion within the discourse of architecture, this study argues that the use of parametric design will afford us a new means of expressive ability when it comes to the Gateway Design Project in the Wyndham City Council. The installation to be constructed at the Western Interchange on the Princes Freeway is to be culturally and visually expressive. Thus the abilities of parametric design to take a ‘conceptual idea’ and make it physically feasible will be key to expressing an abstract, cultural concept. In working with composite materials we will be able to take advantage of different materiality attributes and use a computational model to map and modify our design to align it with the newly defined material attributes. As such, it will afford us the ability to remove some of the constraints of previous

design and work within a new realm of innovation so we can most closely replicate and fabricate our expressive vision for the installation. In this sense, this may bring us to where ‘parametric design’ currently fits within the discourse of architecture. As a technology, opinion is still very varied on its usefulness and future within architecture. Nevertheless, the paradigm for architectural design is currently in transition and ‘parametric design’ is very central to this said paradigm. And now the question emerges as to how it will shape and influence this changing paradigm of architecture. Hence, if we can understand and view it beyond that of tool for efficiency, and instead for how it can redefine the way we design, and the parameters under which we design, we can harness a new potential to physically fabricate and express our most innovate and conceptual ideas.

â&#x20AC;&#x153;By giving architects a greater level of precision, control and ability to map and replicate individual materiality properties, one can work in the realm of what is possible, developing algorithms and programs to make conceptual design physically possible.â&#x20AC;?

PART A 1.5 Learning Outcomes. Reflecting on the learning objectives achieved through the Case for Innovation process in as a means of moving forward and setting the foundation for the design process.

These case studies and the research undertaken in this Case for Innovation stage have been useful in helping me to develop a stronger foundation and understanding of what computational design, and particularly parametric modeling is. With this I am beginning to develop a vocabulary of themes and ideas with which to lay the foundation for the design process and set the course for the Gateway Design Project. In analysing the different case studies and interrogating the different design process that produced these outcomes I am developing a stronger understanding of the needs and benefits of critically analysing and interrogating the brief and the process and the advantages that computational design can be provide in this process.

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As such, I have to come understand why computational tools have become so important to the filed of architecture and why they now are so significant in contributing to the discourse of architecture. Nevertheless, in any case, with the more research and analysis that I complete, whilst developing a greater fundamental understanding, I am also learning of its increasing complexity, such that with the more I learn, I mostly learn that there is much more to discover than I initially thought. However, in doing so, I now feel like I have developed an understanding of the relationships between design, parametric modeling and the fundamental geometry we are using with which to approach the design task.

“I am also learning of its increasing complexity, such that with the more I learn, I mostly learn that there is much more to discover than I initially thought.”

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PART A 1.6 Algorithmic Explorations. Exploring the design environment- An introduction to the Rhino and Grasshopper interface starting with state capture and lofting between two curves.

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â&#x20AC;&#x153;As my first experience using Grasshopper with Rhino I was begin to understand why its potential as a computational tool and its potential to extend the capabilities of Rhino.â&#x20AC;?

These algorithmic explorations were my first experiences using the Grasshopper interface in combination with Rhino. To explore surface capture, I began with just a basic meshed surface and rebuilt it with a greater number of control points. From here, I was able to

manipulate and transform the mesh using different control points, each time baking the object and capturing its image. To experiment with lofting, I experimented lofting open curves, multiple curves and closed curves. In the case above I lofted two closed curves, making sure that

the geometry of the two curves was not over complex, as through experience I realised it would not loft properly if the curves were over populated with vertices and control points.

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PART A 1.6.1 Algorithmic Explorations. Understanding geometry, transformations and Intersections- exploring curves, contours and intersectioning geometry using cutting planes and surface splits.

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â&#x20AC;&#x153;Through these algorithmic exercises I developed an understanding of the ways in which Grasshopper can be used to analyse different objects, forms and geometries and break them down into simpler, more manageable components.â&#x20AC;?

This algorithmic exploration explores the use of contouring and sectioning. Beginning with a simple mesh I added contours

along both the X and Y plane and then extruded the mesh along the Z plane. With that, I created a single cutting plane which I offset a

number of times at small intervals and used the surface split to create these sectioned pieces.

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PART A 1.6.2 Algorithmic Explorations. Lists, Flow Control and Matching- Exploring data trees and series and experimenting with creating objects and patterns along a list of points.

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â&#x20AC;&#x153;The ability to control, analyse and manipulate data sets gives designers and scripters tools to develop a better fundamental understanding of what they are doing, and of the objects and complex geometries they are using.â&#x20AC;?

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PART A 1.6.3 Algorithmic Explorations. Lists, Data trees and Geodesic curves- Exploring lists, data trees and geodesic curves in real life application.

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â&#x20AC;&#x153;By controlling and manipulating the data structure I could then the input the data into a geodesic function to generate the resultant geometric chair.â&#x20AC;?

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â&#x20AC;&#x153;In referencing researched case studies from our case for innovation work we are exploring opportunities to redefine the boundaries of the Wyndham City Council based on an approach centred on bundling, sectiong and generative design to propose an argument that combines the unique material attributes of composite materials within an integrated parametric enviornment.â&#x20AC;?

PART

EXPRESSION OF I N T E R E S T

PART B 2.1 Design Approach: Case Study 1.0. Mapping parabolic functions in computational models to define new underlying geometry exploring the architectural effects of bundling and developable form. The Loop 3 project was a project conceived as an entrance for the Architectural Biennale in Thessaloniki, Greece. Conceived by a design team from the University of Bologna, this project uses mathematical and trigonometric functions to explore curvilinear form1. As such, its use of computational tool to provide an underlying logic and rationality in its expressive form, has the potential to have significant implications as example of expressive, free form design and the architectural discourse.

system to construct the installation.

By using a curvilinear trajectory with different attractor points and then applying deformations the design team are able to create a curvilinear organic form that is entirely defined by a mathematical function. This definition can then be used to define transversal curves and sections to facilitate physical fabrication by printing completely planar elements and using a systematic sorting

Therefore, it proposes the use of mathematical functions like parabolic functions as legitimate tools for generating the underlying geometric structure. In this way, this precedent demonstrates how we can define properly curvilinear and organic forms by mathematical functions. With a proper definition, different points can be mathematically mapped and defined along

1. Computational Design Italy (2013). â&#x20AC;&#x2DC;â&#x20AC;&#x2122;Loop_3â&#x20AC;&#x2122;, viewed 22 August 2013, http://www.co-de-it.com/wordpress/loop_3.html

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different points of the parabolic function. With a means to properly define curvilinear forms, we can consequently increase our control and precision over the design of such forms, defining a more logical and systematic approach to generating these forms. Using an underlying geometry to generate and create such curvilinear forms can help to bridge the gap between conceptual design and

Opposite - Loop 3 Project, Loop 3 Design Team

‘LOOP 3 DESIGN TEAM’. DESIGN 3 TEAM, FACULTY OF ENGINEERING, UNIVERSITY OF BOLOGNA, HTTP:// WWW.CO-DE-IT.COM/WORDPRESS/ LOOP_3.HTML

fabrication. As such, it allows the designer to take the form and put it in a computational form and model which can then be analyzed, modified and most importantly exported to a laser cutter or 3D printer for physical fabrication. In doing so, parabolic and other trigonometric functions can be a powerful tool in driving an integrated design process and using computational tools as a conceptual tool. In relation to Gateway Design Process it provides a reference for how curvilinear forms can be expressed mathematically and included in the conceptual phase. In analysing the Loop 3 Project as one of our chosen case studies we also endeavoured to explore the architectural concept of bundling in relation to developable and curved forms. In exploring bundling the Loop 3 Project demonstrates how a number

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Below - Seismic Voyages, Fernando Herrara

‘SEISMIC VOYAGES’. FERNANDO HERRARA, HTTP://WWW.EVOLO.US/ ARCHITECTURE/SEISMIC-VESTIGESA-HOUSE-IN-LOS-ANGELESTRANSFORMS-SEISMIC-ACTIVITYINTO-FORM/

of singular curves, mathematically defined can be cohesively grouped to define an altogether new curvilinear form. In juxtaposition to the Loop 3 Project is the case study of the Seismic Voyages project by Fernando Herrara. Located in Los Angeles, California, it references the seismic activity and topology of the area as a means of inspiration for developing a form through the use of an accumulation of ‘strands’. These ‘strands’ create a fenestrating effect, using a more randomized and relaxed bundling effect than that of the Loop 3 project to generate the wall’s surface, yet still maintaining a very thin and lightweight surface2. In both case studies, the use of a bundling helps to develop a generative form based on a bundling effect, which can be directly mapped, controlled and manipulated within a digital environment. This point therefore becomes

the most relevant aspect of the respective case studies of the two project- the ability to generate a form based on a process of repetitive bundling of curvilinear forms and controlling it within a parametric environment.

develop and define a curvilinear form. In defining and developing a form, the designer is again afforded an ability to develop a light and organic form with a greater level of control and precision at a conceptual level3.

The Biothing Mesonic Fabrics Project by Ezio Blasetti demonstrates another example of the use of bundling at a conceptual level to

In the case of the Biothing Mesonic Fabrics Project, the designer was able to take a very simple geometrya simple curve and use it as the basis

2. Seismic Voyages (2013). ‘Fernando Herrara’, viewed 25 August 2013, http://www.evolo.us/architecture/seismic-vestiges-a-house-in-los-angeles-transforms-seismic-activity-into-form/ 3. Biothing: Repository of Computation Design (2013). ‘Ezio Blasetti’, viewed 26 August 2013, http:..www.biothing.org/?p+51

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Right - Biothing Mesonic Fabrics, Ezio Blasetti

â&#x20AC;&#x2DC;BIOTHING MESONIC FABRICSâ&#x20AC;&#x2122;. EZIO BLASETTI, HTTP://WWW.BIOTHING. ORG/?P+51

for developing a more sophisticated overall conceptual strategy of repeated and bundled geometric curves. Therefore, this conceptualisation based on a simple geometric curve proves to be its main strength and success as a concept. Its parameters can be feely manipulated and altered to develop a wide range of iterations in the form of a matrix in order to develop the most successful outcome with regards to aesthetic quality. In relating it to the architectural discourse, such tools and logical approaches demonstrated in the already mentioned case studies, harnessing parametric tools to define a developable form, afford designers a creative freedom that wouldnâ&#x20AC;&#x2122;t normally be possible if not for the digital environment. Furthermore, if one then considers its relationship to material properties such as those of fibre glass or

carbon fibre filaments, the use of parametric modeling facilitates a freedom and control to innovatively generate form based on the material relationships. In exploring generative design, the use of parametric modeling within the Grasshopper environment allows for design development to be isolated at a conceptual level to a few individual parameters. In doing so, a more critical analysis of iterated outcomes can be made because comparisons and analysis is being performed on different variants of the same concept and not entirely different concepts all together. Moving forward in relation to the Gateway Project, this idea of controlled generative development and exploration maps a potential design process, which could be applied and followed in response to our design problem and the Wyndham Gateway Project.

If design development and generation at a conceptual level can be more tightly controlled and analysed, then the potential to achieve the most successful design outcomes is increased. Essentially, in controlled generative design within the digital environment the success and aesthetic qualities of conceptual design can be critically analysed at a smaller more effective scale. With this, the potential exists for a creation of a logical conceptual process whereby a concept is generated through the breakdown of a concept to individual input parameters and the evaluation of success of individual inputs to said parameters. Then, in this way the sequence of these input parameters can be organised into a logical sequence to achieve the strongest conceptual strategy based on a logical hierarchy of order.

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PART B 2.2 Design Approach: Developing Matrices.

Exploring matrices by changing the definition of different functions and parameters within the Grasshopper interface.

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Right - The final outcome following experimentation.

In exploring the Biothing Mesonic Fabrics Project we began with the given Grasshopper definition to explore matrices by experimenting with different input parameters such as the factors for curve divisions and intersections, definition in the x and y planes and form of the base geometry. In doing so we attempted to explore the different potentials for creating organic geometry via generative design as it could represent a skeletal facade or form. In experimenting this way using a matrix we was able to examine the aesthetic consequences of individual functions and parameters, effectively isolating the cause and effect of each parameter as a means of critically anlaysing the design. Nevertheless, the process may have been strengthened had we given greater consideration to the process as a progression, with a logical process to order and control our decision making.

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PART B 2.3 Design Approach: Case Study 2.0.

Reverse Engineering- Exploring the DeCOi Architect’s One Main Street Project and its parametric design by reverse engineering in the Grasshopper interface. This project was part of a larger project for the interior design of the office space of DeCOi Architects. The desk on the right is part of the interior design for the entire office space in which the elements of the office are integrated into the ceiling and floor planes of the interior spaces1. As such, the designers employed parametric modeling to conceputalise design and then facilitate the fabrication process. In analaysing its parametric design and focusing on a singular desk element within the larger interior design project, we analysed the base geometry through a process of reverse engineering.

This analysis identified how the design was essentially conceptualised from the base geometry of a group of curves. In doing so, we were able to trace the design back to its base geometry -six individually defined NURBS curves. These curves divided along their length into a series of segments and subsequent series of points, could then be used to interpolate a series of intersecting curves along the length of its form. With these curves defining its form, a simple 2 rail sweep could then be applied, using the different interpolated curves as the cross sectional curves for two rail curves as demonstrated below in the Grasshopper definition.

1. DeCOi Architects (2013). ‘’One Main Street’, viewed 31 August 2013, http://www.decoi-architects.org/2011/10/onemain/

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One Main Street, DeCOi Architects

‘ONE MAIN STREET’. DECOI ARCHITECTS, HTTP://WWW. DECOI-ARCHITECTS.ORG/2011/10/ ONEMAIN/

“Using a matrix based system for design development through generation of multiple iterations.”

In exploring the DeCOi project we experimented mostly with altering the base geometry of the six NURBS curves as means of generating multiple iterations. Through the use of the control points we were able to easily adjust and manipulate the form, maintaining its fluid and organic form, whilst exploring a number of different options for creating a more dynamic form. In beginning with such a simple form, we found the outcomes that we were able to develop to be somewhat limited and constrained in their form as there were few parameters in which to change. Nevertheless, in relation to the Gateway Design Project, this parametric model defines a form in which different interpolated curves could be applied to represent various meshed and structural facades in alignment with the design’s focus on composite materials.

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“Exploring different outcomes of the DeCOi project to generate different conceptual outcomes to drive the design of the Gateway Project.”

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PART B 2.4 Design Technique: Design Development. Conceptual development using both material and parametric exploration as a means of form finding instead of form making.

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In moving on from previous material experimentations with fibreglass, wire and silicone we decided to move away from exploring such stiff and solid forms and instead explore more malleable and lighter forms, as a means to exploring form-finding instead of prescriptive form-making. With this idea we explored using string as a means of creating form by randomly mapping it to a basic geometric form. The experimentation shown left was unsuccessful in that we found the forces of the string altered and jeopardise the base geometry from which the form was derived. As such, we realised the need to devise a method for ensuring the integrity of the base geometry. Based on these findings, we developed we developed a second form with more structural integrity that could maintain its form once the string was attached and applied to the base geometry. This proved far more effective and we were able to effectively represent our desired bundling effect.

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â&#x20AC;&#x153;Using parametric design within the Rhino and Grasshopper interface I attempted to use simple geometric form as the basis for form finding via a series of randomly populated interpolated curves.â&#x20AC;?

In translating our material explorations to the Rhino and Grasshopper interface, we attempted to digitally model the physical models we had produced. In doing so, we first created the base geometry using four simple curves. Using these curves as the base of the geometry we were able to create a number of interpolated curves through a population of points applied to the surfaces of the base geometry, and achieve the bundling effect which we had not previously been able to achieve so effectively with our physical modeling and material explorations. In this way, it draws inspiration from and references the ICD/ITKE pavilion project at the University of Stuttgart as we had been attempting to do with our material explorations. In using singularly defined curves to represent the composite properties of carbon fibre filaments we were able create a freer and lighter facade than previously explored through material explorations. Nevertheless, at this conceptual stage the form still requires much more development and refinement.

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Right - ICD/ITKE Pavilion, University of Stuttgart

‘ICD/ITKE RESEARCH PAVILION’. ICD/ITKE, HTTP://WWW. ARCHDAILY.COM/340374/ ICDITKE-RESEARCH-PAVILIONUNIVERSITY-OF-STUTTGARTFACULTY-OF-ARCHITECTURE-ANDURBAN-PLANNING/

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PART B 2.4.1 Design Technique: Design Development. Developing the concept through interrelated experimentation with physical materials and within Grasshopper, exploring and developing the concept of bundling and sectioning with consideration to the site context. In developing our conceptual idea from the previous weeks we continued to explore the concept of form-finding and identified the need to strengthen the underlying logic defining and driving our concept and form development. As a response to context of the Gateway Project we took the profile of the Wyndham City Council logo, analysing it and consequently

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using it drive and define our concept. With this, we used its form as a starting point for our definition, repeating it, transforming it and creating a new definition that redefines its profile in a more progressive and innovative manner. In doing so, a gestural linear form is generated by the interpolation of points through the profile curves of the Wyndham logo. In terms of the material exploration we continued to explore balsa wood and string, modeling it as it could represent carbon fibre filaments or other tensile materials in the style of the ICD/ITKE Pavilion project. In this way, we are essentially working towards the use of string to produce a form through which the bundling effect of the tensile material defines the form. Nevertheless, we still encountered difficulties in accurately representing our conceptual idea of bundling and weaving with our physical modeling, finding it extremely difficult to replicate this bundling effect and find a material which accurately represents the tensile properties of carbon fibre.

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PART B 2.5 Design Technique: Prototypes. Relating and extending the logical process to the site context and population patterns of the Wyndham City Council as a generative tool for defining and re-defining a developable form. In receiving feedback and critically analysing our design approach and design development we identified certain weaknesses in our conceptual idea. As a result, we took a few steps back to strengthen our process in order to strengthen the systematic logic underpinning the definition of our form. In cotextualising our conceptual idea and in keeping with our objective to symbolically redefine the boundaries and public image for the Wyndham Council we completed an analysis of the population mapping and growth patterns of the greater Wyndham City Council area. The implications of this analysis was that we were able to define and establish a base geometry in the loose form of the population extents, which we could use as a generative tool to redefine and transform a new form and definition. Using this as the basis for a logical process of exploration, we explored and considered the future direction

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and growth of the Wyndham area and how the mapping of its population may change over time. In establishing a redefinition of this geometry as a symbolic representation of what its population dispersion and growth could look like in twenty to thirty years, we took a loose and free approach to developing its redefinition. Contextually speaking,

it is therefore, representative of the unknown future direction and growth of the Wyndham City Council in relation to the speed and extent of expansion. Nevertheless, as a starting point for the projects conceptual design and basis of a conceptual deign process, this analysis was useful in ensuring a strength and relevance in our conceptual development.

In establishing a starting and ending geometry based on a contextualisation the site and the Wyndham City Council we could then go about a process of defining a form based on these conceptual ideas and through these two different but interrelated geometric forms. In doing this and again in ensuring the strength of our argument, it was important that we again referenced the research of our case studies, continuing our stream of focus and emphasis on bundling, contouring and form-finding through space. As such within the digital environment using the tools of parametric design we were able to interpolate a form through the base geometry of the two profile curves, based on a series of points created along the respective curves. As such the intention was to randomly generate a form via

interpolation of curves through populated points in space defined by a logical geometric organisation. Using such a method for conceptualisation and development, we as designers are then able to indirectly manipulate the form of the base geometry, which will consequently influence the form of the overall concept. It is this direction that we are consequently exploring and its ability to use form-finding as a means of

generative design over prescriptive design, using the parametric tools available. Nevertheless, we recognise that we are still only part way through the design process and that our concept still has considerable opportunities to develop as generative design. As we develop and explore stronger rationale to define the process in which the form is interpolated through our defined base geometry, we hope to develop a systematic process that defines a script for generative design.

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“Working in the digital environment within the Grasshopper interface to explore form-finding by interpolation of curves through populated geometry in space.”

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â&#x20AC;&#x153;To evaluate the effectiveness of our overall conceptual design we evaluated its success based on the variances influenced by changes in various input parameters.â&#x20AC;?

In terms of parametric modelling within the Grasshopper environment, we focused on exploring interpolated curvature as a means of acheiving the desired bundling effect. Nevertheless, through repetitive layering and weaving through points defined by base geometry we were able to achieve a gestural form, whose form is expressed by the grouping of individual curves and not the profile of the base geometry from which is is derived. To evaluate the effectiveness of our overall conceptual design we evaluated its success based on the variances influenced by changes in various input parameters. Therefore, within a cotrolled environment we were able to explore its form by changing various input parameters and isolating the influence of these input parameters.

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Although we had conducted extensive experimentation and exploration with materiality we still found that we had not yet found the best material prototyping technique to most accurately represent our conceptual design and replicate the material attributes of carbon fibre filaments. In exploring different combinations of materials we were able to explore different opportunities for development of form and gain a greater understanding of which forms could be developed and modeled using which materials. For example, the use of twine mesh was successful in its ability to develop an organic form and replicate the light and fenestrated form that we were developing, yet it couldnâ&#x20AC;&#x2122;t accurately represent the bundling and weaving effect of carbon fibre. Nevertheless, it was through these explorations that we made these discoveries and consequently

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discovered fishing line to be most successful material in accurately representing carbon fibre filaments. As a material it has similiar tensile properties, yet is extremely thin and lightweight and through a system of contouring and threaded holes we were able to achieve an outcome that thematically represents carbon fibre. Nevertheless, while the fishing line succeeds in replicating carbon fibre and repetitive bundling to define a form, the cross-sections pieces are the more dominant material in terms of hierarchy of elements. The implication of this dominance is that it may take away from the gestural form developed by the bundling effect of the fishing line. Nevertheless, moving forward, this can be further refined and explored to works towards generating an even lighter, more cohesive and fluid form.

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PART B 2.6 Technique Proposal.

Proposing a conceptual design that draws on past and present, yet is forward looking in its form, material use, conceptual development and user experience.

In conceptualising a design and proposal for the Wyndham City Council Gateway Project and having decided to focus on composite materials, based on our previous research into a number of different case studies we choose to use carbon fibre composite filaments as our construction material and use its unique materiality attributes as the basis for conceptualising an idea. In analysing carbon fibre filaments at a material level, they are extremely strong and tensile in terms of strength to size ratio, attributes influencing our design decision to use them. As such, it was this material’s ability, which influenced our decisionmaking and ultimately swayed us in choosing it as our construction material. As a material quite new to the architecture and the architectural discourse its use in itself as a structural material is already innovative. It affords the designer the ability to produce an extremely

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lightweight yet structural form. As an expression, our design concept is a gestural expression of progression that takes on an indirect linear trajectory. Beginning at a singular point its trajectory is then mapped through the existing profile definition for Werribee’s population, it’s potential future definition and then back to a singular ending point. As such, it suggests a sense of linear progression, while its bundling effect and subsequent curvilinear form reminding users that is not a straight singular linear progression. In this way, it’s cross-sectional definition is constantly changing and redefining itself along the length of its form, symbolic of the evolving nature, definition and understanding of the Wyndham City Council and it’s future direction. In this way as gesture of progression it interacts with users at multiple scales. It interacts with motorists as they drive by, experiencing the

form differently as they approach it and then pass it. Moreover, the textural and material properties of the carbon fibre filaments in combination with the bundling effect of individual filaments, provide an opportunity for interaction at personal scale, where users can experience the space beyond that of passing motorists, experiencing its touch and interplay with space and light. In contributing to the architectural discourse, this conceptual design provides a new way to integrate new modern material technologies and the digital environment for generating design. In creating a bridge between the two, it provides new methods for relating digital design with materiality and physical fabrication, mapping a process for physical fabrication, as it may even be robotically engineered off-site and transported on-site already manufactured like the ICD/ITKE Pavilion of 2012.

“It’s cross-sectional definition is constantly changing and redefining itself along the length of its form, symbolic of the evolving nature, definition and understanding of the Wyndham City Council and its future direction.”

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PART B 2.7 Conclusion: Learning Outcomes. Reflecting on the learning objectives and reviewing the design process in order to move forward with conceptual development and ensure the most through and efficient design process is used to underpin design development. This process of design has been useful in developing a wider understanding of different materials and material prototyping and a greater understanding and familiarity with digital and parametric design. Throughout this stage of the design process we conducted extensive experimentation and exploration with material prototyping and testing. With this, we were able to test a number of different material attributes and modeling prototypes identifying a number of different techniques and prototypes, which worked and were successful, but also a number of techniques and prototypes, which were less successful. Nevertheless, moving forward it was a useful process in determining the physical feasibility of different conceptual ideas with a view to the final model. With this emphasis on material experimentation and exploration, we used this focus to drive our design

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approach at a conceptual level. The implications of such a design approach being that we were able to test and experiment with our chosen material, and what forms and outcomes were possible based on its materiality attributes. In our case, in relation to composite materials, it was particularly useful because it afforded us the opportunity to conceptualise designs and ideas based on the combined materiality attributes. Nevertheless, while there were obvious advantages and strengths to such an approach, we also identified certain weaknesses and areas that we may have approached differently had we had another opportunity. Because of our focus on materiality and testing of material prototypes, we felt that we oversaw an opportunity to develop an outcome based on a strong logical conceptual approach in relation to a certain interest area or idea we were hoping to research and explore.

Moreover, we found at times throughout the process we would sometimes have to take a few steps back in our design process to strengthen our design argument and critically analyse the decisions and rationale behind our decisionmaking. As such, despite proposing an outcome we believe to conceptually successful, had we given more consideration to our researched case studies and chosen areas of interest we may have a developed an outcome with a stronger conceptual foundation, clearer path of development and clearer purpose. In any case, we found the process of conceptualising an idea through a logical process to be helpful and beneficial in developing our processbased skills and equipping us with the tools and techniques to work through a problem from concept to materialisation.

PART B 2.8 Appendix: Algorithmic Sketches. Dealing with interpolation of points and control of data lists and data structures.

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â&#x20AC;&#x153;Using our research from our Case for Innovation study and conceptual development through the Expression of Interest stage we are now looking to take our design concept and focus area and extend it, ultimately refining and fabricating it within the site context and the Wyndham City Council.â&#x20AC;?

PART

P R O J E C T PROPOSAL

PART C 3.1 Gateway Project: Design Concept. Moving forward and developing a conceptual design based on critical feedback and critical analysis to evaluate design strengths and weaknesses and redefining our concept based on these findings. Based on feedback given in the crit following the Part B submission and our critical analysis we realised that we needed to look back at our design process and not only strengthen our decision making and reasoning behind what we were doing, but use this critical analysis to make informed decisions. With this we realised that we needed to gain more control over what we were scripting and the geometry we were generating. Because we would eventually be transferring our digital concept into a physical model we needed to develop a more systematic technique and process to inform and control our physical modeling and fabrication processes. As such, we began exploring different techniques of weaving and the effects different parameters had on the resultant from and density of that form using Grasshopper to generate multiple iterations and

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consequently evaluate their success. In exploring the technique of weaving we realised that it needed to be extended in one of two ways- it needed to be either more innovative and progressive, or more precisely controlled. Essentially, we needed to revisit what we identified as the two main advantages of parametric and computational design- precision and efficiencyand apply one or both to our own concept. With this in mind, we began exploring swarm intelligence using locust within Grasshopper with the intention to generate form based on a number of inputted contextual parameters. Nevertheless, what we discovered was that we were generating more complex and sophisticated forms which ultimately were becoming more illegible and with potentially less coherent data structures

â&#x20AC;&#x153;Essentially we needed to revisit what we identified as the two main advantages of parametric and computational design- precision and efficiency.â&#x20AC;?

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PART C 3.1.1 Gateway Project: Design Development. Exploring and developing a logical process of design to conceptualise and understand a design problem and resultant design solution.

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â&#x20AC;&#x153;Using populated points in space we could define a structural geometry using parametric tools as a means of combining generative design with prescriptive design.â&#x20AC;?

Using a logical process for design development based on developing multiple iterations and then evaluating the most successful outcomes we were able to establish and define a structural geometry, which we thought was most effective and successful. Using a variable number of boxes to define points in space and the resulting geometry we were able to explore density, complexity and form based on parameters defining the number of curves and the number of randomly generated points from which the curves where interpolated. As such, using populated points in space we could define a structural geometry using parametric tools as a means of combining generative design with prescriptive design, essential generating multiple iterations based on prescribed parameters we evaluated as key elements of our design concept..

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PART C 3.1 Gateway Project: Design Development. Exploring and developing a logical process of design to conceptualise and understand a design problem and resultant design solution.

With the structural geometry defined, the geometry of the form could then be developed and built along the form of the structural geometry. Our previous work had been focused on interpolating curves and points defined in space, but had done so without any logical ordering of the data set. Consequently, many of the previous iterations and concepts were quite illegible and unorganized. As such, in order to work with the two underlying advantages of computational design- efficiency and precision- we split each curve into x number of segments to generate x number of points along each curve from which we could interpolate a single curve. Using this data structure, we could accurately control the data flow and define an interpolated curve to precisely map the path through which it is defined. Then, if necessary, we could analyse and identify where any individual point sits within the data structure.

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â&#x20AC;&#x153;Using this data structure, we could accurately control the data flow and define an interpolated curve to precisely map the path through which it is defined. Then, if necessary, we could analyse and identify where any individual point sits within the data structure.â&#x20AC;?

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â&#x20AC;&#x153;We needed to gain more control over what we were actually doing and fundamentally develop a stronger understanding of the data structure we were using in order to acheive said control.â&#x20AC;?

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As a means of testing the fabrication process and developing and extending our technique we produced a preliminary 1:50 model to test for structural rigidity and feasibility. As a preliminary attempt at working with our final developed technique we identified that while some aspects of our model were working successfully we needed to gain more control over what we were actually doing and fundamentally develop a stronger understanding of the data structure we were using in order to achieve said control. Nevertheless, as a preliminary attempt at working to transfer our digital design into a physical context using the equipment at our disposal, we identified a number of areas that we needed to tighten and organise yet we fundamentally were able to physically fabricate and achieve what we set out to achieve.

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PART C 3.1.1 Design Concept: Site Context. Examining site context and exploring the most efficient site layout in order to respond to the brief and interact with users on a variety of levels and scales.

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â&#x20AC;&#x153;As motorists first approach the installation from a long distance it starts small with only its short section visible. But as users approach and arrive at the installation they see it grow as its long section comes into view before watching it grow smaller again as their view changes back to the short section.â&#x20AC;?

In considering the context of the site and considering the passing motorists we split the motorists into three groups- exiting traffic, eastward bound and westward bound. As such, with that we felt it most appropriate to place it between the exiting traffic and the eastward traffic passing the Wyndham City Council- shown in the previous page. With that, however, there still remained a large site boundary within which we could then place our design. Thus, the factors we then considered where the places in which it could have the greatest effect as an entry statement to Wyndham, have visual efficiency across long visual corridors and still be close enough to the passing motorists to provide a user experience as they pass by.

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PART C 3.2 Gateway Project: Tectonic Elements. Examining construction elements at a detailed level in order to examine design feasibility and demonstrate a technical understanding of joint structures at a more realistic level.

Using a simple L bracket we were able to design a joint system, which could be easily used and repeated across the entire design, Although too detailed to include on out final 1:50 model this model of a joint system at 1:10 demonstrates how the different materials could be joined if it were actually realistically built. Working at this scale we were able to use materials, which would more closely replicate the material properties of the composite aluminium panels that the design would be built from it were

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realistically constructed. In terms of using composite materials, this model demonstrates the means in which they come together and the way in which the use of composite materials allows for the structure and facade to be morphed together as one. As such, in using two materials together in this manner the intent is that although there is a clear structure and cladding element to the design, its appearance and system of joinery gives the visual appearance of morphology of the two.

PART C 3.2.1 Tectonic Elements: Digital Fabrication. Exploring and developing a logical process of design to conceptualise and understand a design problem and resultant design solution.

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â&#x20AC;&#x153;When it came to bridging the gap between our digital modeling and physical fabrication following our previous preliminary physical model, we identified that we needed to develop a more tightly controlled and ordered system of organising our data structure.â&#x20AC;?

When it came to bridging the gap between our digital modeling and physical fabrication, following our previous preliminary physical model we identified that we needed to develop a more tightly controlled and ordered system of organising our data structure. This was done in order to inform our physical modeling and provide a detailed and systematic order to how we fabricate our physical model from laser cut pieces. As such, for every point through which we weaved the ribbon, if necessary we could essentially identify where it came in the sequence of points. Therefore, with this in mind we devised a system using planes to define the intersection points along the four curves. The result, was that the intersection events along the four different curves where then all aligned in the x-axis, facilitating easier physical fabrication and reducing the bending and kinking effect of the planar ribbon element.

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PART C 3.2.2 Tectonic Elements: Physical Fabrication. Transferring a design concept from the digital environment to a physical environment .

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â&#x20AC;&#x153;In order to precisely transfer our design concept from the digital environment to a physical environment we went back to the inherent strengths of computational design- working at an appropriate scale we could accurately unfold our surfaces and transfer them from 3D space to a 2D plane which supports printing and physical fabrication.â&#x20AC;?

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PART C 3.3 Gateway Project: Final Model. Proposing a final model and concept, the outcome creates a changing experience as one arrives at the installation and then moves past it.

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“As an installation which is to be experienced whilst passing in a moving vehicle it’s experience and visual effect is one which changes very quickly and is experienced differently based on the perspective from which it is viewed.”

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â&#x20AC;&#x153;In passing the Gateway installation users go through a different experience eliciting different emotional responses compared to those experienced as they approach and arrive at the installation.â&#x20AC;?

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â&#x20AC;&#x153;Important to the overall design intent is the concept of grounding and the way in which the installation starts from the ground, grows and then returns back to the ground, thereby interacting with the surrounding physical environment.â&#x20AC;?

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“It’s large scale provides unique view lines under and through the installation interplaying with positive and negative space.”

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â&#x20AC;&#x153;In interacting with users at a number of levels and encouraging further reflection, this proposal intends to act as both a visual place maker and visual statement but also create an experience for users on a more emotional and thematic level.â&#x20AC;?

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“When viewed at high speed the viewer experience is something viery different to what it would be if viewed whilst stationary as entire form blurs into one continuous evolving and flowing form.”

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â&#x20AC;&#x153;Motion - Motion is a very important theme of our design as it is predominantly used by motorists passing at approximately 100 km/h. As an installation, which is intended to provide an arrival experience the repetition of the curved ribbon element provides a sense of motion, particularly when passed at high speed. As such, when passed at high speed the individual ribbon elements become blurred to act as one larger continuous form, growing from the ground, changing geometry and then returning to the same ground plane.â&#x20AC;?

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“In welcoming motorists to the City of Wyndham this installation provides a bold statement to align withe Council’s own ambitious plans for growth. In doing so it intends to inspire and signify the change, growth and potential that exists for the Wyndham City Council now and over the following years.”

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â&#x20AC;&#x153;In designing an entry statement we have proposed an installation of that provides users with an arrival experience- one in which they approach from a distance watching as it comes closer and closer before arriving and experiencing the installation as they pass and then watching it grow smaller and smaller as they move away from the installation.â&#x20AC;?

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“It will provide an ‘arrival experience’ where passing motorists should feel a sense of motion, progression, change and transition.”

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“The Wyndham Gateway installation is a visual arts installation- one which makes a significant impact on the physical environment and inspires a new sense of aspiration and progress in line with the future vision and growth of the Western Interchange and Wyndham City Council.”

Making use of the strong view lines that exist this installation proposes a concept that is large, bold and innovative and one, which attempts to visually enhance the physical environment of what was previously a rather flat and plain landscape. In proposing this concept, we have proposed an installation whose scale because of the long view lines, will ensure that it is seen from a long distance away as one approaches. As such, when motorists first see it from a distance it will serve to inform them that they are approaching or “arriving” at the Wyndham City Council. As such it will provide an “arrival experience” where passing motorists should feel a sense of motion, progression, change and transition as they pass by the installation. Furthermore, because of its design and use of positive and negative space it will have different visual

effects and interactions with users at different times of the day based on different daylight and weather conditions. The use of positive and negative spaces will create differing shadows all throughout he day based on the different daylight conditions. As such it is installation whose experience and effect is changing and interacting with the physical environment, such that it can be experienced and interesting for the users beyond the first time they pass by. Nevertheless, in designing an eye catching an innovative installation we have put forward a bold large-scale concept in line with Wyndham’s rapid population growth and expansion that serves to make a significant visual impact on the environment combining the effects of motion, weaving and progression.

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PART C 3.4 Conclusion: Learning Outcomes. Reflecting on the overall process in relation to the learning objectives and the overall success of the design concept.

The overall design process from start to finish has been a very beneficial learning experience in interrogating a brief, researching case studies and then using these case studies to set the foundation for a design concept, which is then developed and extended through a rigorous and controlled design process. Nevertheless, that is not to say that all of the learning objectives set out prior to the project were all completely and successfully achieved, nor was the final concept one which was wholly successful. In reflecting on the learning objectives and the process through which we went to achieve our final concept there are a number of things I would have done different a second time round based on our experience of going through it this time.

deeper fundamental understanding of the processes, tools, programming and underlying geometry and data structures which are involved when one uses computational design. For example, in working with complex geometries I developed a much stronger awareness and understanding of the data structures in relation to organisation of points, line in surfaces which has significant advantages when it comes to translating a concept from a digital environment into a physical environment using precise physical fabrication. Essentially, I was able to develop a stronger understanding of how I could control the geometry I was producing.

In contrast, however, there were learning objectives and parts of the design process, which I feel I didnâ&#x20AC;&#x2122;t achieve as successfully as I would have hoped or worked through Nevertheless, in terms of as thoroughly as I could have. The computational design and parametric results of this are ultimately evident modeling have developed a much in the final design concept.

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Throughout the entire design process it often became evident that we didnâ&#x20AC;&#x2122;t have strong enough reasons behind our design decisions and consequently there were some weaknesses in our concepts and outcomes. This may be attributed to not interrogating the process thoroughly enough and therefore not developing a fundamental understanding of the underlying concepts. With this we then struggled to find a suitable design focus and developable technique which with to thoroughly examine and spend significant time developing, refining and strengthening it. As such this may have lead to a degree of indecision which ultimately delayed our arrival at final concept and focus area leaving us with less time thoroughly develop our final concept and consider all its elements and our decision making driving its development.

“Perhaps, most importantly, however, I have developed a greater understanding of the rpocess necessary to critically interrogate and respond to a brief, and learnt about the level of critical thinking and analysis I need to be working towards to successuflly bridge the gap between what I can actually produce and waht I want to produce. ”

Furthermore, we also experienced difficulties working with out chosen materials- composite materialsand combining their use in an innovative way, which lent itself to both successful physical fabrication and digital modeling. As a result, as we developed our final concept we began to move away from our earlier research into composite materials in favour of ensuring we could actually and precisely fabricate what we were designing. Fundamentally, the challenge we faced was that we worked with composite materials yet could only print to singular materials on twodimensional planes. In considering the strengths and weaknesses of concept a lot of the inherent weaknesses are owing to the challenges we faced as previously mentioned. In personally evaluating its success I feel as if it appears somewhat rushed, with certain fundamental aspects and

elements only briefly dealt with, where we were forced to quickly make significant design decisions without significant time to really examine the rationale behind it. Nevertheless, while we recognise that there are some weaknesses in the concept I also believe there are a number of strengths as well, and that in considering it as a whole it achieves the intent set out in brief to create an ‘arrival experience’. In addition, in considering how it may be developed with more time or with a stronger underlying understanding of parametric modeling in order to more closely achieve what we are hoping to do, we could resolve many of the identified weaknesses.

developed a basic understanding of parametric modeling having started with virtually none at all. Perhaps most importantly, however, I have developed a greater understanding of the process necessary to critically interrogate and respond to a brief, and learnt about the level of critical thinking and analysis I need to be working towards to successfully bridge the gap between what I can actually produce and what I want to produce.

In any case, from working through this process and on the Gateway Design Project I have developed a much larger digital repertoire with which to approach and present design. Moreover, I have

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PART C 3.5 Appendix: Algorithmic Sketches. Examining and identifying the algorithmic equations and sketches to demonstrate the parametric functions and parameters which defined the design concept.

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â&#x20AC;&#x153;Using planar surfaces as a system of solving intersection events we found in certain instances it was more efficient for us to perform the variable rotations of the planes in Rhino and re-reference them back into Grasshopper before solving the intersection events.

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“One of the intrinsic advantages of parametric modelling is it’s ability to prepare digital models for physical fabrication, in this case through its ability to solve intersection events and generate holes based on these events.”

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â&#x20AC;&#x153;In modeling our concept within Grasshopper one of the most important aspects was understanding and consequently logically organising the data structures.â&#x20AC;?

In modeling our concept within Grasshopper one of the most important aspects was understanding and consequently logically organizing the data structures. In using the intersections events from the planar surfaces we quickly found ourselves working with a large data set and as such, it was important that everything was well organised and labeled and that we understand the order of points. With an understanding of the order of points, we could use the list item where necessary to extract certain indexes within the data set and could easily work out a logical order for mapping our interpolated curves. Essentially, we could we could replicate the process in Grasshopper that we would be following through our physical fabrication process and in this way, accurately controlling our physical fabrication.

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PART C 3.5 References.

ArchDaily, 2009, Linked Hybrid, Steven Holl Architects, viewed 9 August 2013, http://www.archdaily.com/34302 ArchDaily, 2013, ICD/ITKE Research Pavilion, University of Stuttgart, Faculty of Architecture and Urban Planning, viewed 10 August 2013, http://www.archdaily.com/340374 Biothing: Repository of Computation Design (2013). ‘Ezio Blasetti’, viewed 26 August 2013, http:..www.biothing. org/?p+51 Brady, Peter (2013). ‘Computation Works: The building of algorithmic thought’, in Architectural Design, ed, 83, vol 2, pp. 8-13 Brady, Peter (2013). ‘Realising the Architectural Intent; Computation at Herzog & De Meuron’, in Architectural Daily, ed. 83, vol 2, pp. 56-61 Burry, Mark (2011). ‘’Scripting Cultures: Architectural Design and Programming’, Chicester: Wiley, p. 8-71 Computational Design Italy (2013). ‘’Loop_3’, viewed 22 August 2013, http://www.co-de-it.com/wordpress/loop_3. html DeCOi Architects (2013). ‘’One Main Street’, viewed 31 August 2013, http://www.decoi-architects.org/2011/10/ onemain/ Fabric Architecture (2013). ‘ETFE systems’, viewed 18 August 2013, http://fabricarchitecturemag.com/articles/0911_ ce_etfe_systems.html Grimshaw Architects (2013). ‘The Eden Project: The Biomes’, viewed 16 August 2013, http://grimshaw-architects. com/project/the-eden-project-the-biomes/

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Herzog and De Meuron (2013). ‘’Allianz Arena’, viewed 17 August 2013, http://www.herzogdemeuron.com/index/ projects/complete-works/201-225/205-allianz-arena.html Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, in Architectural Research Quarterly, ed. 10, vol 1, pp. 51-55 Kokkugia (2013). ‘’Design Intent’, viewed 15 August 2013, http://kokkugia.com Kokkugia (2013). ‘’Yeosu Pavilion’, viewed 17 August 2013, http://kokkugia.com Lawson, Bryan (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lesson from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, pp. 174-179 Merin, Gili, (2013). ‘AD Classics: The Plug-In City / Peter Cook, Archigram’ in ArchDaily, viewed 10 Aug 2013, http:// www.archdaily.com/399329 Seismic Voyages (2013). ‘Fernando Herrara’, viewed 25 August 2013, http://www.evolo.us/architecture/seismicvestiges-a-house-in-los-angeles-transforms-seismic-activity-into-form/

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