Studio: Air EOI by Rovi Lau

ARCHITECTURE DESIGN STUDIO: AIR ROVI LAU 543495 SEMESTER 2 2013

T able O f C ontents I ntroduction (pg1) Part A: C ase

for innovation 1. Architecture as a discourse (pg4) 2. Computational Architecture (pg13) 3. Parametric Modelling (pg23) 4. Appendix (pg29) 5. Conclusion (pg34) 6. Learning Outcomes (pg34)

I ntroduction A bout

My name is Rovi Dean Lau and I am currently a third year student studying at the University of Melbourne, majoring in Architecture. My passion for architecture came at a later stage of my life. When I was in high school, being an architect was not part of my â&#x20AC;&#x153;childhood ambitionsâ&#x20AC;? list. My childhood ambitions included becoming an engineer, doctor or musician. As none of my family members were architects, I had zero interest in becoming one until I graduated from Polytechnic with a Diploma in Electrical and Computer Engineering (ECE). That was the start of my passion of being an architect.

and fabrication software for the first time, however, the end product was indeed rewarding. Since then, having the skills and knowledge of Rhinoceros 3D modelling and fabrication has helped me tremendously throughout my course of study. Early this year, I had the opportunity to work with Consultants Incorporated Architects + Planners (CIAP) in Singapore during the summer break. For the first time, I got to feel and be part of what an architect does in the professional world. The experience of working with them has taught me the importance of working together as a team and communication is key. It also improved my AutoCAD and SketchUp skill sets.

My interests in the field of creativity and music have been with me since young. I love making things by hand, playing the piano and photography. It was during my ECE course which exposed me to my first computational software AutoCAD, which is widely used by engineers, architects and the likes. Although we only learnt the basics of AutoCAD, to me it was the start of creating something from virtual to reality. By graduation, the drive for being an architect grew. The idea of creating and designing ideas from oneâ&#x20AC;&#x2122;s mind and putting it out in the real world was simply amazing.

Other computational softwares that I was exposed to during my studies were Photoshop, InDesign and Illustrator. I am currently learning Grasshopper, a plug-in for Rhinoceros 3D which is parametric-based. With that skill set in my arsenal of computational softwares, creating and designing will be limitless. Learning does not stop there; to me, learning takes place every second. I aim to achieve a Masters in Architecture and hope to continue learning as I grow. The more we know, the better we become in shaping our environment and the world as Architects.

I entered the University of Melbourne in 2012. The exposure to computational softwares made me realised how much flexibility it has compared to pen and paper. My first encounter with Rhinoceros3D in Virtual Environments got me excited to share the ideas that I have in my mind. No doubt it was challenging operating a three dimensional modelling

P ast

work

(Fig. 1) Arup’s proposal for 2050 titled “It’s Alive!” Courtesy of Arup, Arup envisions the skyscrapers of 2050, 2013, rendered, <http://www.archdaily. com/333450/arup-envisions-the-skyscrapersof-2050/>

C ase

for innovation

A1:A rchitecture What is Architecture? I have posed this question many times to several friends whom are not majoring in Architecture and their response were often related to buildings. One would normally think of architecture as a structure but there are indeed many ways in which architecture ideas could be realised.

as a discourse was imagined, despite not being materialized, the idea still remains highly influential and it was realised by Arup who proposed a skyscraper of the future 2050, titled “It’s Alive!” (Fig. 1)[4]. As a result of such innovative future ideas, they are completely misguided as ideas tend to exaggerate problems concerning economic and social aspects [4]. Although the concept was exaggerated, Arup was not the first to propose such radical ideas [4]. The idea for the future way of living has been in the minds of many architects and its discourse. This certainly stimulates ideas of how the buildings of the world will be like in future.

I see Architecture as an idea that can withstand the test of time. In this context, time refers to the “indefinite continued progress of existence and events in the past, present, and future regarded as a whole” [1]. Architecture has come a long way since the days of the construction of Stonehenge, c.2900BC, which has become a famous monument through time [2]. When a building is constructed, it is not an object which can be thrown away immediately to buy something better nor is it an object which can be undressed and dressed differently everyday just like humans carrying different outfits daily. When a building is constructed, it will be there for the next few years, even decades or centuries due to the investment of time and money in each project.

Most successful masterpieces of architecture are believed to reproduce the fundamental design of an era such as gothic churches in the 12th century [5]. However, that may not always be the case as architects should always be on a constant lookout and should evaluate strengths and weaknesses of buildings built in the past in order to have a more successful design throughout time [5]. In this project, the focus will be the understanding of what makes Wyndham City a special place. In order to achieve that, computational iterations and material exploration will be utilized in designing a timeless piece of architecture as The Wyndham Gateway brief calls for an installation which intends to create a significant impact on the people, providing them a timeless experience. It also hopes to inspire and enrich the municipality of Wyndham City.

With reference to Ron Herron’s ‘The Walking City’ (Fig. 2) in Archigram (1964), the idea was to have an artificial intelligent robotic structures to freely roam the world, moving to places where resources were available [3]. This idea was predicted to be materialise in the future, hoping to change how people lived, lasting for centuries. Approximately fifty years after the idea of ‘The Walking City’

(Fig. 2) Ron Herron, Walking City, drawing, < http://www.archdaily.com/333450/arup-envisions-the-skyscrapers-of2050/51225946b3fc4b2f65000031_arup-envisions-the-skyscrapers-of-2050_4-jpg/> [1] D. Thompson, eds., The Concise Oxford Dictionary 9th ed. (United States: Oxford University Press Inc., 1998), pp1459. [2] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp9. [3] “Walking City, from Archigram,”The Seasteading Institute, viewed on 8th August 2013, < http://www.seasteading.org/2011/03/walking-city-archigram/> [4] “Arup Envisions the Skyscrapers of 2050,” Nicky Rackard, Archdaily, viewed on 8th August 2013, <http://www.archdaily.com/333450/arup-envisions-the-skyscrapersof-2050/>

P yramids

G iza

The Pyramids of Giza are one of the world’s most famous monumental tombs which were built circa 2550B.C. and they are still standing tall to this present day [6]. The giant tombs were erected for the Pharaohs of Egypt in line with the belief that they will become Gods in their afterlife. What makes these giant Giza tomb pyramids so timeless throughout the years was their ancient ways of engineering feat. In our present day, the construction of such structures like the pyramids will require the use of cranes, trucks and power tools. No such machines were available and yet the idea of erecting such timeless architecture without technology was indeed impressive [7]. Till this day, the pyramids are still well-known by people all around the world. The very fact that a simple idea of erecting a tomb for the Pharaohs lasted for centuries and it has made such a significant impact on the world as it is considered a tourist attraction at present. Although this piece of architecture is considered ancient, it has greatly contributed to the notion of architecture enduring the test of time.

[6] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp25. [7] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp26.

(Fig. 3) Satellite image of the Pyramids of Giza, 2002, satellite image, <http://zeshankhokher.wordpress.com/2011/12/06/pyramids-of-giza-2/>

(Fig. 4) Pyramids of Giza, photograph, <http://www.fanpop.com/clubs/egypt/images/1239953/title/pyramids-giza-wallpaper>

S. C arlo

alle

Q uattro F ontane

F rancesco B orromini

S. Carlo alle Quattro Fontane is an iconic piece of Baroque architecture due to its complex undulating curves of the exterior and interior structure during the 17th century [8]. The idea that Borromini had during the Baroque period was highly innovative as he managed to achieve the dynamism form through a series of geometry within a diminutive area [8]. Using only the shapes of circles and equilateral triangles, he managed to achieve the magnificent dynamic façade (Fig. 5) of concave and convex forms which also mirrored the internal space of the church [8]. With the undulating oval interior plan and long axis towards the altar, Borromini had invoked the spirit of a stretched Greek-cross plan [8]. The dome (Fig. 6) above had such intricate details that it was elaborately coffered with octagons, hexagons and Trinitarian crosses, diminishing towards the centre to project the dynamism of Baroque [8]. Presently, S. Carlo alle Quattro Fontane is one of the well-known examples of Baroque architecture due to the innovation of Borromini [9]. The fact that Borromini had accomplished such complex forms with basic geometry in the 17th century was incredible. This is yet another piece of architecture that had contributed to the notion of architecture enduring the test of time.

[8] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 12: Baroque Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp349-350. [9] “S. Carlo alle Quattro Fontane,“ Italian Architecture info, viewed on 17th August 2013, <http://www.italian-architecture.info/ROME/RO-020.htm>

(Fig. 5) Faรงade of S.Carlo alle Quattro Fontane, photograph, <http://www.italian-architecture.info/ROME/RO-020.htm>

(Fig. 6) Mark Warren, dome, 2010, photograph, <http://baroquedreams.blogspot.com.au/>

A2: C omputational A rchitecture Computational architecture has been employed and explored for more than 50 years [10]. It has redefined the practice of architecture as the advancement of Computeraided design (CAD) and Computer-aided manufacturing (CAM) emerged [11]. You may ask yourself what is so incredible about computational architecture that redefined architecture practice, but first, one has to understand what computation is all about.

an award-winning architecture firm based in Basle, integrates computation into their design process, indicating the success of the invention of computational architecture [13]. The firm works closely with the Digital Technology Group as it helps them develop design scripts for their architectural ideas [13]. This close relation gives them the opportunity to develop a new script for each project thus having no similar idea from the previous project as each project is meant to be unique in its own way [13].

In ‘Computation Works’ (2013) by Brady Peters, he referred to computation as a process where an algorithm can be expressed through the understanding of a model thus allowing designers to explore new ideas and the ability to help designers to solve complex problems [12]. He also referenced Sean Ahlquist and Achim Menges as both defined computation as an environment which provided a framework to generate complex order, form and structure [12]. It is not the notion of simply digitising a project, virtually drafting in CAD where it makes editing easier or a mode of precision drafting [12]. If that is the case, it is a mode of ‘computerisation’, and not ‘computation’ [12].

With the use of computation, it does not only allow architects to realise multiple ideas but also allow architects to perform predictions, simulations on building performance as well as create new spaces of experience [12]. Computational design takes thinking to a whole new level. Although one could suggest that it is a different medium altogether, the concept of designing is similar with a pen and paper [12]. As it is a digital platform, making changes and corrections will be more efficient and an algorithm becomes your conceptual sketch [12]. As architecture practice shifts from pen to algorithm sketching, the complexity of grasping the algorithmic concepts becomes challenging. Peters mentioned in ‘Computation Works’ (2013) that “[w]hen architects have a sufficient understanding of algorithmic concepts… then computation can become a true method of design for architecture.”. This may lead to question whether computation is being used by people or people being used by it. With the help of computational architecture, the possibilities of designing a piece of timeless architecture for Wyndham City will not be limited only to the mind of the designers.

Going back to the question on why computational architecture is widely used, it provides designers with many possibilities and opportunities in design, sometimes going beyond their expectations by generating designs they never thought they could [12]. It also opened up the possibility of constructing complex forms such as the curvilinear architecture of Guggenheim Museum in Bilbao (Fig. 7) by Frank Gehry which demonstrated the use of computational architecture [11]. With the help of digital revolution, complex curvilinear architecture may become the mainstream of architecture practice in due time [11 Herzog & de Meuron,

[10] Achim Menges, “Material Resourcefulness: Activating Material Information in Computational Design,” Architectural Design, 82, no. 2 (2013): pp34-43. DOI: 10.1002/ ad.1377. [11] Branko Kolarevic, Architecture in the Digital Age – Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-28. [12] Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, 83, no. 2 (2013): pp8-15, DOI: 10.1002/ad.1545. [13] Brady Peters, “Realising the Architectural Idea: Computational Design at Herzog & De Meuron,” Architectural Design, 83, no. 2 (2013): pp57-61, DOI: 10.1002/ad.1554.

(Fig. 7) Guggenheim Museum Bilbao, photograph, <http://www.telegraph.co.uk/travel/ultratravel/10036857/Guggenheim-Museum-Bilbao-guide-Director-favourites.html>

R affles C ity H angzhou UNS tudio

The development of the mixed used Raffles City in Hangzhou in China (Fig. 8), a project done by a Dutch architecture firm called UNStudio, which incorporated retail spaces, offices, housing and a hotel, has integrated the use of computational architecture into the design process [14]. Ben van Berkel explained that the idea was to have a mixed use urban space with “a twist by focusing on where the urban context meets the landscape of the city” [15]. In order for UNStudio to achieve its concept idea, they turned to the use of computational programs such as Grasshopper, RhinoScript and Gehry Technologies’ Digital Project [14]. This precedent not only demonstrated that computational architecture can achieve curvilinear forms, it also indicates that computation can assist designers in generating more efficient and simpler design solutions through scripting and algorithms [14]. In this case, computation had assisted UNStudio in simplifying the costs and demands of fabrication and sustainability simulations (Fig. 9), as well as generating the geometry of the floor area, heights and the envelope of the building [14]. The result of the process had led the team to an avant-garde architecture design. Without the use of computational programs, the design process may not turn out as accurate. It is an interesting project that illustrates how much computation has been part of the design process.

[14] Ben Van Berkel, “Navigating the Computational Turn,” Architectural Design, 83, no. 2 (2013): pp82-87. DOI: 10.1002/ad.1559. [15] “Raffles City Hangzhou by UNStudio,” Rose Etherington, Dezeen magazine viewed on 14 August 2013, <http://www.dezeen.com/2009/07/17/raffles-city-hangzhou-byunstudio/>

(Fig. 8) Image courtesy UNStudio, Raffles City, Hangzhou, China by UNStudio, 2009, image, <http://www.designboom.com/architecture/unstudio-raffles-city-hangzhou-china/>

(Fig. 9) Image courtesy UNStudio, Circulation of Raffles City, 2009, image, <http://www.designboom.com/architecture/unstudio-raffles-city-hangzhou-china/>

S oumaya M useum

F ernando R omero E nterpris E (FREE) Soumaya Museum (Fig. 11) is an iconic structure located in Mexico City as its mission was to “reshape an old industrial area of Mexico City” and “to host one of the largest private art collections in the world.” [16]. For FREE to achieve such monolithic structure of importance, computational programs such as Gehry Technologies and Digital Project 3-D modelling tool were used to solve issues during the design process [16]. It was used to solve the structural issues as well as patterning the façade with hexagonal aluminium panels (Fig. 10) [16]. As the design process was in the construction phase, a 3-dimensional model of the building also assisted in the communication of information where each individual could understand the stages of the project [16]. As building complexity rose, the traditional use of 2-dimensional drawings of plans and elevations through the design process would not be possible [16]. The importance of understanding the complexity is through communicating with computation [16]. With the use of computational architecture, Soumaya Museum is not only an iconic structure but also “an initiator in the transformation of the urban perception” [17].

[16] Fernando Romero and Armando Ramos, “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design, 83, no. 2 (2013): pp 66-69. DOI: 10.1002/ad.1556. [17] “Museo Soumaya by FREE Fernando Romero EnterprisE,” Amy Frearson, Dezeen magazine, viewed on 14 August 2013, <http://www.dezeen.com/2011/04/28/museosoumaya-by-free-fernando-romero-enterprise/>

(Fig. 10) Adam Wiseman, The shell of the building, 2011, photograph, <http://www.dezeen.com/2011/04/28/museo-soumaya-by-free-fernando-romeroenterprise/>

(Fig. 11) FREE, Soumaya Museum by FREE, photograph, <http://fr-ee.org/projects/soumaya-museum-mexico-city-mexico/>

A3: P arametric M odelling According to the mathematician, Eric Weisstein, he defined ‘parametric’ as “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as “parameters”” [18]. He defined it as a mathematical expression where “a set of equations” referred to a set of numbers through “explicit functions” [19]. However, ‘parametric’ as defined by Patrik Schumacher is an architecture style called ‘Parametricism’ [20].

be avoided in parametricism [21]. For an accepted form, the form itself must be soft, systems must be differentiated and interdependent and activities are communicated with one another [21]. Those who critique the idea of parametric design by Schumacher believed that ‘style’ should not be used to refer to as parametric design [19]. Daniel David (2010) expressed that Schumacher used the word ‘parametricism’ incompetently [19]. Parametric is a vocabulary in digital architecture, similar to the word algorithms or swarming, where each have a different meaning [19]. In Elements of Parametric Design (2010) by Robert Woodbury, he mentioned that parametric design is a form of relationship with the design which required explicit thinking such as “is this point on the line, or near to it”, and thus, parametric is a designer’s tool which helps to create design solutions [22]. The idea is to help designers establish a relationship with the design by manipulating connecting parts and editing the relationships from the final product [22]. This allows designers to have the ability to explore more ideas by reducing the tediousness of starting the project from scratch [22].

In Architects Journal (AJ) (2010) written by Schumacher, he mentioned that ‘parametricism’ will be a unified style of architecture for the 21st century and the style after modernism [21]. He strongly believes that ‘parametricism’ will be the “credible, sustainable answer to the crisis of modernism that resulted in 25 years of stylistic searching” and that it is ready for mainstream [21]. Parametricism brings forth the shift from classical and modern architectural elements to entities of animated geometry [21]. It is a ‘style’ which involved many geometry entities such as splines, nurbs, blobs and metaballs instead of rigid geometry such as rectangles and cubes [21]. These forms of geometry entities function via scripts where they react to attractors and resonate with each other [21]. With this ‘style’, its goal is to enhance an architectural design where internal and external frameworks are interdependent and continue within the complex, urban context [21].

As the project of Wyndham City wishes not only for an eye catching but innovative and prominent gateway, the potential of what parametric modelling is only limited to the designers’ creative capacity.

As amazing as it seems, there are sets of principles to adhere to in order to deliver a parametric design. Rigid forms, segregative functional zoning and simple repetitions are to

[18] “Parametric Equations,” Eric Weisstein, WolframMathWorld , viewed on 15 August 2013, <http://mathworld.wolfram.com/ParametricEquations.html> [19] Daniel Davis, “Patrik Schumacher – Parametricism,” Daniel Davis, September 25 2010, <http://www.danieldavis.com/a-history-of-parametric/> [20] “Parametricism as Style – Parametricist Manifesto,” Patrik Schumacher, Patrik Schumacher, viewed on 16 August 2013, <http://www.patrikschumacher.com/Texts/ Parametricism%20as%20Style.htm> [21] “Patrik Schumacher on parametricism – ‘Let the style wars begin’,” Patrik Schumacher, Architects Journal, viewed on 16 August 2013, <http://www.architectsjournal. co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> [22] Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010), pp 7-48.

(Fig. 12) Zaha Hadid Architects, Zaha Hadidâ&#x20AC;&#x2122;s Flinders St. Station features sweeping strata, 2013, rendered image, <http://www.designboom.com/architecture/zaha-hadidsflinders-st-station-features-sweeping-strata/>

S hellstar P avilion M atsys

The Shellstar (Fig. 14) is a temporary lightweight pavilion that demonstrates the good use of parametric modelling [23]. The project was designed for the Detour 2012 event in Hong Kong and the task was to design an iconic gathering place for the festival attendees [23]. The idea behind the design was a creation of a spatial vortex which aims to draw people into the festival while maximising spatial performance and minimizing the use of structure and materials [23]. For Matsys to achieve such a design, the use of parametric modelling techniques assisted them through the design process [23]. The final form was achieved through a form-finding process with the use of Grasshopper and physics engine, Kangaroo. Matsys managed to design a catenarylike thrust surface with minimal structural depths [23]. The process of surface optimization technique through Python scripting allowed Matsys to smoothen interior seams, making it as planar as possible, making fabrication easier [23]. Without this process, fabrication may pose as a challenge, leading to higher costs and longer time. The last modelling process was planning the fabrication as each cell was labelled automatically, analysed and aligned correctly [23]. With parametric modelling, it demonstrates that it is not just about the overall aesthetic form but the intricate detailing that it offers for designers.

23] â&#x20AC;&#x153;Shellstar Pavilion,â&#x20AC;? Andrew Kudless, Matsys, viewed on 17 August 2013, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/ >

(Fig. 13) Dennis Lo, Shellstar Pavilion, 2012, photograph, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>

(Fig. 14) Dennis Lo, Shellstar Pavilion, 2012, photograph, <http://matsysdesign.com/2013/02/27/ 26shellstar-pavilion/>

D ermoid I

S patial I nformation A rchitecture L aboratory (SIAL) C entre for I nformation T echnology and A rchitecture (CITA) The Dermoid I project started out by the interest of the exploration of material behaviour through computation [24]. The question that headed the project was “how can a doubly curved pavilion be fashioned from a wooden reciprocal frame” [25]. As the project was being carried out, a problem the team faced was distributing elements on an uneven curved surface [26]. The natural way of achieving it would be through wrapping the three-dimensional surface with a two-dimensional surface [26]. However, that led to distortion of the design and elements being either too short or too long. Daniel Davis who was part of the Dermoid team, managed to find the solution through developing a parametric scripting of the swarming algorithm and applying it onto the surface [26]. With the creation of random points on the surface and pushing the points away to their desired distance, Davis was able to achieve the possibility of creating the surface from elements of the same size [26]. Davis had demonstrated the use of parametric modelling in helping one solve a complex problem which reinforces the desired outcome of the project.

[24] “Dermoid Workshops,” CITA: Center for Informations Teknologi og Arkitektur, viewed on 17 August 2013, <http://cita.karch.dk/Menu/Courses/2010-11+Dermoid+Workshops> [25] “Dermoid,” Daniel Davis, Daniel Davis, viewed on 17 August 2013 <http://www.danieldavis.com/dermoid/> [26] “Swarming/& dynamic relaxation on a surface,” Daniel Davis, Daniel Davis, viewed on 17 August 2013, < http://www.danieldavis.com/swarming-dynamic-relaxation-on-a-surface/>

(Fig. 15) Anders Ingvartsen, Dermoid I, 2010, <http://www.danieldavis.com/dermoid/>

A4: A ppendix W eek 1: T ypes

of iterations using

V oronoi

W eek 2: B uilding D ismentling A lgorithms By using the ‘Divide Curve’ component input into the ‘interpolate’ component before lofting, it changes the lofted surface depending on the number of points divided.

Using ‘Divide Surface’ component allows you to create points on the surface and divide into equal length parameter space. This allows you to dismantle into more curves if you wish using “Interpolate” component.

The ‘Contour’ component allows you to contour the surface of your object. The ‘Move’ component allows you to move the contour curves to desired vector. Thus, allowing you to loft into a new surface.

W eek 2: B uilding D ismentling A lgorithms This algorithm allows you to dismantle the lofted surface onto planar surface for further laser cutting and such. The ‘Square Grid’ component allows you to create a grid layout for your planar surfaces and ‘Orient’ component allows you to orient your surfaces onto the grid.

This algorithm allows you to dismantle a surface and rebuilding it through the use of a point vector and a ‘Scale UN’ component.

W eek 3: C ontrolling

the

A lgorithms

W eek 3: C ontrolling

the

A lgorithms

A5: C onclusion Through the case of innovation in relation to the Wyndham Gateway project, the proposed design should consider not just the aesthetic appeal but also, its purpose and meaning with regards to the site and Wyndham City. As the brief wishes to establish innovative, inspiring and brave ideas, the use of parametric modelling will assist us through the design process and produce a meaningful piece of architecture which will contribute greatly to Wyndham City. A design with without purpose and meaning to it is a design not worth contributing to the city. The proposed project aims to reflect what Wyndham City is all about through its culture, history and its people as well asinspire and enrich the municipality for years to come.

A6: L earning O utcomes Since the start of this project, I never thought that computational design played such a huge role in the discourse of architecture and its practice. Be it a big project such as the Soumaya Museum by FREE or a small project such as the Shellstar Pavilion by Matsys, computation has played an important role in their design processes. From the outcomes of these cases of innovation, I have come to understand that architecture is not just about the overall built form, but also the intricate details which lead to the final outcome. It was also interesting to learn about the different perspectives on parametric modelling by Schumacher, Woodbury and Davis. Considering a type of style called ‘parametricism’, a form of relationship with the design or an architecture vocabulary, one could only speculate what the future of computational architecture holds. Similar to the idea of Herron’s ‘The Walking City’, the thought of it at that period of time seemed appropriate for the future, however, it has not been built. I would like to think that speculating what lies ahead takes risk, however, on the flip side; it pushes one to its limit in terms of creativity and allows one to explore new ideas. An example would be a chef predicting customers’ preferences when creating a new dish. In the context of architecture, it would not be dishes but the outcome of the final design. Learning the language of Grasshopper was indeed challenging at the beginning but it in the long run, I believe it will be of great assistance to me during my design process of this project and thereafter. This studio has provided me with many valuable insights into the world of architecture and there will be more to learn in the weeks ahead. I truly believe that this project is a start of something amazing which will change my design process for the future.