ARCHITECTURE AIR DESIGN
STUDIO
TUTORIAL 3 -- ADAM & FINN -- 2013 SEMESTER 2
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STEPHANIE
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1. EXPRESSION OF INTEREST A. CASE FOR INNOVATION
A.1 ARCHITECTURE AS DISCOURSE A.2 COMPUTATIONAL ARCHITECTURE A.3 PARAMETRIC MODELLING A.4 PART A CONCLUSION
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B. DESIGN APPROACH
B.1 DESIGN FOCUS B.2 SITE IDEA GENERATION B.3 MONOLITHIC MATERIALITY B.4 RESEARCH PROJECTS B.5 INITIAL DIRECTION - ARGUMENT B.6 EXPLORATION - PROTOTYPE B.7 MID-SEMESTER PRESENTATION FEEDBACK B.8 PART B CONCLUSION
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C O N T E N T
2. PROJECT PROPOSAL
C. PROJECT DEVELOPMENT
C.1 DESIGN CONCEPT C.2 ALGORITHMIC EXPLORATION 67 C.3 TECTONIC ELEMENT 69 C.4 DIGITAL MODELLING 71 C.5 FABRICATION 89 C.6 PART C CONCLUSION 61 65
D. FINAL PROJECT
D.1 PHYSICAL MODEL D.2 EXPERIMENTATION 107D.3 REAL INSTALLATION 93 99
TAKE IT FURTHER!!
3. LEARNING OBJECTIVES & OUTCOMES E. LEARNING REFLECTION
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E.1 PERSONAL EXPERIENCE E.2 LEARNING OBJECTIVES 117 E.3 LEARNING OUTCOMES 113 115
4. ADDITIONAL NOTES
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REFERENCE IMAGE REFERENCE
SPECIAL THANKS TO
GROUPMATE
STEVE QINGCHEN MENG TUTORS
ADAM MARKOVITZ & FINNIAN WARNOCK and 7-11 on SWANSTON STREET
PREFACE Studio AIR responds to this challenge by exploring the impact of computation on architectural design[1]. For the coming content of the Journal it is going to be exploring the digital architectural designs that have developed into the most vibrant and influential areas in contemporary architectural discourse and practice. It is going to be focused on three divided areas which are: Case for Innovation, Design Approach and Project Proposal. Each area contains around 3 to 4 weeks of work and being presented and discussed elaborately.
“To provide meaningful architecture is not to parody history but to articulate it.�
--Daniel Libeskind--
20. Ka Yan Stephanie, Ng 2nd year Architecture Major Hi I’m Steph, a Hong Kong girl who has been studying here in Melbourne since year 10. I am currently taking this Design Studio and Visual Communication and have undertaken Designing Environments, Virtual Environments and Design Studio Earth. I really do think I have taken a big risk in studying this Design Studio as I am lack of digital knowledge and skills and I need to spend extra time than others in order to understand the theories and write things using critical thinking. I enjoyed Rhino so much last year in Virtual but I don’t have much knowledge about Grasshopper and this is why it will be a good experience and big challenge for me.
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The experience of using Rhino and a bit of Grasshopper was rewarding but yet not enough, I’m glad to have the opportunity to learn, explore and work with it and hopefully be able to develop a better understanding and skills in using digital technology while studying Architecture. If I have to rate my digital knowledge out of 5 for the basic digital programs that I have learnt I might rate InDesign 4 out of 5 as I have become friend with it after studying Virtual Environments. However others such as Photoshop, Illustrator and Sketch-up maybe I can only rate myself as 3 because I always forget those tools even I have learnt them. Lastly and most importantly for Rhino, I can only rate myself as 2 out of 5 as I’m really lack of knowledge about Grasshopper even I have taken Virtual Environments.
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PART A
CASE FOR INNOVATION
This first section of the journal focuses on the brief of the architectural field as a whole for a starting point. It identifies the understanding of the course and the definition and exploration of key terms by studying certain readings and looking for different precedents in order to develop new design later on. Architecture will be discussed in 3 aspects: Architecture as Discourse, Computation in Architecture and Parametric Modelling.
Fig. [I] Endesa Pavilion, 2011
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A.1 Architecture as Discourse
Above all, architecture ought to be seen as a discourse.
-- Richard Williams (2005) --
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rchitecture. Everyone who is or was in touch with this field must have tried to define it. “The process of designing and constructing buildings”? “The structural product after construction”? Or “The thoughtful making of space”? For my own opinion, discourse is a first and basic lesson for the novice. Each profession has its own discourse. It is meant to be a way of expressing and understanding certain concepts. In this case, architectural discourse is something like a language used to communicate, formulate and analyse the idea and theory in architecture. Somehow, not only in architectural field, in other fields all kind of having their own dictionary, it is like as if their have their own language, their own ways to describe things that others do not really understand. However, this makes the whole thing more professional. Architectural discourse can also be used as a tool to explain any abstract ideas from the point of view of architects or artists. To explain by an example, most of the architectural design studios are asked to design and construct a model at the end but sure in between there are progressions from an abstract idea to this solid model. Start from the start of the history of architecture, terms and concepts have been grown in every architects’ or people who are willing to become an architect’s mind. And all these terms, historical styles, designs and representational format are examples of the architectural discourse. The outcome of an architectural discourse can then generate new meaning, value and idea within the socio-technical structure, which infers evolving transformation rather than mere progress before. Model making, sketching and drawing plans are some kinds of ways to express and explain architecture as discourse, as responses. It is actually very hard to just use one or two words to explain what architectural discourse and its role is, I will choose to use the following two precedents to explain and describe more instead.
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A.1.1 Endesa Pavilion PRECEDENT Architect: Issc Location: Barcelona, Spain Year: 2011
Barcelona’s Endesa Pavilion is a self-sufficient solar prototype which is installed at the Marina Dock in
Barcelona[2].
With the initial design method from algorithm, it is a good precedent to show how algorithm is used as an architectural discourse based on the solar inclination and the structure’s proposed orientation. The direction of the sun is the concerns in construction process. The architectural discourse is now assisting for the progress and make the process smooth and successful. This portable, light and solar-powered architecture has a modular structure. This gives a good visual expression of digital fabrication with the use of laminated wood and a photovoltaic roof. The process of constructing this is layering by adding bits of bits in provided with the support of algorithm mathematical program setting. The facade of the pavilion opens reacting to the solar path, being active and becoming permeable towards south, while becoming closed and protective towards north. The behaviour of this skin makes visible the environmental and climatic processes that surrounds the prototype.
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Fig. [II] Digital model prototype before the actual one was constructed
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A.1.2 Water Cube PRECEDENT Architect: PTW Architect Location: Beijing, China Year: 2008
The Water Cube, National Aquatics Centre was a remarkable construction built for the Beijing Olympic.
The structure of the external frame is very interesting that the facade is not what it is named as an actual cube but a cuboid.
“The project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenal can create an airy and misty atmosphere for a personal experience of water leisure.”
--Quote from the Jury report of the Official Awards 9th International Architecture Exhibition – METAMORPH, Venice Biennale[3] I find these different little bubbles in the facade are so like created by the rule of Algorithm as program or a mathematical equation is absolutely necessary here. The abstract idea came from cube of bubbles, symbolizing ‘water’ and this form was created from the design idea. In tradition, Chinese conceptualized a square Earth and a round Heaven, and this formed the design’s central theme. The theory of cube of bubbles meets the quality and function of the centre. This is related to the way of contextually idea. The construction of the Water Cube is good to look into as it feels as if it is representing certain perceptions in different ways. Despite the blue bubbles facade represent the use of an aquatic centre, the steel-framed construction shows a boundary idea that people are gathered in it and it is separated from the outside world. It does not look as if it is very fragile anymore. We can understand that the big and small bubbles on the facade are not designed and constructed randomly but with a set of ways or equations. It is like a natural pattern. The colour of the centre is blue and it is like transparent in this sense. The cladding of the facade allows more light and heat penetration that traditional glass, resulting in a 30% decrease in energy costs. It is a good demonstration showing how different elements in expression of style and design by using architectural discourse.
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Fig. [III] Night view of the Water Cube with interior light
Fig. [IV] Membrane and structure of the Water Cube
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Computer programs and systems have been used as a tool in Architecture for many years. It changes
the perception, conception, fabrication and transformation of the design. It opens our horizon in opportunities of making different complexity form. However, what we have to bear in mind is that it is just a tool to assist us in attempt and recreation. NEVER let it to limit our inspiration, limit our work or limit our extension of trying and construction in building up our design.
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A.2 Computational Architecture
Design computation is still only seen by many as ‘just a tool’ and remote from the real business of creative design”[4] -- Frazer, John h. (2006). ‘The generation of Virtual prototypes for performance optimization”
The words computerization and computation are too similar that people have been mixed up their meanings. Computerisation means to make things easier more précising and faster when in the design process. In here, we are using the word ‘computation’, it is a tool used to help in presentation of a design. Algorithm is a kind of computation, it is the power of computer in the design and can be removed to resist problem. And we, in this course use computing programs such as Grasshopper and Rhino to build up our design. Computers serve as an analytical tools to assist architects and designers to create what they wish to create. However most of the times it does make differences to what the initial form. It can never build the exactly same form for the design. It lacks of creativity and innovation. Computers only follows rules, follow program codes. Although it can go any further of complexity, it is just a visual representation to make the whole picture more realistic and easy to understand, you can never start with computation. Under the influence of Information & Communication Technology, many architects and architectural firms have started experimenting with new design methods. The use of a design method does not necessarily guarantee a good outcome. A design method by definition leaves out many aspects about a design problem that ultimately have to be solved. What a design method does, however, is indicate which steps are critical, and in which order to deal with these steps.
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A.2.1 Guggenheim Bilbao PRECEDENT Architect: Frank Gehry Location: Abando, Bilbao, Spain Year: 1997
The Guggenheim Museum Bilbao, located in Bilbao, is a museum of modern and contemporary art and
it was designed by architect Frank Gehry. It can be said as a master-piece with the successful assistance of digital computer technologies because without the use of revolutionary computer-aided drafting program, this construction won’t be able to be built. Computer technology helps out in making dramatic forms which in most cases cannot be built successfully by hands. Architects, with the help of digital technology, can go and look beyond the boundaries of the architectural discipline. Digital architecture tends to represent ideological, conceptual and a new formal language. Together with the transformation of our world over time, the architecture nowadays which has been influenced by computation is seen as become more modernism. Somehow it looks like this example, a little bit unmatched with the context earth surrounded. The discovery of CATIA enables Frank Gehry to be more creative with his sketching and his ideas. Process of CATIA includes digitization, surface modelling, fabrication, primary and secondary structure building, cladding pattern design [5].
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Fig. [V] Wide shoot with the whole museum
Fig. [VI] Zoom-in with the material and texture of the museum
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A.3 Parametric Modelling Most of the architectures around us when we are walking on the street can be constructed using parametric modelling. Parametric modelling interrelated with architecture, interrelated with fabrication from something like algorithm, mathematical equations, codes, scripting. “Parametric modelling represents change.� (Woodbury, 2010) [7] Most of the time parametric modelling means dimensions drive the geometry. We are asked to express set of quality (geometry)using explicit function (grasshopper plug-in) from independent variables (input of parameter).
It is easy to understand that each design needs to use certain ways to represent so that readers are easier to understand and be able to visual the architecture. Parametric Modelling does not always have to have computer program to generate unless it can be expressed. Generally, architectures which are constructed from parametric modelling are relatively modern-like, usually because it is time-related that new styles are produced using computation and these kinds of computations are more globalized in recent. Using computation to construct buildings was too limit in the past. Parametric Modelling gives many convenience to architects or designers because it makes 3D models to have unlimited range of ways to be viewed, it can always changeable with ease, not like using pens must go together with white-out, it is motivational and appealing for current architecture students to have broaden horizon. It consists of too many advantages. Parametric Modelling correlates with computation in architecture. From the following precedents we can see how the buildings were designed and built using computation in parametric modelling.
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A.3.1 Dragon Skin Pavilion PRECEDENT Architect: Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD) Location: Hong Kong SAR, China Year: 2012
This precedent finished just less than a year, which is a good example to look at as it will not be out-dated with designs and concepts and how computation has transformed around this stage of era.
Although this pavilion is just a small architecture at an exhibition, it is a good demonstration of spatial, tactile, and material possibilities architecture is offered today by revolutions in digital fabrication and manufacturing technology[8]. Such as how the pattern form of the pavilion and ideation came from, fabrication methods are all referenced to parametric modelling. It is also the process of using ‘algorithm tools’. With the computer-aided in parametric modelling, architects can build more complex form, in here with overlapping and complex shape (pointed arch). Designing interesting shapes of the architecture, it can make fun al- so produce a good representation of lights and shadows. Many architects, including me myself enjoy making use of lights and shadow to present ideas in the projects. This pavilion shape gives a shell-shape with a sense of mysterious feeling. Without going inside you will never experience that different kinds of feeling. It is, as if, enclosed with bits of openings to be connected with the outside. Although this is still an ongoing project for them to explore the use of post-formable plywood, it keeps bring out ideas what computation and parametric modelling mean to us in each process of transformation.
Fig. [VII] Images
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Fig. [VIII] structure of Dragon Skin Pavilion
of the Pavilion
Fig. [IX] structure of Dragon Skin Pavilion
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A.3.2 Kasahara Culture and Amenity Hall Architect: Ushida Findlay Location: Gifu Prefecture, Japan Year: 2006
PRECEDENT
This precedent is a good representation for the model making with monolithic material. Monolithic has something very unique which is distinct with other materials and that is that they do not create any joints. They are being moulded, bended with heat or freeze or other operational processes. It is also characterized by massiveness and rigidity and total uniformity. This Culture and Amenity Hall is a tile manufacturing centre of Japan [9]. Inside it is using passive energy strategies. But for the reason why this precedent is chosen, we better focus on the characteristics of a monolithic architecture. The outer shape of the architecture is very interesting, with abstract ideation. It gives an impression of ‘protective’, reaching its ‘arm’ out to make the visitors inclusive. This clean colour, neat construction give an idea that everything is very simple, including the use of monolithic is also inspirational. Architect Ushida Findlay has certain precedent examples which are all using monolithic materials. It is a next step exploration about what monolithic materials in the construction of the architectures provide and that will assist and give more inspiration for me to do the Gateway Project.
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Fig. [X] Exterior of Kasahara Culture and Amenity Hall
Fig. [XI] Interior of Kasahara Culture and Amenity Hall
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A.4 Part A Conclusion This part, to me, very alike with the research part in Virtual Environments. I enjoyed Virtual
Environments in year 1 because the whole course is an entire process, teaching us how to use our imagination after doing researches on our interest of themes. Both have to do research before really designing. For this entire part, precedents are everything to us. We use them to analyse, to think personally which areas and directions we are keen on. It was a big challenge for me at the start as I do not know what was I supposed to be researching on. English are too much for me to read, content are too hard for me to understand and ways of thinking are not too easy to follow. My design intent at this stage for this Gateway project would probably be an icon on a piece of land that is being visualized with uniqueness to attract people. The broad term ‘discourse’ helped me to understand and learning how architecture can be viewed and expressed. Computational technique has to be applied to this project as an extended way for form making. Without the aid of computation, design cannot be designed or even generated in a complicated way. Lastly, for the parametric modelling, it makes imagination and design become more realistic. Researches on precedents around the world are necessary for not only this course, but also for the future design in the architectural field. This definitely broadened out my critical thinking skills and design ideas and knowledge in this field.
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“Logic will get you from A to B. Imagination will take you everywhere.� --Albert Einstein--
... Soon after all these researching, have an idea of what direction that leads us to creating our design is very crucial. Have a big of imagination~
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PART B
DESIGN APPROACH
A special thank to my partner, Steve Meng for the assistance on this part especially during the grasshopper exploration. Without the corporation with him, we would not be able to finish this. Being sick for the first 3 weeks of this section schedule, I felt extremely lost at the start, luckily this is a group-work that I can rely a little bit on my group-mate until I understand what I should be up to. Furthermore, the main idea being discouraged and needed to be changed just a week before the submission.
B.1 Design Focus
“Design is an much a matter of finding problems as it is solving them.“
-- Bryan Lawson --
This second section of the journal is going to discuss an interested area which we have chosen and show
the relationship between our material, Monolithic and our design. We are going to look at two different case studies and use them as the precedent to do more exploration and further development. The brief is asking us to design a structure that gives an abstract, aspirational intent and feeling for Wyndham. In addition, it has to provide an entry statement and arrival experience, and become a new identifier for the municipality. We have chosen the Monolithic material as our material exploration. We started off with understanding the context of the site, finding interesting areas to look at on the site, then move on to research on our chosen material, got our own definition for Monolithic material and characteristics of it, supported by 2 case studies in understanding the relationship between our materials and the idea direction we are going to, finally try on different materials in modelling and attempting on prototypes. After our submission of the Case for Innovation part, we still could not be able to come up with a major focal point to start off. And that was how a mindmap could help us to experience through the process and have the concept of what to look at and focus on. We initially find this sculpture design as a decorative sculpture being situated on the site and that is why we look at the idea of ornament at first sight. Ornament is said as a decoration on the context. In this case, we are asked to make a sculpture. We wanted to create a sculpture which is as if a decoration on the site for people to view but not experience. And that is why we did few algorithm sketches on grasshopper based on some 2-Dimensional shapes. However, after several research on ornament, that is not what we are aiming for. And that is not something really related to our monolithic material. And end up we came up with the three important ideas from the mindmap generated which are the colour, from the observation on the site, continuous characteristic from the research on monolithic and the purpose of giving an engagement to the users with the design sculpture and the context.
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DECORATION MELBOURNE
EXHIBITION
HIGHLIGHT
WYNDHAM
MONOLITHIC
EXPERIENCE
COLOUR
CONTEXT
COMMUNITY
USERS
ROUGHNESS
POPULATION TREND
ENGAGEMENT
ORNAMENT
CONTINUOUS
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We considered the fractal effect is one of the ornamentation representation which gives a viewing function for the travellers.
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We have defined the key words and stated a statement after making few matrix for both our initial idea (ornament) and the idea generated after (continuous flow with colours) after the site ideas generation.
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B.2 Site Idea generation
“To know an object is to lead to it through a context which the world provides.”
--William James--
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yndham is a site located in Victoria, being surrounded by the suburbs of Werribee, Hoppers Crossing, Point Cook, Wyndham Vale, Truganina and Tarneit. Although in this project we are not needed to do any site analysis as well as research on it, it is still better to understand what is the most significant thing on the site and the relationship between our design and researched material by fitting into the context. Furthermore, our design is closely related to the understanding of the site. We are trying to make a sculpture which not only shows the properties of monolithic but also fits to the context and has a blending effect. We are assigned to design our sculpture on site B (as labelled) which bounds traffic along the Princes Freeway and the freeway off-ramp onto the Princes Highway. It is, in total 22,000 square metres. It is situated right in front of the service station, thus the design response needs to consider the placement and design of the Gateway so to ensure the Gateway treatment and design intent are not undermined by the service station and its signature. To make a sculpture at this site, it has to be outstanding, unique and eye-catching as the viewing time for that might only last for around 10 seconds that cars travelling through the roads and freeway there at the speed of 100km/hr. There won’t be any focal point for the design as the idea should be continuous as it travels along the roads and freeway. To sum up, we understand that a sculpture which has the following criteria will suit best to the context: • Colourful; better to be the contrasting colours to the context colours • Outstanding and eye-catching; because travellers drive pass really quickly • Engaging, people can enjoy and have fun with it after being attracted by it
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GREEN
BROWN
GREEN
BROWN
COLOURS
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Algorithm Sketching (MATRIX) #1 Points change
#2 Polygons
#3 V. points
VPoint#1
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VPoint#2
VPoint#3
VPoint#4
#4 Fractal
Fractal#1
Fractal#2
Fractal#3
Fractal#4
#5 Spiral
Spiral#1
Spiral#2
Spiral#3
Spiral#4
Spiral#5
We started from the exploration of Point Charge and use it as a means to see the repetition of one
geometry can indeed result in complex and beautiful forms.
As we believe that the patterning on a form should have some correlation with the form itself rather than arbitrary. We began generating patterns from the form itself. Such as using sectioning from profile curves, de-constructing the surface with an internal logic and repetitions like fractal effect. Constructing trusses that shape the form. And last, patterning the surface with a single geometry, but introduces progressive changes into the geometry. After all these attempts in Grasshopper, we have gained more understanding to this program to generate the shape and thing we are aiming for. However, as this is the first step which we still haven’t finalized our argument towards our design, these matrix are not as useful as an approach. It can only be said as exercises. From this step, we know that we have to have a main argument which is not general anymore to go further for our design. That is why we have to have our next step - understand our material.
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B.3 Monolithic material Our group selected the research field of Monolithic material. It is defined as a massive, solid and uniform
structure. Although monolithic sounds like a traditional material that was used more back in the past but architects still use it as a material, being designed and constructed in computational technologies. Tradition is nice and it has its place, but we understand that it is technology that makes buildings safer and more economical than they ever were. That is why we have to operate the technology in coordination with the tradition. Why we chose this instead of others?? Materials in the monolithic category are different to one another, it is very unusual to other materials as inside this category, materials have distinctive characteristics and properties. For example some might be heavy in mass and some might be really light; some are rough but some are soft in texture. It is this thing which captured our devotion and would like to explore more on it. To see whether it is what we considered as an unified in harmony material but changing rapidly at the same time. We believe that monolithic material: • Is continuous in single form • Is showing a flow • Can tolerate changes in an environment • Provides high level of protection between applications Thus monolithic material/design has the property of being unified but not uniform. Much like in music, in the key of G you can play C, D, E minor and F, they aren’t the same note but together they work harmoniously. There are four methods of monolithically process: 1. Adding 2. Subtracting 3. Carving (shaping and moulding) 4. Casting From the four methods for monolithically processes, we have tried to use all of them in our prototype to test which one is the best one towards our final model. We also used different materials in the monolithic category such as plaster, wax, plastic and MDF.
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B.4 Research Projects CASE STUDIES W
e have done several research based on the characteristics and properties of the monolithic material and somehow we decided to focus on the main characteristics of this material that it has a smooth and continuous surface which is in a single form, something with a flow with no obvious joints. Some of the monolithic materials can be very heavy just like concrete and some can be very light just like plastic. Based on these descriptions we did research on the two architects, Carlos Slim Helu and Pier Luigi Nervi. We chose one of each of their works and used Rhino and Grasshopper to do some different transformation, generation and attempts. In the following case studies, we look at different sides or properties of monolithic material so that we can have an all-rounded understanding towards monolithic. We have also used Grasshopper to try on sketching the same structure of the case studies out. This can let us understand how the architectures was formed and constructed actually and what tools in Grasshopper is used (some might be new to our learning). We have further attempted on mapping different patterns onto the facade of the architecture.
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Architect: Annibale Vitellozzi, Pier Luigi Nervi(Engineer) Location: Piazza Apollodoro, Rome, Italy Year: 1959
B.4.1 Palazzetto dello Sport PRECEDENT This case study is used to describe how monolithic architectures should look like. We
chose this because the dome of this architecture can well express monolithic is something continuous which is not being separated. It does not involve any joints except the decorative ‘Y’ shape buttress around. Only monolithic can generate a curve like surface with mass and no joints.
Pier Luigi Nervi is a well-known architect who enjoyed designing and constructing architectures with his innovative use of reinforced concrete. There are many of the works of Pier Luigi Nervi are made of monolithic materials. This is used as a stadium for a variety of athletic and sports events so that it is a very spatial area. In Italy, Nervi was known as an ingénue edile, which is meant and translated as “building engineer” and he was sometimes going between a structural engineer and an architect. He was also been called as “the Great Italian God of Concrete”. an early proponent of reinforced concrete, Nervi proved to be a designer who could masterfully blend techniques from the past and future to create a compelling present. Although this was built 60 years ago it looks like it’s influence went back another 30 or so. It has an art deco feel to it. For the Palazzetto dello Sport, Nervi drew upon the geometry-based domes of ancient Roman architecture and combined it with reinforced concrete and radical-for-the-era prefabrication techniques. His design for a ribbed concrete dome, more than 60 meters in diameter and supported on the exterior of the building by Y-shaped concrete buttresses, was cast in prefabricated sections and snapped together in just 40 days.
Relationship with Monolithic
The ribbed-dome roof with the ‘Y’ shape buttress around the circular stadium is the significant icon for both Pier Luigi Nervi and also his architectural works. The reason why we chose this is that the dome explains both the smooth and flow-like single form surface that especially this architect was constructed in concrete. Concrete is a good material as it has superior energy efficiency due to extremely low air infiltration and the insulation performance available from spayed-in-place polyurethane foam. As nearly all parts of the surface is covered and blocked from air, it is fire, water and other proofing. It is due to the inherent abilities of masonry structures. These dwellings typically enjoy low fire insurance premiums. We decided to transform this as it contains not only the characteristic of monolithic with smooth and flow-like surface and a mass and heavy structure, the “Y” shape buttress and also the cross pattern on the ribbed-dome give an interpretation of the continuity of how monolithic material extends. We can use the fractal way to show that especially when creating the surface for our design because fractal can best explain the idea of continuity.
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B.4.2 Museo Soumaya PRECEDENT Architect: Carlos Slim Location: Ampliacion Granada, Miguel Hidalgo, Mexico City, Federal District Year: 2011
For this case study, we look more on the patterning on the façade that it gives the idea of continuity. The patterning extends all over the whole building façade.
Mexico has a great tradition of craft which architects use dynamic scale, space, light and material. In particular, the Museo Soumaya was a masterpiece and breakthrough for both Carlos Slim Helu and the whole architectural field in Mexico. The construction of this architectural icon finished and opened to public in 2011. The exterior was possessed a strong formality, with the help of Fernando Romero in designing, the Museo Soumaya received all the good impression and review in the architecture as a whole especially the exterior façade. This structural surface was assisted by the help of complex computational techniques which end up forming a cohesive and vastly cooperative approach to design. They have no prior precedents or projects or expertise to follow and look at but end up their organization and harmonization of the teams made it to the success. They have attempted with new techniques to design and construct the Museo Soumaya which were the use of laser scanning, parametric modelling and other algorithmic techniques to design and model the project in 3-Dimension.
Relationship with Monolithic and characteristics
The shiny silver structure in-cooperated with the hexagonal pieces is applied to catch the light and the twisted effect on the surface panel were the unique highlight of the whole construction. “The exterior form of the Museo Soumaya is a double-curved surface that represents the concept of the museum as a container for the work.” This curvy façade panel is best demonstrated what we defined monolithic materials which are continuous in a single form, having a smooth surface with a flow-like feeling and with no joints. It gives an interpretation of giving out high protection to the interior. For the boundary of the hexagonal pieces, it can be said as the pattern. We are also going for mapping a surface with a continuous pattern flow on the structure we generate later on. This can help in describing what monolithic actually means. That curvy outline of the façade is the key and we will keep that and transform further based on that curvy way. Furthermore, the fractal effect can be well explained in the study of monolithic as it is the best way to show the idea continuity of the monolithic material.
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B.5 Initial Direction ARGUMENT To design an engaging architecture that captures the essence of the locality, providing a station of relaxation and communication, in a contemporary sense, embracing digital technology.
When we were looking at the site map we got an impression to the site, it is that the whole site is full of
green and brown colours only. The context gave us a sense of relaxing and a little bit rough in texture. Then we came up with an idea which also suits our chosen material as well.
The idea is that a drop of colour is fallen on the site and it is spreading out in a continuous form. We thought the site should have more colours on it so that it can catch the attention of the people travelling pass. Our sculpture has a longitudinal shape which means that it is running through. Liquid can never be flat and that is why there are up and down curves on the longitudinal design. From the findings of monolithic materials, we stressed on the idea that monolithic materials has a continuous flow in a single form characteristic. We used the pattern generation to fit into the idea of a continuous form. In monolithic materials, they are continuous in the sense they do not need any joints and you can see it shows a flow from the head to the toe of the building. The continuity and fusion reduce the separateness of the parts and the articulation of continuity concentrates on smooth transitions. The idea of continuity reduces the independence of the elements and focuses on the largest and most important element of the whole, while reducing focus on the other independent elements. For the colour, we want to use the contrasting colours to the site and make the design more colourful. It is because of an observation as well as finding towards the site too. To make a sculpture at this site, it has to be outstanding, unique and eye-catching as the viewing time for that might only last for around 10 seconds that cars travelling through the roads and freeway there at the speed of 100km/hr. That is how first impression is so important to the people passing by.
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This is where the first idea came and look. A drop of colour is fallen on the site and this, first sketch was the way just like the water drop fallen on a surface and the spread of it. And soon after the wind speed and the slope on the site the shape will changed from a circle to an oval and soon will change to a curvy-like surface which follows a little bit of the curve of the site.
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Research Project (MATRIX) LINEAR PATTERNING
STRUCTURAL
TRUSSES
We have come up with this shape after our sketches for our ideas generated. We kindly grouped the sketches into 3 main categories with Linear Patterning, structural and trusses. For our prototype, we made some models based on these shapes to both test the material (which is best towards the final one) and also the structure of our prototype fits to our ideas and argument.
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ATTRACTOR POINTS MAP TO SURFACE
We believed that splitting our design into two parts is a good way as we wanted to show two things on our design which are the continuous form (which is going to be shown on the surface) and also the argument of the colour drops onto the context with the monolithic property supported. And that is why we tried another tool in Grasshopper that is the Mapping Surface. The outer structure of this already represents our argument and ideas on the colour drop, so for now what we have to show is the continuity idea. We have used this tool to map some patterns onto the surface to test which best define the continuity idea.
For our whole progress of using Grasshopper, we have noticed and understood one thing that is most of the time what our imaginary virtual picture came up to our mind is not the same as what we created in Grasshopper. There is always error in creating the exact same picture as it was in our mind. That is why representing reasons are also very important. This is the only limit for using computerization programs, except this, it is a good tool in saving time and good representation.
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B.6 Exploration Prototype
I see this part the most important thing is research and case studies and
generating our ideas towards our design. And that is why, with one week left for changing our design ideas approach, we chose to focus more on the research and explaining case studies and also developing our ideas and reasons for our design rapidly. With our prototype, we did not manage to have enough time to attempt more shapes and For the attracted points in plaster one, both of us love this pattern as it is not very boring to be the same size and shape throughout the whole surface. However, the circles are not connected or stick together to make a surface piece as a whole. It seems that it does not suit our idea for continuity and that is why we end up trying different other patterning. For the hexagon card-cutting unrolled surface, it is also a prototype for the pattern on the surface. We do hexagon is because it has more flexibility than the trusses and also the circles. However, because of the unrolling during the fabrication, we could not be able to fabricate them back to the shape we chose before unrolling. We tried to make our design to be something climbable, reachable and interactive. Travellers would be interested to stop by and have fun with it and explore it. We would be focusing on the sectioning method from now on as it seems to provide a great opportunity in fabrication and showing the continuity of the form.
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B.7 Mid-semester Presentation feedback For
our presentation, luckily we succeed to present our ideas to the panel and we were quite delighted with that as we did prepare a lot as both of us are not local Australians with English as our first language. Although we had made a speech out to look at, for repeating practices, we have nearly memorized everything in there. During the presentation, we were (I don’t know my partner but at least I was) a lot more comfort in presenting. However, with only 6 minutes limitation, we had to go fast so as to say everything we had and to explain clearly. The panel liked our approach and presentation, however, just that we did not provide enough prototype and explain that in detail. Here are some feedback that are very useful for us to go on further developing our ideas: 1. The curve shape should have reasons behind and a transformation of how this shape came out [Should go back to the monolithic idea generation] We did have transformed from our initial idea to this shape however we did not use Grasshopper to generate them. We are going to go back and use Grasshopper to do some transformations 2. Our own definitions of monolithic were not shown on prototype The reason is because really we did not have enough time to make more prototype, the ones we have at the moment are the ones at the early stage. Another reason is because it takes ages for plaster to be prepared and also dried. We are going to make more prototypes during the holiday after finalized our ideas and structure of our design 3. Do not study more on just the surfaces BUT from the design processes [transformation and experience should be involved] We will try to generate 1 whole structure then do rapid changes in it with some reasons as suggested 4. Go and have a look at the precedent - Jewish Holocaust Memorial [the use of space there is related to our design ideas]
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B.8 Part B Conclusion The whole Design Approach module is very intense and occurs rapid transformation after re-
searches. Although this week involves more weeks duration than the last one, everything is so packed. Each week has its new learning approach and if you miss it, you are going to be dead. Like me. Not to feel pathetic but to remind myself how I could survive this module. After did not sleep for 3 entire days and nights for my part A submission, my 3 weeks at the start of part B was nothing. Being so sick that not even be able to attend any class. It was really a reminder to myself that not only this subject this module or the coming module but also to other subjects. Never exceed the limit of yourself. It can go even worse. Start everything earlier. For this module, we noticed what we are lack of and what we have to improve. We are lack of matrix to generate our ideas and also to try out more prototype from our materials. We have used plaster most of the time and found out that it is a material which is really hard to take care of and takes too long to be dried. We are going to try other monolithic materials such as the acrylic and the MVF. In the coming stage we are going to focus on the form of our design. The idea will be a lot stronger compared to the time when we were doing the mid-semester presentation. It is going to be an outstanding and unique design for Wyndham and people will sure like this!!
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“Form follows function.” ... Team, stop creating random shapes!!
--Louis Sullivan--
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PART C
PROJECT PROPOSAL
This section is really an intense section for me in person and in group. For only few weeks time we have been through the most intense period of not having the digital outcome that we were aimed for and having a sudden idea pop up out of the blue of knowing what direction we should be following. I am very proud of our project. It’s always rewarding to see an ambitious design become reality. Even though the process is hard to pass through, it is such a great experience to learn to become a real architect, having the same life as a professional architect. CHANGE IT STILL, ALWAYS HAVE, ALWAYS WILL.
C.1 Design Concept
Our final design concept ultimately finalized after the mid-semester presentation, during the mid-semes-
ter break. We have splitted the design into two parts which is the idea of blending into the site (but at the same time with uniqueness and attractiveness expression) and the idea of continuous flow characteristic of monolithic material. With the idea of blending in, we have extracted the lines of the site B (chosen site) out and created a form which has an expression of being interactive and connective. In this case it is like lines being crossed together. The other idea will be the continuous flow idea. We are going back to the idea of mapping on surface but this time it is a bit different that not only pattern itself being repeated or connected but with the idea from something like motion blur. Our target will be the drivers so we think that as long as we can create the visual engagement of continuity to the drivers it is the way of suiting our focused idea. Our first idea would be making something sectionalling with the shape that we created for the base. However it is too boring to be visualized and it is totally not iconic enough. We started thinking that the patterning has to be something really interesting, both in shapes when close-up and envisioning effect as a whole. We go back to the definition of monolithic that we have to make something showing a continuous effect, in our case is the effect that engages with the drivers so that it does not have to be literally continuous but visually continuous.
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This is how our design concept is represented in diagram. It is much similar to what has been explained in the previous page by telling how the lines were generated and where the sectioning comes from.
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C.2 Algorithmic Exploration
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“To design an engaging architecture that captures the essence of the locality, providing a station of relaxation and engagement, in a contemporary sense, embracing digital technology.�
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C.3 Tectonic Element Material Focus
To redefine the word monolithic material, it: • Is continuous in single form • Is showing a flow • Uniformity and repetitiveness
We have come up with an agreement on the method of the monolithical process which is both casting and carving. For testing different monolithic materials, we have also finally come up with using RESIN and PERSPEX. The finding we got from using monolithic materials for modelling is that it is really inconsistent for the result or outcome. We can only estimate or assume what the outcome it will be and never have the exact shape as we planned or expected as same as the initial designed one as all the models have to be hand casted or carved manually. Although it can be really easy to change the shape, more flexible, it is not easy to be taken out from the mould. Last minute rush is never achievable and workable for this type of materials. Most of the monolithical materials are in liquid form, even for the ones which is not in liquid form, they can still be executed in a smooth surface if needed. In our project, the surface of the materials used is very important as to give the impression to the drivers (target) that they are engaged and to be seen as not a boring structure. That is why, the resin and perspex are both glossy materials that different colours or shininess or brightness can be seen from different angles.
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Elements and System
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C.4 Digital Modelling
“Colour in certain places has the great value of making the outlines and structural planes seem more energetic.� --Antonio Gaudi--
This is our final design of the model. Whether or not it can be constructed physically, it will still be something similar to this.
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C.5 Fabrication on STRUCTURE
For the structure of the design, which we want to give an visual expression of a motion blur, so that drivers, as our target viewer can be engaged with the design sculpture. It is, not simply only a framework in sections, but also showing the dynamic of changing. We tried to link it with the noise on the site to create the ups and downs. By lining them out, it gives out that continuous flow pattern picture that we were aiming for.
Black Perspex was chosen because it got the drivers’ attention to view this motion blur effect. It is also very straight that it does not create any inconsistence on the surface. Being stable and rigid are all we want from this framework structure. We use laser-cut in this structure as we think that it is important to have a smooth surface on the side for our framing panels to be added in. However, after lining them out, we found out that black ones although really pretty and exceedingly gives that planned outcome, it is too sharp that it over-powered and covered the triangles and catch the focal point of the whole design. It was supposed to be less important compared to the patterning based on the reasons and ideas given. Also, there are too many of them that we thought of the idea that after we put the panels on the side of the framework, the whole thing is too heavy and the shower created with be extremely messy. Then we tried to make the framework as really a frame and with a transparent colour. However we made it too thin and the Perspex is not cut through when laser-cutting it and end up breaking the frame. Also for the heavy triangles, there is a mass on it that it won’t be able to support the whole structure. That is why we ended up going back to the same pattern with transparent Perspex with sharp end.
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First set of unrolling of the perspex structure:
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Second set of unrolling of the perspex structure:
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... a side view
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... a top view
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on FRAMING We put framing on the surface not only because of avoiding boredom but to give out more reasoning to
our design idea. We have mentioned that the triangle idea came from the 3 primary colour image and that they interrelated to each other to make the curves in the middle. These triangles are going to be put on the surfaces, covering ALL the structural perspex in the middle. These panels are going to be transparent and that is why the middle perspex will still be seen after covering these panels.
Before starting with these small panels with 5cm length of the sides of the triangles, we tried out with some prototypes. However, because it took time for the prototypes to be dried, we did not have enough time to wait to remove the mould before starting the real ones. We did not know that the papers would actually stick with the resins that we could hardly remove the papers even we soaked them in water and removed the papers. We still continued making them as we did not have enough time to redo the whole thing once before the last studio before the final presentation. After spending so much time and money on only PROTOTYPES, we learnt how to make our model using the best choices of materials. For this framing, we were going to use the PVC to be the mould and after pouring the resin in, the mould will not be soaked and can be relatively easier to be cut and removed.
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“Not many architects have the luxury to reject significant things.� --Rem Koolhaas--
... but we really have no choice not to throw all these away and start it all over again. We really cannot remove the papers out from the resins even we have tried soaking, burning, pulling and removing cruelly.
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... this is how we are thinking of putting them together
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fabrication of the 3d model
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This is the 3d modelling part which the pattern is altered a little bit different. It is because the file after all the moderation is too big that it has to cut down a bit in the patterning. In addition, towards the end the pipes are too thick and the gap is not enough to fit the triangles. Leading to the shape of this model look. Some of the close-up are captured to show the detail better and the pattern of the triangles is similar to this 3d model. It is like the work of art here.
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C.6 Part C Conclusion In conclusion, this part is the most enjoyable part but at the same time, most time consuming and
most frequent accident-occuring part in person. This project can be said to be able to be concluded at this stage. The whole design is out after all the transformation of the design ideas and process. It is not an easy way of doing it the best because there is no such thing as perfect in here. There is always better and more to be improved. Yet, during each time of failing there is always at least something to learn from. Our fabrication process is such a good example here. We thought that it might be the last and final model to be handed in, but there is always something to be changed to become better. Just that you have enough time to do so or not. Until the last week we were still changing our design, materials and whole model had to be remake again. What a pity this part only lasted for 3 weeks. If we have more time to do, we might be able to have a better outcome with stronger and better ideas to back up. However, think it in another way, if we have more time, we might still keep changing out ideas until the last minute that everything has to be finalized. To conclude this part by stating our understanding about this monolithical material. It is really an enemy of fabrication. Especially when we always change ideas that this type of materials take too long to be finished fabrication. We should actually also have more background information about how to fabricate this type of materials, which of the methods is the best way and do more prototypes before doing the real one.
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“Cheops’ Law: Nothing ever gets built on schedule or within budget.” --Robert A. Heinlein--
... I probably need to find more part-time work for me to cover back all the financial vanishment from all these prototypes.
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PART D
FINAL PROJECT
This section is the most encouraging for me. It is like seeing the baby growing bigger and bigger in the mother’s tummy and waiting him to come out. Even though during the progress there were so much things that made us feeling really grumpy and annoying, the team spirit and the same goal of finishing this project kept us going and not giving up. Here we come to the final part of the project, how we combine all the ideas together to make the final design out and how it can be applied in the real scale in reality.
D.1 Physical Model
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D.2 Experimentation
It is intentionally taken in a blur state to show as it the driver is driving on the freeway viewing this. The finding of this experiment shows that the panels are connected together to see as a whole picture instead of individual one. This can match our idea to give the effect of continuity.
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... testing on the effect of the motion, continuity effect in a driving speed
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”A real building is one on which the eye can light and stay lit.“ --Ezra Pound--
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... testing on the effect of the light and shadow
Different angles of light is tested on the 1:100 model. The colours of the panels reflect on the ground that it creates a really pretty picture consisting of colours and shadow of the panels pattern.
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Imagine it is applied on the real piece of land, the effect will still work together with the street light along the freeway. People will surely slow down and take a look of it. This makes the attemption of having different fastness of speed occurring on the site.
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The image below is the whole 1:100 model with 2 sides shadow effect. The model here is a bit too thin but if it happens in the reality it will look with a bit of thickness and 3-dimensional. The shadow will give out different types of shadowing too in that case.
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... close-up shots
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D.3 Real Installation
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PART E
LEARNING REFLECTION
This section is all about reflection. After the whole project, there are so much feelings about the process of researching, designing, fabricating etc. The learning outcomes of each part previously are included in this part as well together with some extra pages talking about personal experienced or new invention, learning objectives and a section about how the model can turn out to be a real one in reality that further work has to be considered and done. It is grateful to be able to write all the reflections out, not only for viewers to understand the situation but also for myself to review the process and learn from it.
E.1 Personal Experience To talk about the whole experience about this project, this most memorable about the process is definitely the moment of the last couple of weeks before the final presentation. It was really a tough period of time for me (I know it is the tough time for all architecture student). Everyday is totally the same for me except the tutorials and studio. All the time except that I just stayed in the fabrication room thinking how to turn our digital model into a practical one. Not to mention the time coordination with groupmate, I have spent all my time days and nights on this that I have missed so much work on other subjects. I do not tend to gain any synthesis from anyone, just to think back my working process particularly. It is the time where we REALLY have to make our mind on our final design. For myself, compared to my groupmate, I am the type of person that enjoy the handcrafting things more than using computer programs. That is why we were kind of dividing the work so that we can work separately that we do not need to match the timetable to suit each other and work poductively. I was so stress on making so many prototypes and still not yet started on the final one and that the design was not even finalized. It is definitely a time for me to learn how to keep on having patience and exercising restraint even when I do not have any sleep at all. I also learnt how to work in groups and what to be consider carefully when I am working in group (as I used to work individually on many projects in the past). The other important thing towards my personal experience is that Grasshopper is really not easy to learn. When I first touched Grasshopper in Virtual Environments, we were given all the inputs and outputs that we only needed to press on or off on the buttons, that is why I did not think that it is actually as hard as that when I literally need to use Grasshopper to design something from nothing in hand. It is surely a way for me to learn a new program in fast track, but in this case it is really intense that during that period of time the colours that I hate the most are absolutely red and orange. I know I will continue learning Grasshopper after this course.
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E.2 Learning Objectives After a total of 12 weeks work, there are a lot of failures we have been through. And even for the final
model there are still amendments that we would like to make. To look at this project objectively, we noticed that our initial idea and the final model are closely related and the final design fulfilled all the requirement of developing an iconic/ land mare structure that people can be associated, contributed and engaged with the discourse around the city of Wyndham, Werribee and architecture. The flaws of the final models might probably be the fabrication part of the triangular panels. Although we have already spent so much time in casting them, the resin is still not a good materials to be used for modelling. Furthermore, to look a bit backward, the flaw for the designing part is absolutely the part where we were supposed to generate matrix and more different types of algorithmic sketches. That time was when we were lack of communication and that both of us thought of generating some really crucial ones and the ones which are only related to the project. We focus on the quality but not the quantity. That is why there is nothing really random, end up making that area lack of crazy ideas or more different directions. In addition, there is also flaw about the arguments that we created. We have many arguments and ideas with us but they are all not strong enough to support. They are pieces and pieces that further exploration is needed. What a pity we did not have enough time to go deeper and explore more so that our models can be supported with better ideas and arguments back-up. This learning opportunity taught me to look at things in a more objective way. Although personal interest really benefits in overall, things can never be subjective and random, surely have to be meaningful.
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E.3 Learning Outcomes PART A For the first section of the course, I did not expect much about that until I really know what I was supposed to do. Before choosing this course and reading the readers about the Gateway project, I have no idea about the importance of computational tools. I was really not very used to using computational tools as my second hand in designing.
After this part with four weeks of researching and understanding the concept of parametric modelling, I have up to the stage of knowing that using parametric modelling is actually better in expressing ideas and the direction can be clearer and go beyond the reality, in imagination. Although after the first part I still have not had a clear mind of what I want to focus on to continue to the design approach. Materials and forms are seen as really important in this area and they can be helpful and the factors in representing the ideas that we want to show. All the chosen precedents of the past are the assistance in thinking our ideas more critically and realistic. That is why the summarize parts of the precedents are always important, never under-estimate them. The Grasshopper learning section is an important experience of the first four weeks time as it was officially the first touch of it. Everyone was very looking forward to learn more about this new program including me. Although I know this is an intense work, applying on myself, I know if I do not learn it in this way, I will not be able to learn such program in this short period of time.
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PART B Throughout this module I have gained the engagement of using digital program to generate my
ideas. It is great that my explanation and expression of ideas are not verbal only anymore. It has also resulted in some moments of satisfactory and victory, though most of the time fail, errors, frustration and confusion moments are relatively more than that. Up and down, high and low, there are too much distinct feelings happening during these few weeks for this module. For myself, I enjoy learning things a lot, however it is the main reason which always keep me away from success, that is I always use a lot more time than others to understand things. And that is why, I hate learning things within a really limited time. Initially, I was really delighted and enthusiastic about learning a new skills especially in adding more knowledge towards the program that I have learnt. Unfortunately, my enthusiasm was rapidly tested during the moments when I also questioned myself what I was doing. For certain moments, I kept asking myself why didn’t I generate ideas by hand, instead of sitting in front of the computer seeing every single red box appears. Error. Error. Error. Luckily, being well coordinated with my partner, we figured out what to do and how we should separate our work so that things can go smoother and faster. We survived to the presentation. Just that our digital skills have to be improved so that we could both generate more matrix for our ideas transformation and also generate our final model design. Overall, this module is getting harder compared to the last one but at the same time I have learnt a lot through Grasshopper and from the case studies and use that to explain our ideas too.
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PART C The whole process of learning is really rewarding. Through this project in this course, we had opportu-
nities to learn new things in the architectural field. It is a very different course compared to other studios in this faculty. The process is very similar to virtual, but of course in a high level of education and learning skills. During the first half of the work it is more like the researching weeks. When I just learnt how to research something that is useful to my interesting part towards the project, we were asked to start designing and having ideas and concepts. Everything is so fast that there is no way or time to rest a bit in between. Although the schedule is so packed and intense, I feel really grateful that I have learnt really a lot during the process.
For the last section of the project, it is all about fabrication. The model is relatively successful. Everything, including the small details have to be overlooked so that it can be applied in real life. After the physical model is made, we have also required to consider the real scale. All the controls have to be made precisely. That is the area which we discussed for pretty long. Part C is still not the end as after the presentation we still have something to correct and amend in order to provide our final model. As for the presentation we did not have enough time to give out any photo montages or where our design is actually situated, making the tutors are a bit confused. That is why, providing a right scale map and section or plan or digital edited image is very required.
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“I would like my architecture to inspire people to use their own resources, to move into the future.� --Tadao Ando--
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PART F
ADDITIONAL NOTES
F.1 Reference [1] Subject Outline
[2] Solar Algorithm Wizardry (http://www.oddycentral.co.uk/solar-algorithm-wizardry-architecture-inspired-by-mathematics) [3] Beijing Water Cube In Night China (http://www.wall-online.net/wallpaper/beijing-water-cube-in-night-china.html) [4] Frazer, John h. (2006). ‘the generation of Virtual prototypes for performance optimization’, in gameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas oosterhuis and Lukas Feireiss (rotterdam: episode publishers), pp. 208-212 [5] Guggenheim Museum by Frank Gehry (http://mafana.wordpress.com/2011/10/03/how-does-technology-impact-architecture/) [6] “Frank Gehry, architect”. Colomina, Beatriz, Friedman, Mildred, Mitchell, William, Ragheb, Fiona and Cohen, Jean-Louis. Harry N. Abrams, 2001. [7] Lecture 3 [8] Dragon Skin Project (http://dragonskinproject.com/) (http://www.l-e-a-d.pro/projects/dragon-skin-pavilion/2259) [9] Case Study by: Pilar Guerrero ARE320K, Fall 2010 http://moreaedesign.wordpress.com/2012/09/15/more-about-guggenheim-museum-bilbao/
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F.2 Image Reference
Fig [I]. Endesa Pavilion, 2011 (http://www.archdaily.com/274900/endesa-pavilion-iaac/)
Fig [II]. Endesa Pavilion, 2011 (http://www.archdaily.com/274900/endesa-pavilion-iaac/) Fig [III]. Water Cube in Night China, 2008 (http://www.wall-online.net/wallpaper/beijing-water-cube-innight-china.html) Fig [VI]. Water Cube in Night China, 2008 (http://www.wall-online.net/wallpaper/beijing-water-cube-innight-china.html) Fig [VII]. The Guggenheim Museum Bilbao, 1997 (www.dac.dk and Gehry Partners LLP) Fig [VIII]. The Guggenheim Museum Bilbao, 1997 (www.dac.dk and Gehry Partners LLP) Fig [IX]. Dragon Skin Project, 2012 (http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead/) Fig [X]. Kashara Culture and Amenity Hall, 2006 (http://www.ushida-findlay.com/project/kashara-culture-and-amenity-hall/) Fig [XI]. Kashara Culture and Amenity Hall, 2006 (http://www.ushida-findlay.com/project/kashara-culture-and-amenity-hall/)
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Thank You!