AIR studio Mitchell Gow - 391108 (final)

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ARCHITECTURE DESIGN STUDIO AIR MITCHELL GOW: 391108 SEMESTER TWO: 2013 TUTOR: DAVID LISTER

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Transcript of AIR studio Mitchell Gow - 391108 (final)

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ARCHITECTURE DESIGN STUDIO

AIR

MITCHELL GOW: 391108SEMESTER TWO: 2013

TUTOR: DAVID LISTER

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My name is Mitchell Gow. I am currently in my second last semes-ter of the Bachelor of Environ-ments at The University of Mel-bourne, majoring in architecture. I began studying here in 2011, after completing a gap year in which I worked full time at Victo-ria’s number one green grocer, as voted by the Herald Sun, two years ago. It was during this year that I developed a great passion for food and also became greatly interested in the diverse range environmental concerns facing the world. I was initially studying a Bachelor of Arts, majoring in politics and economics, with the intention to save to world from imminent peril but later decided to, be a little more light hearted, and change to a course that I would enjoy more and that would allow my creative side to be greater developed. This course does make me excited about being part of a community,

that is the architecture world, that is so focused upon innovation, striving for sustainability and is progressive by its very nature. The thing about studying archi-tecture that I have recently found so interesting is that throughout history it has been a discipline that has never succumb to the law of diminishing returns. In my eyes, the outcomes that are achievable through architecture have only become more experimental and grand as history has progressed. And this is even more so the case as the abilities of computational design outcomes become more diverse and elaborate. Thus the future of architecture is something I am very thrilled to not just ob-serve but hopefully be a part of one day. In terms of architectural knowl-edge, I feel I have a somewhat sound construction focused understanding for this level of my degree. This comes from learning

from my father who is a builder but also from working as a la-borer on construction sites for the past four years. However, in terms of this subject I feel I have a great deal of work to put in to come up to scratch in terms of computa-tional design ability and in order to achieve something unique that I would be proud of.

ABOUT ME

(1) Me

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My experience with computa-tional design is very limited. I did study Virtual Environments in 2012 but it was a subject that I found extremely difficult to do well in. Overall I was disappointed with my overall outcome, though my model was somewhat aesthetically appealing, I never felt as though I had a firm handle on the use of the Rhino design software. So it is with great apprehension that I take this subject and yet I do have great desires to improve my ability to design using such programs and have begun watching a great deal of video tutorials in hope that I can be happier with my efforts this semester. Saying this, last semester was very useful for in that I was introduced to AutoCAD in the subject Visual Communications and became more proficient, though still very amateur, in its use when doing a small amount of work for the firm Snowdon architects, based at the

Abbotsford Convent. My work here was, and con-tinues to be, mostly orientated around model making, though as I become more proficient with such design programs I am sure more opportunities will become avail-able to me. The firm recently was awarded the commission for the new lemur enclosure at the Melbourne Zoo and I was hired to complete a model of one of the pod-like struc-tures that make up the viewing platform, which was presented to the zoo’s CEO and pleasantly re-ceived. I was also given freedom in designing the overall curve built into the elevation of the entrance gate. This project is currently under construction and I continue to do casual work for the firm when its available. So as this semester begins I admit that I have great fears that my knowledge and expertise of computational design is greatly

insufficient for where it should be at this point but I am hoping that, through perseverance on my part, this semester provides me with a much greater understanding of the conceptual and computational tools available to me on my road to hopefully a career in architec-ture.

PAST EXPERIENCE

(2) Model for Melbourne Zoo project

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PART A

A CASE FOR INNOVATION

EOI I:A very special thank you to Dave Lister for his assistance (and patience) throughout the semester and my group members for

making the semester so enjoyable.

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PART B

PART A

PART C

A CASE FOR INNOVATION

DESIGNAPPROACH

PROJECT PROPOSAL

EOI I:

EOI II:

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PART A A CASE FOR INNOVATION

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CONTENTSA.0 - INTRODUCTION.............................................................................................................................................8.

A.1 - ARCHITECTURE AS DISCOURSE..............................................................................................9.

A.2 - COMPUTATIONAL ARCHITECTURE................................................................................15.

A.3 - PARAMETRIC MODELLING.......................................................................................................21.

A.4 - CONCLUSION................................................................................................................................................24.

A.5 - LEARNING OUTCOMES.................................................................................................................25.

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The Western Gateway Design Project presents a fantastic oppor-tunity for both the Wyndham City municipality and our small group of university students who are greatly involved in exploring the new capabilities of architectural practices through computational design this semester. Wyndham City council has described in the competition brief document that they wish the instil-lation of the gateway to be ‘eye catching’, ‘exciting’, and ‘inspira-tional’ [1]. It seems essential that to see such adjectives recognised, a design approach must be ad-opted that is equally as ‘exciting’; the relatively new possibilities of computational design through parametric modeling is what is be-ing suggested here as the answer. Such design techniques and pro-cesses are being developed to a greater extent everyday and they offer design and construction pos-sibilities that are unprecedented, and yet modeled in such a way that risks are greatly reduced and the structure’s mechanics can be clearly understood well prior to

erection. Such techniques allow for forms and designs to be created that have never been seen before, a factor that would certainly make for and ‘eye catching’ instillation. The focus of our design inquiries centralise around the use of tim-ber, which, understandably, may be considered a very traditional building material. However, the possibilities of what is achievable with this material is under constant development, as will be explained through looking at precedence projects in upcoming chapters, due to computations ability to have a strong material based design pro-cess that initiate the development of an outcome through investigat-ing such material. In addition to the current level of experimentation providing strong examples for innovative work, tim-ber also provides a great material for use because of it’s sustainability potential. Timber is a renewable resource, that has an extremely low level of embodied energy and plantation timber works to off-set carbon emissions; a fine choice

in the industry of construction that is known for having a consider-able environmental footprint, which allows this project to break away from such stigma [2]. In addition to this, the use of compu-tational design allows for minimal wastage of construction materials to be optimised, thus only further-ing the highly sustainable potential of this material. The intention of the following con-tent is thus to display that through a computational design investiga-tion into timber construction, our group will produce a gateway that is innovative and exciting in that it will be unique and pushing the boundaries of what is tradi-tionally considered possible with such a common material. Also the design will promote Wyndham City Council’s focus on progressive development in terms of sustain-ability, preferencing a renewable resource. And display a novel construction that will act to inspire positive impressions for all those entering the municipality.

INTRODUCTION

WYNDHAM CITYWESTERN GATEWAY DESIGN PROJECT

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Architecture is most often associ-ated with either the visual or constructed environment, yet as a field of study it is important to look beyond tactile examples and delve further, to also consider the conversations that surround architectural design. In truth archi-tecture, as described by Patrick Schumacher, ‘cannot be under-stood completely with out further understanding the discourse that surrounds the discipline [3]’. Discourse is not restricted only to deliberate interactions grounded in language yet is a combina-tion of ‘practice, knowledge and artefacts’, all of which add to or create discourse within the field of architecture [4]. Understanding architectural discourse allows for a far better attempt to encapsulate the myriad of ideas a design intentionally but also unconsciously presents; importantly, these include reflec-tions on the current cultural, social and political environment. A choice to preference one archi-tectural style over another is thus not only a decision of aesthetic

taste but reflective on the con-text in which design is proposed. Therefore architecture cannot be considered a discipline centred in the material world, rather is better regarded as a ‘network of practices and debates about the built environment’, which revolves around theoretically based ideas and is reflective on context [4]. We only have to look as far as the influence of such vision-ary architecture movements as Archigram, Japanese Metabolists, or the Futurist movement, for examples, to understand that the constructed environment makes up but a small part of architectural discourse. Hill explains that such discourse is extremely important in ‘capturing the thinking of different epochs’, promoting such intangible contributions to the discipline as invaluable [5]. Furthermore a great part of archi-tectural discourse surrounds how the public receives the ideas that are being presented. A property somewhat unique to architecture in that once we analyse it through discourse, everyone becomes a

participant [4]. By investing in an explorative architecture design method, the Western City Design Project is not just electing to produce a unique, eye catching, and innovative construction but choosing to make an important contribution to the discourse that encapsulates archi-tecture. The application of com-putational design that frequently breaks pre-conceived boundaries of what is possible, will be used here to ensure the gateway design adds to the discourse of the architecture discipline and also acts to engage the public and encourage discussion and debate.

ARCHITECTURE AS DISCOURSE

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It seems only fitting that a discus-sion on innovative construction using timber should begin with an investigation into the work of Alvar Aalto (1898 - 1976). Aalto is an architect who’s un-compromising focus on invention and innovation lead to outcomes that would affect the future of architectural discourse to this day. He is the man that can lay claim to inventing bent plywood furniture, a remarkable creation that is commonplace today and

continues to be explored [6]. And also, his endeavor to dramatically break away from modernism, the prescribed style of his early career, caused his work to act as a catalyst for future architecture discourse on appropriate styles. The piece of work by Aalto that must be discussed here, is his Finnish Pavilion, at the New York World’s Fair, 1939. The use of timber is a ubiquitous feature of Aalto’s work, yet never used as a feature such to the extent of this

pavilion; a production that saw him infect modernism with the desire to use wood. This was after a time where Aalto had shown a successful transcrip-tion of the modernist principle, us-ing all of Le Corbusier’s five points of a new architecture in his design of the Turun Sanomat newspaper plant (1928-30) [7]. And yet the production of the Finnish Pavilion broke prescribed moulds of mod-ernism through the introduction of sinuously curved walls, rather than

ALVAR AALTOFINNISH PAVILLION AND PLYWOOD EXPLORATIONS

PRECEDENCE ONE

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the common, rigid, and straight system, and the extensive use of timber, a previously considered pre-modern material. It is important to note is the discourse that followed this astonishingly different display of architecture, in a time where modernism appeared to dominate the discipline. Overall the work was praised; regarded as a ‘symphony of timber construction that achieved a rugged sophisti-cation’ [8]. Henry Russell-Hitchcock described such praise as express-ing the boredom that had already set in with the standard architec-ture of the International Style and Aalto’s work presented a distinct separation from such architectural

prescriptions [9].It was Aalto’s innovation and willingness to explore new out-comes and possibilities that lead to him being considered one of the great architects of the twenty-first century. Through continuous explo-ration he was able to change the framework of what was ‘appro-priate’ architecture and initiated future discourse into what style modernism would become the precursor to. Aalto’s exploration into plywood fabrication also opened up an entire discussion into what was now achievable. His work lead to future developments in the field by Charles and Ray Eames and it can be deduced that such contempo-

raries as Matthias Pliessnig (oppo-site page) may not be achieving what is currently recognised as ground-breaking had of Aalto not begun such discourse.Aalto’s work shows the great potential that exploration into timber construction has in regards to propagating further discourse into the discipline of architectural design. Wyndham City council thus have a great opportunity to be actively involved in furthering this discourse through electing our team, with that particular focus.

(3) Opposite page: Alvar Aalto’s Finnish Pavillion Interior, New York World’s Fair, 1939 (4) Below: Alvar Aalto’s Piamio Scroll Chair (1929)(5) Far Left: Alvar Aalto’s Armchair (1931) (6) Bottom Left: Matthias Pliessnig’s Providence Seat(7) Bottom Right: Matthias Pliessnig’s Ebb Seat

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This refurbishment by dECOI Archi-tects to an office floor in Boston, Massachusetts, displays incredibly expressive dynamism in a still form. The architects of this project have explored the possibilities that digi-tal manufacturing have enabled and as a result have come to use timber in a way that seems as if it was a malleable plastic material. Though the sinuous aesthetic seems to have taken priority in the design, the transformation of this internal space is continuously ‘infected’ by function. The defor-mations in the fluid design gener-ally represent functional purposes such as ventilation grills or lighting pockets and come together in the ground plane to create the static furniture [10]. Apart from the expressive aesthet-ic qualities of the refurbishment, the design also emphasises strong environmental considerations regarding sustainable construction, a celebration of accuracy and efficiency created through digital fabrication and overall allowed for a rethinking of the role of the architect or designer, in terms of involvement from idea develop-ment to the completed construc-tion [10]. A great deal of attention within the discourse of architecture is focused around the ability of projects to adopt sustainable ap-

proaches. With the lack of repetition and predictability, it could be assumed that this project was very wasteful in it’s use of materials and a result highly unsustainable. However, dECOI set out with a ‘radical environmental agenda’ and deliberately elected sustainably forested timber, being a carbon negative, raw material. In addition to this, even after one thousand square meters of sectional pieces were nested onto 1200 sheets of 1.5inch thick ply and over a million linear feet of cutting was completed, wastage made up only 10% of material usage, of which was pulped and recycled [10]. Thus the project acts as an example for architectural discourse surrounding the potential that computational design has with regards to maxi-mising efficient use of materials, an element that will add to the sustainability potential of all such projects. The project also slightly adjusts traditional thinking of the role of the architect. This particular architecture group enthusiastically integrates interdisciplinary thinking, such as involving mathematical experts, into the design process, slightly changing the part played by the architect and thus the resulting outcome[11]. Additionally the focus on digital

fabrication saw dECOI architects producing completed machine files to be given to the fabricator, meaning the designers had to de-velop and understand completely how this assembly would eventu-ally be put together. In doing so a system was devel-oped that revolutionised the typi-cally multi-trade assemblage to become a streamlined production. Inevitably the greater amount of input from the designers resulted in a highly complex project becoming economical, extremely accurate and easily manageable [10]. In all the project is initially very eye catching but the discourse that surrounds it covers a greater domain than appearance. It is seemingly undeniable the dECOI’s poetic aesthetic is inseparable from the digital based research and process that generated the design. Furthermore the promo-tion of an environmental focus may not appear initially viable but is a crucial element to this project. The proposal for the gateway to Wyndham should follow this exam-ple and aim to encourage a mul-tifaceted architectural discourse, where first impressions based upon appearance represent but a small proportion of ideas that the instillation will portray.

dECOI ARCHITECTSONE MAIN STREET

PRECEDENCE TWO

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(8) Top: dECOI Architects, One Main Street Office Refurbishment, interior (9) Left: Reception desk (10) Right: Fluid Ceiling Design

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“The lord created paper for drawing architecture. Everything else is, for me at least, a waste of

paper” - Alvar Aalto

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The use of computers in the architecture industry are all but ubiquitous in todays practice. CAD programs are used to enable design ideas to be accurately detailed in preparation for later construction. This process of using technological devices to document preconceived design ideas is what is understood as ‘computerization’. In contrast, the method of ‘compu-tation’ is focused upon integrating the use of computational design tools from the very beginning of the design process. This sees architectural form, material con-siderations and structural perfor-mance considered simultaneously from the outset, rather than being constraints needing to be ac-commodated later in the design development, meaning that these elements become the source of exploratory computational design process [12]. This, currently, appears to be a less common approach but is prov-ing to provide a greater degree of new design possibilities than the traditional approach of comput-erization [13]. Mark Goulthorpe, principle of dECOI Architects, sees developments in computation as a means to ‘a philosophical and cognitive shift... entirely requalifying the way architecture is thought

about, practiced, formally created and built’ [11]. The practice of architecture is significantly changing through developments of computation. For instance, programs such as Rhino3d and Grasshopper has increased usage of computational practice but also lead to sug-gestions that the future of the architect lies in the ability to create software rather than use it [14].Overall computation allows for greater understanding of the outcome prior to construction, through the ability to model and test material and structural poten-tials digitally. It is such understand-ing that will lead future architects to be considered builders also, at least in a theoretical perspective, through digitally generating the information needed to manufac-ture and construct designs and thus create a more streamlined approach, removing current inter-mediaries [15].We only have to observe Frank Ghery’s Guggenheim Museum in Bilbao to see an example where designers have revolutionised the construction industry as they become more heavily involved in the later parts of developing an outcome. This is an extremely com-plex design, where tape measures

were not used in the construction because they were not needed. During fabrication each structural component was bar-coded and marked with the nodes of inter-section with adjacent layers of structure. On site bar-codes were swiped to reveal the location and surveying technologies were used on site to precisely position components as defined by the digital model [15]. This construc-tion remains as amazing feat of computational architecture. Consequently, the development of computational architecture is changing the role of the architect to spread across a greater amount of disciplines from programming to construction for example. And in doing so, is allowing designers to enhance their abilities to deal with highly complex situations whilst having greater control over the outcome [16].Taking this into account, the choice to preference computational architecture over other artistic mediums in the Western Gateway Design Competition, will allow for a greater level of organisation, predictability and professionalism, ensuring an impressive result is achieved for the Wyndham City Council.

COMPUTATIONAL ARCHITECTURE

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It may seem counter intuitive to begin a discussion on the possibili-ties of computational design by fo-cusing on a small scale residential housing project. The developments by Facit Homes are however revolutionising they way in which we approach building high quality bespoke homes.Facit Homes are applying para-metrics and digital production methods to the production of sustainable, contemporary housing [17]. This challenge is often over-looked by users of these computa-tional technologies. The company is ideally promoting a house as a product in which can be obtained from a single point of contact, but without being associated to the unappealing image of a factory line product. The production of a Facit Home begins like any others with a

discussion to the designers about what the desired outcome will entail. From this point the design-ers create a highly detailed 3D model. This model is what then allows elements to be translated into physical components. An on site mobile production facility is delivered to the site, making the rest of the projects logistics easily manageable and resulting in a low carbon footprint, and this device uses the dimensions of the 3D model to produce simple box components or ‘chassis’ that make up the structural components of the house. These are extremely easy to assemble and to add to the construction, to an extent where professional laborers are not necessarily needed [17]. The process developed by Facit Homes greatly changes the con-ventional process; as the need for

trained builders is greatly reduced and construction is altered to become a very straightforward process, yet the role of the de-signer (note: these designers are not trained architects) is greatly increased. The changes to construction allow for efficiency and accuracy as a programmed robot does all the work. A sustainable and economic outlook is also taken as robot works to minimise the waste of the project.The project focuses around sustain-ability, efficiency and ease of con-struction. Ultimately, the introduc-tion of computational design has opened up a potential revolution to the process of building residen-tial housing, which Facit Homes is exploring.

dECOI ARCHITECTSONE MAIN STREET

PRECEDENCE ONE

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(11) Opposite page: Hetfordshire House, Under Construction (12) Top: Hetfordshire House, Completed (13) Bottom: On site Mobile Production Facility

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2010 saw the Institute for Com-putational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) design and construct a temporary research pavilion on the grounds of the University of Stuttgart. The driving element of this design was the great focus upon material-oriented computational design. Through this the pavilion realised a novel outcome through investiga-tion into elastically-bent plywood strips. A key contributor to the designs development, Achim Menges, framed the discourse surround-ing this subject in explaining his desire to see material information as a generative driver in design computation, rather than an

afterthought [18]. Unlike traditional computerisation methods, com-putational design is beginning to offer methods of combining both physical materialisation and the development of form in architec-ture. The agenda of this design was therefore aimed at using computational means of explor-ing timber, which would make the designed space entirely defined and constrained by the material behavior of the plywood. The process began with the development of a computational design tool, through a great deal of physical and computational tests, which enabled the relevant material behavioral characteris-tics to be described as parametric dependencies [19]. This enabled

the results to be simulated digitally and visually understood. Remarkably, after the grueling process of developing the de-sign computation process and programming the robot to cut out over five hundred unique parts the assembly of the structure was relatively simple, with all compo-nents slotting into place without a concern [19].The initial emphasis placed on materiality made for a dramatic change to the construction pro-cess. The ‘bottom-up’ approach where ideas on materiality are researched, then later manufac-turing process are completely thought through means that the process of building the structure is the easiest part of the develop-

ICD/ITKE RESEARCH PAVILIONUNIVERSITY OF STUTTGART, 2010

PRECEDENCE TWO

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ment. This is a huge advantage that computational architecture offers but means the role of the designer is omnipresent through-out the entire design process. The important element of this pavilion is not that it produced a completely novel outcome but that it was achieved through taking a committed material performance

oriented design. The result was so well received by the public and the global architecture commu-nity that it can only be expected to have great influence on the specific computational design approach elected by architects in the future. As it has been previously outlined, the gateway design our team will

be proposing will be constructed in timber. The design process should, as is the case here, be heavily rooted in material per-formance. An understanding of achievable geometries will only be truly devised through thorough exploration into timbers material behavior.

(14) Opposite page: ICD/ITKE Research Pavilion, 2010, Under Lights (15) Top: Pavilion Under Construction (16) Bottom: Digitally Simulated Erection of Pavilion

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The discourse that surrounds para-metric modeling is extensive to say the least. The seemingly impossible task of defining this realm of design has been attempted by some but to date, no attempts to do so have been universally agreed upon. Daniel Davis sets out to reduce ambiguity of the term through using a mathematically conceived definition where by parametrics signify ‘a set of equations that express a set of quantities as explicit functions of a number of independent variable know as ‘parameters’’ [20]. But he provides a looser understanding of the term in suggesting that it is often a phrase used in reference to an entity, a digital model, that can be easily changed [21]. In this case the term still represents a set of quantities expressed as an explicit function of a number of parame-ters but refers to the relationship of expression of the function through digital form. Patrik Schumacher offers an alternative view in that parametric architecture, or the developing banner of Parameticism is indeed

a style of architecture, the signifi-cance of which the world has not had the like of since modernism [22]. Saying this, his ideas have been considerably refuted by many involved in architectural discourse. Ambiguousness about the term arises from the very name itself, which suggests that possibly any-thing with set parameters could be included in the set of parametric based design. This is misleading. A personal understanding of what is meant by the term, is that it is at-tempting to encapsulate the breed of design whereby computational scripting, and algorithmic explora-tions are used to create the key aspects of the design. The unre-lenting focus on exploring com-putational possibilities to discover unique and complex outcomes, over analogue methods, associ-ates a process with parametric modeling. The possibilities of computation are becoming greater as such pro-grams develop and Daniel Davis admits that such rapid expansion in the application of parametric modeling has in fact lead to some

confusion over its meaning. Nevertheless no matter who is involved in the discourse a com-monly agreed upon attribute of parametric modeling is its ability to explore new outcomes and the potential to be a ‘means to discov-ery’, as Mark Burry puts it [23]. It is this very means to discovery that creates great excitement about the potential outcome for the Wyndham City Council gateway project. There is no way of esti-mating what the future outcome of our design will be, but the use of parametric modeling will allow for an ideal platform of exploration and will allow the team to poten-tially explore novel ideas. The innovation associated with the design process being proposed will itself reflect well upon the municipality of Wyndham in repre-senting a progressive culture and mode of thinking that is accepting and encouraging of new ideas.

PARAMETRIC MODELING

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The development of the Dermoid is an example of a purely para-metric design process. It began by the simple inquiry into how can a doubly curved pavilion be fashioned from a wooden recipro-cal frame? The development of the project centralised around simple para-metric software tools, with some more specialised, that allowed design and simulation techniques to parallel the emphasis and attention placed on material pro-duction and performance [24].The experimental nature of para-metric modeling was highlighted through this projects develop-ment. The idea of form was only a result of material exploration, and considered extremely late in the designs process. As Daniel Davis describes ‘this structure could not have been anticipated at the start of the project because the design intentions were unclear’ [25]. Thus it was only after the design was further developed that a final structure emerged.The Dermoid provides an example of complexities that are pushing the boundaries of what is possible through parametric architectural modeling. Its a project that seems unachievable for those only getting familiar with parametric modeling tools but it presents a

process to follow, in which juxta-poses traditional modes of design that will ultimately always lead to unique solutions.

DERMOIDDEVELOPING FORM AND STRUCTURE THROUGH PARAMETRICS

PRECEDENCE ONE

(16) Top: Dermoid, Exhibited at School of Architecture, Royal Academy of Fine Arts, Copenhagen(17) Bottom: Structural Connections in Double Curved Surface

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This design by Iwamotto+Scott Architects, a firm based in Los Angeles, used parametric model-ing throughout its design to great success. Taking inspiration from the way Frei Otto or Antonio Gaudi would use hanging chains to develop effi-cient forms, computational models have been used to optimise the structures strength and develop the overall form of the vault shapes acting in absolute com-pression.The instillation explores the structural paradigm of pure com-pression coupled with ultra light material [26].

The light material being used is paper-thin wooden laminate, which after being scored has the ability to be bent into the petal shapes, or the voussoirs, that make up the structure.Parametrics were used in the form of a Rhino tool that applies delau-nay tesselations to surfaces and was adopted in creating these voussoirs. In addition to this Rhino was used to manage the petal edge plan curvature, through a function that controls a manipula-tion whereby a greater offset would create a greater curvature. And furthermore the program was used to nest shapes to be cut out

by CNC machine prior to con-struction. What should be noted with this project is a thorough investigation into the possibilities of parametrics. From the designs initial inception, through its development and right into the fabrication stage this project is centred in using parametric modeling. It shows the unique, complex outcomes that are only achievable through the use of parametrics and displays but one of the eye catching, tactile and interesting opportunities of parametric modeling.

(18) Below: Interior View, Voussoir Cloud Instillation

VOUSSOIR CLOUDIWAMOTTO+SCOTT ARCHITECTURE

PRECEDENCE TWO

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The case for innovation has set out to prove why the city of Wyndham should support the future explora-tion and development of a design for the Western City Design Project of which is centred around computational, parametric archi-tecture, with particular interest in the use of timber.The various precedent that have been addressed aim to display the array of wonderful possibilities that are only achievable through the use of computational tech-niques. Such complex outcomes as the Dermoid or the Voussoir Cloud project are demonstrations of the artistic forms and shapes that parametric modeling offers and could potentially bring to this gateway project design. The material based exploration, in

which computational design offers, allows the capacity of timber to be understood though digital models and thus the boundaries of what is possible to be explored. The ICD/ITKE pavilion was an obvious example of this, where digital ma-terial exploration was at the heart of the design. Such an approach would see the gateway display an image of progression, or innova-tion. Something that would be sure to insight a sense of excitement or even inspiration in the public. Furthermore the use of timber al-lows for the project to be sustain-able in its approach, which will reflect positively upon the munici-pality, as it portrays the value it places upon such socio-politcal concerns, aiming to for a ‘best practice’ outcome.

And as has been described, the increasing use of computational architecture has resulted in the role of the designer becoming more predominant across the design from inception through to construction. The project we offer will be a logical construction, overseen entirely by the design-ers and though complexity in form and design is almost a given, the project will offer a very coherent assembly process. Wyndham City Council is being offered the opportunity to have something novel developed under their name, something that will surely be ‘exciting’, ‘eye catch-ing’ and ‘inspirational’ to viewers entering the municipality.

CONCLUSION

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Personal research into the case for innovation has demonstrated a wide array of things to consider that I had not previously thought about. Something of particular interest is the changing role of the architect that seems to be present with ev-ery design that is heavily involved in parametrics and computational architecture. It questions where the career is heading and though

it offers a greater level of control over projects, it seems to require a much greater breadth of knowl-edge. I was amazed at the possible range of outcomes that were achievable and the use of timber in many examples was surprising in its application. Something that I found promising was the constant reference to Rhino3D and the way it was used within these different

projects. It shows that outcomes similar to these may actually be achievable this semester. Overall the research was both extremely daunting and encourag-ing. I am excited to discover what a personal exploration into compu-tational design may offer but still remain apprehensive about not having the technical ability or stan-dard needed to produce some-thing that I would be proud of.

LEARNING OUTCOMES

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PART B DESIGN APPROACH

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CONTENTSB.0 - INTRODUCTION .......................................................................................................................................29.

B.1 - DESIGN FOCUS ........................................................................................................................................30.

B.2 - CASE STUDY 1.0. ......................................................................................................................................36.

B.2 - CASE STUDY 1.1 .......................................................................................................................................38.

B.3 - CASE STUDY 2.0 .......................................................................................................................................40.

B.4 - TECHNIQUE DEVELOPMENT ................................................................................................44.

B.5 - TECHNIQUE PROTOTYPES ........................................................................................................48.

B.6 - TECHNIQUE PROPOSAL .............................................................................................................72.

B.7 - LEARNING OBJECTIVES AND OUTCOMES ................................................73.

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THE GROUP WORK BEGINS....

INTRODUCING THE TEAM

MITCHELL GOW, ANNA LA, GHERY HERTON

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This document has previously outlined the fact that the develop-ment of this project will centralise around the use of timber and will be achieved through compu-tational design methods, these elements have been reasonably justified and remain the basis for our teams design thinking. Furthermore, in attempting to begin developing a design we returned to the brief as a starting point for design ideas. In doing so, we acknowledged that though we needed to produce something eye catching, our project needed to act as a promotional piece for the municipality of Wyndham. In considering how to best do this we came to acknowledge the city council’s own promotional slogan of ‘city. coast. country’ to be an interesting and developable idea that we could use and expand upon. The city of Wyndham have elected to promote these three elements to show that in this area an individual is connected to a

range of environments allowing them to easily enjoy the advan-tages of all three settings at their will. Being a roadside project, on a highway that runs directly in and out of Melbourne, the connection to the city seemed very strong and encouraged us to continue with this idea. Furthermore, we wished to promote this idea that the city is accessible but you are leaving it behind as you move closer towards the coast and the country, arguably two elements that are less busy and stressful; moving towards a more relaxed environment. This can be seen in the contrasting topography and in the way in which humans use these environments. This thought process is what encouraged our group to consider the idea of transition as an inte-gral part of our design focus, and something we wished to convey to the public as they drive past our design. Additionally as we want this idea of transition to be read and

comprehended by viewers, our group began by discussing ways in which our design could encourage participation and engagement from passers by. The potential to have a tangible connection to our design by placing it within site B, adjacent to the petrol sta-tion, where people could indeed stop and get out of their cars to engage with our design physically was overlooked by our group. We accepted that, no matter what site was elected, the predominant method of engagement with our design would be with people driving past and observing from within their moving vehicle. Thus we chose to focus our attention on designing for site A as it allowed for a larger area for our design to exist with in and is framed by highways on either side, mean-ing our design does not exclude those leaving Wyndham but can be meaningful in both directions of travel.

DEVELOPING A DIRECTIONINTERROGATING THE BRIEF

(19) Wyndham City Council Logo

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Our desire to encourage people who are driving past our instilla-tion to engage with the project lead us to investigate the potential that applied patterns could have in allowing us to achieve a high level of participation from the viewer. Patterns are ubiquitous in society, and an infinite range of patterns have been displayed through out history. However, what our group is particularly interested in is their ability to intruige or to draw atten-tion and also assist us in our aim to display meaning through our design. We have mentioned that a great focus of this project is related to exploring the design possibilities of computational architecture and such technologies are allowing for new patterns to be created and are thus generating entirely new architectural spaces. Kengo Kuma claims that because of this ‘pattern making holds the greatest promise for the next generation’; argu-

ably this on its own holds as a just cause for further exploration [27]. The fantastic potential of pattern-ing can be seen in a wide range of precedence projects from around the world. The Institut du Monde Arabe in Paris for example, a building constructed in 1987, designed by Jean Nouvel, that uses respon-sive metallic brise soleil on the south façade, which form patterns derived from traditional lattice work, used for centuries in Middle Eastern cultures.Likewise the Polish pavilion at the Shanghai Expo, 2010, by WWAA has an outer skin of CNC-cut plywood, mounted onto a steel structure and the displays a pat-tern that was inspired by tradi-tional folk-art paper cut outs. In both these cases we see cutting edge fabrication technologies being used to create patterns that work to represent cultural values and do so quite success-fully. The scale combined with the

intricacy of both designs are very attractive elements which work to engage onlookers but the semiotic meaning behind these works is what makes them truly successful designs; the Institut du Monde Arabe still operates as a great beacon and location for the inter-action of Arab culture in Paris [28].Though Wyndham does not nec-essarily have any overt or explicit cultural symbols, this is an area that our team may wish to explore further considering how effective these examples are in creating an appropriate cultural context and thus symbolic meaning that sur-round such designs.

(20) Top Right: Interior space of Institut du Monde Arabe, lighting effect of brise soleil(21) Bottom Right: Polish Pavilion exterior pattern, WWAA architects, 2010

DESIGN FOCUSPATTERNING

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Another interesting example of the use of patterning in architecture is the John Lewis Department Store in Leicester, UK, completed in 2008, which was designed by Foreign Office Architects (FOA). The pattern on the exterior glass skin aims to tell a story by repre-senting a non-repetitive and seam-less fabric. The pattern is derived from a textile design found in a John Lewis archive dating as far back as 1803; the craft of textile design being the origin of the brand name and company’s suc-cess. This also creates a strong link for the brand to Leicester’s over two hundred year history of textile manufacturing, marking the brand as an icon for the city [29].In addition to this, the pattern

intrigues store visitors and has a functional means as the double skin facade effectively reveals the exterior to the interior yet conceals the interior from the exterior’s in-quisitive eyes and glaring sun rays. The pattern is layered in such a way that as one circulates the interior or exterior of the building the design creates a rippling effect like that of silk fabric subjected to heat after rolling, another visual cue linking the brand back to its importance in the local textile trade and indeed the success of the local economy [29]. This design is very successful in conveying its message through the direct use of analogies but it is also very effective in considering how the building is to be experi-

enced both visually and emotion-ally, and also how patterns can be used as a means to a func-tional outcome. Importantly, our group can apply various aspects of this design to our project development. Firstly the success of an analogy and a context specific reference is some-thing worth further consideration. Also, the designs ability to change and create a visual but also meaningful effect as the viewer circulates the design is exactly what we would like to achieve in looking at the idea of transition, and will encourage our group to explore the potential that layering patterns over one another could have in achieving our desired outcome.

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The simple pattern, often referred to as the ‘Cafe Wall Illusion’, ap-plied to the 1010 building facade in Docklands, Victoria, creates a visual effect that is extremely eye catching and interactive. ARM (Ashton Raggart MacDoug-gal), the firm behind this building, have created a facade that en-courages people to look twice at what would otherwise be a simple rectangle form. The building is an example of design that encour-ages engagement with the public, as people are forced to look curi-ously at the building to figure out whether or not the horizontal lines on the exterior are indeed straight or curved, as the illusion makes

them appear. There are two elements from this design that are really valuable to our groups future design develop-ment. As mentioned, the way in which the design encourages the public to engage and participate with the facade is something our group is excited by. It allows a greater range of people to experience the design as it works to draw people’s attention and in this sense allows a bigger audi-ence to preach to if such a design was to promote a particular mes-sage, as ours aims to. Additionally this design has become an extremely memo-rable icon for the Docklands and

certainly Melbourne as a whole, most likely because of this high level of engagement it encourag-es. It is this point of being memora-ble that is important in our design development, for if we were to create something that is as iconic as this design we could potentially be successful in putting Wyndham on the map, so to speak, and fulfill-ing our aim of greatly promoting the municipality.

(22) Left Page: Exterior Facade, John Lewis Depart-ment Store, London, 2008(23) 1010 LaTrobe Street Building, Melbourne, ARM architects, 2007

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The work of Yayoi Kusama is far from simple in is it’s application of patterns but makes an important comment on the way in which individuals will perceive various patterns. Kusuma is a very successful and influential Japanese artist who lives with a psychological condi-tion in which she literally sees patterns (dots, flowers, nets) in environments everywhere [30]. It is this condition that lead her to form a career centred around to depic-tion of such patterns. This could be achieved by applying paint to walls, 30m long canvases or even naked bodies. An interest in her artwork has moved our group to consider how a pattern that is applied to a surface is likely to naturally evoke different emotions in different people, this could be considered a good thing as an individual re-sponse can be created from every observer but it also shows the risks that developing patterned surfaces can create. For example, there are unintended physiologi-cal consequences from product design and finishes that display particular patterns such as dots in the ceiling (going dotty), head-aches or even epileptic seizures. It is even discerning to know that 82 percent of migraine sufferers ex-perience a migraine after looking at certain types of pattern stimulus, most notably gratings [31]. Studies have shown that the appli-cation of ‘busy’ patterns can cause visual fatigue and even feelings of nausea but even though they have this potential to create discomfort, they are extremely

engaging and do in fact attract a great deal of attention from viewers [31]. With this in mind our group must consider they way in which pat-terns can create strong visual, emotional and physiological responses, and with the intention of only creating positive reactions, work to get the most out of the innately evocative nature of this

type of design. Through the use of applied pat-tern our group has the potential to stimulate visual, emotional and even physiological responses to our design. Since such designs are have a proclivity to be extremely evocative we are positioned in a fantastic place for future explora-tion. This approach is exciting in the way that it is presenting a great

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deal of potential for our attempts to try and produce something memorable. The idea of transition, that we have noted as an integral part of our design, is something that is emerging as very much achievable through the develop-ment and use of patterns. Varying the intensity of patterns as one progresses through the design is something that will have to be

explored further. This appears to be a very suitable, obvious and developable way to ease or welcome drivers into the City of Wyndham. The great potential that patterns have in generating a wide range of responses from viewers is what is driving this team in believing that this area offers us the best capacity to achieve our desired

outcomes, that is; to engage those passing the design and in doing so having them acknowledge the transition of environments they are embarking upon and overall working to promote the City of Wyndham as a desirable place to visit, work or live.

(24) Below: Yoyai Kusama, The Gleaming Lights Of Our Souls, 2002

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With a sample script being pro-vided to us, our group began our design exploration through look-ing at the example of the Green Void, an instillation by the Labora-tory for Visionary Architecture (LAVA), originally at the Customs House in Sydney. This project does not necessarily relate directly our chosen area of design focus, however was elected and used a means for our group to get familiar with the Rhino 3d and Grasshopper software

that will be used to produce our final design. This was successful in encouraging our group to become familiar with a range of tools that are made available, and their potential to create interesting forms. The hands on experience with the software was very valuable and though there were definitely teething problems overcoming these gave us great motivation to explore what else we are able to achieve through the use of this software.

We attempted to both try and mimic the form of the Green Void as much as we could and also play around with what alternative forms this script could create, many of them we found just as interest-ing as the original project. The adjacent page contains a selection of the range of varia-tions that we created from the original form.

(25) Below: Green Void, by LAVA situated in Syd-ney’s Customs House.

GREEN VOIDLAVA ARCHITECTS

CASE STUDY 1

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Although looking at the Green Void was a useful exercise for the group, we came to realise that their was a great deal more to get out of investigating another proj-ect that would have more in com-mon with the direction we were aiming towards. The LAVA project centralised around the idea of re-laxed and minimal surfaces, which stands at complete odds with our intention to investigate the use of applied pattern, thus leading us to also experiment with the script that was provided, which created a similar effect that of the interior of the new BanQ restaurant in Boston, by Office dA. This design uses timber in a very interesting way in which works to hide the services of the build-ing but also create an interesting

sinuous form through the use of a large number of complex parts that as a whole create a very soothing or relaxing effect. Our experimentation begun by investigating the variety of forms that this script could create. The contours in the form are created through the use of a tool in Grass-hopper that reads an inputted image and through understanding where greater elements of con-trast, brightness or colour exist, for example, will produce peaks and related low points in a surface or form. Initial explorations involved manually varying the amplification of this data, and further develop-ment saw different pictures being used and experimented with in order to gain a range of outcomes.We then went on to see how

these sectioning strips could be applied to other surfaces, thus we produced a somewhat odd, undulating surface and began playing with the different forms and effects that could be cre-ated. Surprisingly, the endless possibilities were fairly easy to explore and a range of outcomes where produced. The ease in which sections can be mapped to various surfaces lead our group to consider how this technique may be useful in the future, perhaps it could be applied to the shape of site for example and create screens in which we could laser cut patterns into. This would allow for patterns to be layered and potentially create a changing ef-fect as one drives past; a point for future consideration.

BANQ RESTARAUNTOFFICE dA

CASE STUDY 1.1

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Selected range of outcomes created, displayed in chronological order.

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With the desire of further im-proving our computation design abilities prior to tackling our design project, as a team we continued to sharpen our skills through another technical exercise. For our next exploration, we were set the goal of trying to produce a script of our own that would reverse en-gineer an already existing design project, as best we could. We chose to try and replicate the Chrysalis (III) lighting sculpture, which is a project completed by Matsys in 2012 and now remains part of the permanent collection at the Centre Pompidou, Paris. The design is made from timber ve-neer members and was produced through using a wide range of plug-ins that the Rhino3d program offers. Our group wanted to see if we had the capacity to produce a 3D pattern, similar to this hexagonal, cut off, cone type, and map it onto a surface. In particular we wanted to see how successfully we could have the pattern vary over the design. Considering the lack of experi-ence that our group had in working with Grasshopper, this was a somewhat daunting task to approach. We began by trying to create a form almost entirely in Grasshopper and map a 2D pattern, with a degree of varia-

tion, to this form. We were eventu-ally successful in achieving this, as shown to the right. We then aimed to extrude this circular pattern in the z direction to produce a three dimensional pattern but ran into a dead end. Our next attempt saw our group draw inspiration from the vaulting forms of the Voussoir Cloud, which use a relatively simple means of lofting between two identical grid of points populated with vor-onoi sequences, which vary with regards to their size of openings, to produce something that looks similar to that of the gridshell shapes populating the outside of this Matsys design. After develop-ing these forms we continued to, stretch them in the z direction and populate a large grid with this 3D pattern; something we considered a huge success. We were then able to vary the height of these abstract shapes through multiply-ing the amplification of their height with sine curves. And could vary the degree of opening at the top of the shape through the use of point attractor tools. At this point, though we had not produced a form that resembled the Chrysalis structure we were proud of what we had developed. We had somewhat successfully replicated the 3D Chrysalis on a flat surface, though we still had to investigate

how to map this to an alternate form. It was only after seeking help from our tutor that we were able to overcome this hurdle. The process was probably easier than we were making it for ourselves as what we were trying to do could be achieved through developing this pattern directly on the surface of the form we were eventually hoping to map it to. Through do-ing so we were able to produce something that we were happy to accept as looking similar to that of the Chrysalis project but more importantly by this point we were beginning to feel much more confident in our abilities to create variable patterns and potentially produce something that would fulfill our predefined desired outcomes for the Wyndham City design project.

CHRYSALIS (III)MATSYS

CASE STUDY 1.1

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The following images display the range of outcomes that our attempts to reverse engineer the Chrysalis (IIII) project produced. The rectangular modules shown on this page were considered a great breakthrough by our team as we were particularly interested in ensuring that we could vary the pattern across the surface, to have either larger openings or more extended cones at certain points, which we were able to achieve. Though these forms were not mapped to a 3D surface we still found them very interesting aesthetically and noted them as a potential element for further exploration in our later design. The page opposite shows our completed attempt at recreat-ing the Chrysalis project. Using a system very similar to our previous attempts where curves are lofted from two varying voronoi grids that share the same base points. Like the previous case studies, once we were able to successfully recreate the project we could then develop it further or play with its possibilities as shown to the far right of the page. Our ability to produce a wide range of interesting outcomes in just a short time after staring to learn such software should give the patrons of this project great confidence in our ability to produce a design that will indeed be ‘eye catching’ to the public.

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After completing a series of case study explorations our design began to take shape. As a group we decided that our design ideas could be most appropriately rep-resented through creating a series of patterned screens or sections that would engage with each other as drivers move past. The variation created by how these patterned sections are over-lapped would create a dynamic design that signals movement and change; linking this design to our key idea of marking transition. What is truly advantageous to our design and the groups develop-ment is that computation design and the use of Rhino3d and Grasshopper offer us a fantastic platform for experimentation of different patterns. There are end-less amounts of patterns that can

be developed and are relatively easy to do so, furthermore these can be almost effortlessly mod-eled both digitally and physically when produced using a laser cutter, for example. After developing a range of patterns and alternatives, we then moved to create a stage for experimentation sectioning the site into curved panels of the same length, so that we could begin to interchange panel designs and evaluate the layering effects we aimed to produce. Our group was able to begin prototyping our design directly onto a site model with relative ease. We chose to use 1mm box board to represent our panels as they could be easily bent into their desired location to show the overall form of the sec-tions we had created. Slots where

cut into the site so that, ideally, alternative panels can be cre-ated in the future and swapped to examine the effects different patterns have on the design. This means that we can have a tech-nique development that is centred around prototyping and physical experimentation. The patterns we developed at the very beginning were very basic but as we progressed the range started to become more complex and interesting, as will be shown in due course.And though our initial attempts at models display rather simple patterns it was done so with the thought in mind that we would continue to develop a wide range of patterns to experiment with dif-ferent alternatives in the future.

TECHNIQUE DEVELOPMENT

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THE DESIRED OUTCOME

PATTERN USED TO MARK TRANSITION

PATTERN USED TO ENGAGE

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CURVED SECTIONS CHOSEN TO PREVENT EMPTY VOIDS BE-TWEEN PANELS BEING CREATED AND INCREASE THE EFFECT

OF LAYERED PATTERN VARIATION

INITIAL SITE PLAN

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To give validation to our theory that we could produce an in-teresting effect by overlapping patterned screens we began our design development by making a simple model out of wire mesh, a semi transparent material, and simulating with a video camera what it would look like to ap-proach such an instillation from front on and then progress past it. We had a particular interest in the effect created by overlapping screens and overall this model was very successful in showing what we where hoping to produce through our design. The semi transparent character-istic of the mesh we used is what made the model so constructive, as it showed that where a greater number of panels are lined up a much different result can be cre-ated than when one acts on its own, letting far less light through and creating a denser or bolder object. Also this key element of transition is given justification as movement past the structure changes the viewing experience and signals change. This proved to be an extremely encouraging beginning to our de-sign process and thus spurred on further development in the same direction.

TECHNIQUE PROTOTYPES

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The secondary model that we made was somewhat successful in showing how the layering of pat-terns can create interesting effects. The light coming through in parts and shadows that fell on some areas of the design were really evocative. However, this model showed that we need a much greater focus on what our pattern design will eventually look like. The most obvious comment being that a higher level of transparency is needed if we really wish to take advantage of effects created by layering patterns over one another.Another element our model presented to us as a sticking point was, even though our design looked appropriate sized, the scale of our design is bordering upon absurd; reaching as high as 70m at its highest points and stretching around 60m at each section. This obviously needs revaluating and a greater empha-sis on human scale needs to be incorporated, particularly when we aim to engage viewers, not intimidate them.Thus far, the design appears that it would be somewhat easy to fab-ricate, it is almost like a simple lat-tice design folded around a curve, saying this our group aimed to develop something more intricate and complex within the upcoming weeks, to replace this simple pat-tern shown. This model showed the promising potential this idea has in achiev-ing our desired outcomes, how-ever it also showed us that more research and work is needed to produce a successful result.

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At this point our team decided it would be worthwhile exploring the possibility of using a material other than timber and as to whether we could better achieve our objectives through an alternative means. We began by considering whether a transparent plastic or fiberglass would be a more suitable option than timber because of the natural transparency that is present in these materials and would thus offer a situation where light could permeate the screens and ap-plied pattern would act to restrict the flow of light. This is the oppo-site to what we where originally considering if we were to cut away a pattern from a solid panel and would ultimately mean that a greater percentage of the screen could be see through. This direction leans more greatly in line with the approach of the John Lewis Dept. Store, UK, a precedent project mentioned earlier. This project focuses greatly on the ef-fect applied pattern on glass can create with regards to light, and also developing a different view-ing experience from either side of the exterior shell of the building. However, being an open air instil-lation we were concerned that a

pattern applied to a clear surface would be less visible and thus less evocative than that cut from a solid screen, and this was shown to be the case when we created a prototype to compare the effects that a clear screen could have. Unfortunately this proved to be far less interesting than we had hoped and proved only to be an interesting piece when shone through with a torch in a dark room, so that the light could de-fract from the angles etched into the clear surface. We therefore decided to discredit this material as a serious option. A concern about the long jeop-ardy of the use of cut timber sparked our interest into whether we should also consider using laser cut steel or iron as the main material of our structure. This is definitely a necessary consider-ation as an instillation that is under constant repair could potentially present a bad image for Wynd-ham City Council, but the use of timber is not necessarily a poor choice with regards to long jeop-ardy of instillation. Timber can be painted with layers of transparent paint or oiled to prevent it from weathering. However, an oppor-tunity also comes from selecting

timber as the predominant mate-rial for if it is sourced responsibly the purchase of replacement tim-ber, if it is ever needed, would be contributing to a carbon negative industry, promoting the municipali-ties environmentally sustainable im-age. It would be expected that the production of replacement panels is rather simple as the eventu-ally elected pattern could be reproduced infinitely with accurate precision through computational means.As so much of the groups initial design research surrounded new and innovative uses of timber it would seem a waste to move away from this material at this stage of the design process, and as the use of timber is a very sustainable material the council would be missing out on an excel-lent opportunity to promote their continuing effort to improve the environment of Wyndham. Thus even after an in depth inves-tigation into possible alternatives our group decided that our design is still best suited to be constructed from timber, so long as sourced appropriately.

MATERIAL EXPLORATION

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By now it became necessary for our team to start to develop a range of possible patterns that could be applied to surfaces to create the effects that we were hoping to achieve. To do so, we began experiment-ing with tools that Rhino3D and grasshopper offer that are

relatively easy to use. In this regard we are able to show quite easily show that way in which such computational tools offer a easy platform for pattern production. Patterns could be developed and then further exaggerated in other computational design programs as Adobe Illustrator, as seen here,

before being put back into the Rhino3D interface for fabrication. The pattern below shows a delaunay triangle pattern applied to a grid of random points, where variations were easily created by changing the position or amount of points in which pattern is ap-plied to.

PATTERN DEVELOPMENT

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This pattern is truly interesting, it is created through the use of a substrate algorithm, inspired by the work of Jarrad Tarbell (com-plexification.net), displayed to the right (29). This algorithm works to constantly divide a geometry up into frac-tions of itself, in a way similar to that of the organic development of a city and likewise could be linked very easily to urban sprawl. Unfortunately there are two dif-ficulties that arise with this pattern.

The first being that these lines cannot be simply cut out of a solid sheet of timber to leave a pattern behind. This can be achieved by outlining the lines that make up this pattern and then cutting those but this greatly takes away form the effect (the thinner lines proving to be the most effective in below selection). In addition to this, the pattern is best when extremely intricate thus application to a large scale screen is likely to abase its effect.

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This page consists of pattern variations created through the use of a Metaball function in Grass-hopper that is set to a single point. In an attempt to try and show an element of transition in this pattern we varied the amount of accuracy in which the function would ‘hug’ to or circle to points within the bounding box, which created a different effect as it changes from consisting of tight round circles to

rather rigid towards the bottom of the page when accuracy is very low. Our group saw that this may somewhat show a level of transi-tion but is not an intriguing pattern visually and would not have the appeal that we would have hoped for in our design. Additionally, expanding and outlin-ing the lines of these patterns in created a varying effect, however

the results are not developable in the sense that if they were to be cut with a CNC or laser cutter they would only result in really large holes, like a less detailed version of the right left hand side pattern. Our group also found it very dif-ficult to see any link between this pattern and our design projects brief or concept.

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Similarly, this pattern is created through the use of a Metaball function in Grasshopper, however this time it has been set to a range randomised points, which creates a denser and more complex pat-tern then on the previous page. This is much more visually engag-ing as it creates a very interesting effect. The problem again arises from the inability of this design to be laser

cut onto a solid screen thus seeing our group continue with further development.

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A pattern that very useful to our group was the voronoi diagram that could be applied to a bound-ing box full of randomly distributed points. The result was is what we saw as being similar to a cell like structure or an abstracted honeycomb. We were able to vary the result of this pattern by changing the num-ber of randomly distributed points that existed within the bounding box, which resulted in varying densities.

We considered the possibility of then of perhaps layering varying densities of voronoi diagrams onto one another in order to create a feeling of either moving into or away from a denser environment; thus applying to movement with regards to the city. In order to produce this pattern however, we first had to outline the initial curves so that a thicker web structure could be created, which would be visible after get-ting laser cut.

This potentially showed another way in which we could mark tran-sition as it was possible to vary how thick this ‘webbing’ would be, meaning it was quite easy to produce two screens of the exact same pattern that were almost completely transparent at one end and at the other almost com-pletely solid, thus being impervious to light. This presented valuable consider-ations for future development.

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The next pattern we developed involved a much more complex script than we had previously used and was directly targeted at trying to achieve our defined objectives. The origin of this pattern is a hexagonal grid in which each hexagon is then filled with a circle shape. This is relatively simple and results in a grid of circles distributed such that the maximum amount of space within the grid is populated with circles.

Furthermore, each hexagon can be divided into three triangles in which are lined with an oval that covers most of the circle. We are then able to determine the number proportion of the hexagons we would like populated with open circles or with the com-bination of three ovals. And great change in density formed across a surface occurs as we transition from having a greater percentage of open circles to having them mostly filled

in with the oval design. This patterns is valuable and worth future development be-cause of its high level of transpar-ency, which from the outset we have noted as an important fac-tor, and also its ability to symbolise a transition of sorts. Though the change seems very simple, we believe this has great potential in producing the de-sired effect that we have set out to achieve and is worth further consideration.

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The previous exploration and ac-knowledged success of the use of voronoi diagram encouraged our group to return to the 3D patterns we had created in our attempts to reverse engineer Matsys’ Chrysa-lis design, which where based upon two over lapping voronoi diagrams. We derived a two dimensional image from these sections simply from viewing the image from directly above and using the

Make2D function in Rhino. We were then able to export this vector line drawing into Adobe Illustrator, where we could outline the edges of the curves creating a web, like we had achieved earlier. This also allowed us the ability to vary the thickness of this web, meaning the over all design could gradually change from being lightweight and transparent to solid and rigid. For the first attempt to do this we

admittedly had a pattern that was far too intricate and became extremely difficult to try and fabricate because the webbing was either too thin and thus not strong enough or the sections to be removed were too small mean-ing and could not ne accurately removed, let alone the time it would take to cut such an intricate design and the lack of effect it would have when implemented on a grand scale.

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It is then that we tried the same approach but to a much more open version of the same design. This was regarded a great suc-cess and it was agreed that this was the most interesting pattern design we had produced thus far, notably because of the gradual variation across the pattern itself. And when manipulated in the same fashion as mentioned earlier it produced a sense of transition that our group was very satisfied

with. It was also commented on in our group discussion that this pattern was similar in its looks to a par-ticular type of map that has been used to show areas of population growth with in Melbourne (though we were never able to locate a copy of it), this added theoreti-cal fuel to our reasoning as we thought we may be able to use this to relate the pattern to the growing state of Wyndham. Thus

further encouraging us to used this pattern in our final design. And it is for these reasons that we decided to further explore this patterns potential through prototyping,

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We prototyped this pattern to see how well it would mark transition. After we produced fifteen panels that gradually changed from predominantly just circles to mostly the oval design we stood them up in a stage that we had created and assessed the results. This unfortunately didn’t work as well as we had of hoped. Though the design was transpar-ent and allowed a great deal of interaction with panels behind, it produced an effect that was too ‘busy’, and produced a feeling visual fatigue, which is something that we had noted from looking at precedent projects that we were wishing to avoid. The pattern ended up creating a very dense mesh over all that couldn’t be seen through and made it very difficult to notice that the design of the panels changed at all because it was difficult to recognise the pattern of the first panel, let alone the last. Thus, the pattern was considered somewhat of a failed attempt at marking transition. As it was almost impossible to notice the change in pattern as one drive past, the difference coming from the fact that there were just less screen overlapping. Saying this we decided to con-tinue developing this somewhat further as a back up incase our other pattens where not as suc-cessful as we had of hoped either and could still potentially present this to the council as a legitimate alternative if they dislike our final product.

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The development of this pattern into a prototype was considered a great success by the group. An element that we had not planned for but remains the greatest feature of this design is the great luring effect that the design has from front on. We had always hoped to produce a pattern that would spark curiosity and engagement with drivers as they would approach the instilla-tion, however we could not have anticipated such an effect as this created from the many layers of the same pattern that has been progressively manipulated the further back it goes. It produces a ‘light at the end of the tunnel’ effect, which could be said to symbolise travel or a jour-ney but also this idea of intrigue, begging the question what is ahead of the driver?After this initial element of interest the design gives its trick away as it shows the viewer driving past that this effect was created through changing the pattern on each screen slightly from the last. This is the way in which the design marks this element of transition in that it shows the viewer that there is a change occurring, and the fact that this is deliberate design consideration only highlights the designs desire to symbolise this key concept that we have held from the very beginning of our design. Thus our team confidently elected this as the pattern for our final design as it is very successful in displaying all the criteria we had initially hoped for.

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Thus far the forms that we had produced were somewhat arbitrary, in that we were just looking for something interesting to apply pattern onto and it had ran us into problems regarding scale.We reassessed what we wished the form of our model to look like and gave it meaning by re-ferring back to our initial design analogy of ‘City, Coast, Coun-try’, Wyndham City Council’s slogan. In doing so we tried traced the city skyline in Rhino 3D and tried lofting from that to a curve that represented sand dunes or

waves to a low and flat curve representing the country. This result was not appealing and was only going to take away from the effect the ap-plied pattern is meant to have on our design thus we worked to redesign this overall form. We abstracted the initial curve quite significantly, and rather than working to directly refer-ence each stage to a readable element tried to encapsulate this idea of progression of move-ment into our design, once again working to signal a transition.We had to ensure that our de-sign was not absurdly tall once

more but had to ensure that there was enough of a panel, with regards to height, to apply pattern to and still have it en-gage with the screens behind it. The final form still ranges in height quite significantly but at its maximum is no taller that twelve meters high, meaning that our design can be evocative but not intimidating as a previous model would have been. The form we have created com-plements the message that we are trying to evoke and has a very pleasant aesthetic, welcom-ing drivers into the municipality.

PATTERN DEVELOPMENT

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FINAL FORM

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FINAL SITE LAYOUT

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In attempting to display that our design conception of layered patterns could create different ef-fects as one drives past them, we prototyped a set of patterns onto our final form. We ideally wanted to project the pattern derived from our Chysalis attempts onto our form but at the scale of 1:250 it seemed a nearly impossible task because of the intricacy of the pattern that we had decided upon, thus we decided to display a much larger version of the circular pattern that we created earlier.

This is shown on the right hand page and it is effective in display-ing the ability of a transparent pattern like this to ‘catch’ the pat-tern behind it and create differing effects as one progresses past it. The production of this prototype gave us confidence that our de-sign would work at a 1:1 scale as everything is proportioned suitably and yet it still produces the desired effect. When viewed from the front the high amount of layered pattern creates an interesting effect that suggests density however when

moving to the side and progress-ing past it the instillation opens up and a great deal more light permeates through. This prototype did highlight the inability of this pattern to perform in the way that we had hoped where the variation in pattern cre-ated the effect rather the transi-tion was marked more just by the simple fact that there are more screens layered at the start than as one passes by. This confirmed the choice of our other pattern that we have developed from the reverse engineering exercises.

APPLIED PATTERN

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From the beginning of our group-work tasks our team has focused heavily on developing a strong and coherent design concept. We now aim to engage the users of the highway in our attempts to mark the transition from the city of Melbourne to that of Wyndham through the use of varying applied patterns to overlapping screens. Our ideas are strong and the evocative nature of patterns, and their potential to achieve similar objectives have been described earlier in a range of precedent projects. For the most part, such success has been achieved through the incorporation of cut-ting edge computation design and has displayed a strong ability to connect with the viewer. This gives great merit to our promise that our

design will evoke all that we hope it will, as we have used similar technologies and have the same objectives as a range of these projects. Our design has an advantage over other proposals that are not yet considering how their design will relate to the site. We have, from a very early stage, consid-ered how participants will engage with our design and with the area it sits upon, allowing for a poten-tially more coherent instillation to the landscape. Our team is well on our way towards producing a dynamic and engaging instillation that will encourage the viewer to reflect on their personal position in the ur-ban fabric of greater Melbourne. The visual appeal that patterns

offer will stimulate inquisitive inves-tigation into our design by passers by and, because of this level of engagement, will allow a great platform for promoting our desired message of marking transition.The patterns that we have de-veloped and elected show great potential in proving to display all that we hope to show in our design and the council of Wynd-ham can have great confidence in our ability to produce engaging instillation. The design will no doubt be ‘eye-catching’, an important element of the brief, but will also act to cause an emotional and thought provoking response that works to promote the municipality of Wyndham.

TECHNIQUE PROPOSAL

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After the mid semester presenta-tion, two main points were given by the review panel as areas we need to further explore. Firstly, it is not so much that we need to research more patterns, we just need to start producing them, fab-ricating them and testing them at a greater rate. I feel that, though we have not fabricated a large set of patterns, we did produce a great range and have chosen those that suit that brief most adequately. Secondly the overall form of our design needed to be investigated or at least justified by the brief. Previously it stood out as some-thing possibly chosen for aesthetic reasons, which is not enough to justify its existence; we needed to get together and decide why this is was chosen and what other

alternatives may present a more suitable solution. It was pointed out that the form our sections created was interesting and ‘cool’ for a variety of reasons but as a group we do need to understand and stop to ask why. In addition to this the question was posed as to whether the elements that started our design focus ‘city, coast, country’ will be literally read in our design. This was never our intention, it is through the use of patterning that we wish to evoke thoughts that mark transition into this change of atmosphere. And after reassessing our overall form and working to develop a justifiable solution to the above queries I feel we have greatly moved past these concerns, and now have something that works towards promoting the message

we are aiming to depict in our design.In terms of how this semester is going personally, I feel that I have made huge steps forward in terms of my capabilities with regards to computational design. I know have significant ‘toolkit’ that I feel comfortable in using and I am no where near as apprehensive in approaching tasks that are unfamiliar to me, for these are only opportunities to develop my skills. Our group has achieved a great deal considering how little experi-ence any of us had at the begin-ning of the semester. However, I would be the first to admit that there is more we could have done.

LEARNING OBJECTIVES & OUTCOMES

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PART C PROJECT PROPOSAL

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CONTENTSC.1 - GATEWAY PROJECT: DESIGN CONCEPT .......................................................75.

C.2 - GATEWAY PROJECT: TECTONIC ELEMENTS..................................................76.

C.3 - GATEWAY PROJECT: FINAL MODEL...........................................................................81.

C.4 - LEARNING OBJECTVES AND OUTCOMES..................................................89.

EXTERNAL REFERENCES....................................................................................................................................90.

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From the very beginning of our de-sign process we set out to achieve an ‘eye catching’ instillation that would engage people driving past and thus allow a platform for our design to portray a message to such viewers. We thus looked at patterns as the basis for our design due to their proclivity to capture people’s interest. The message in which we are hoping to promote to people entering Wyndam is the idea that they are transitioning from a city dynamic to an area where they are connected to a range of environments; City, Coast and Country. This message is described to the public in the following ways; as one approaches our instilla-tion they are presented with an extremely intriguing pattern that works to draw them closer. There is an interesting effect present whereby a small amount of light filtering through what seems like the back of the instillation like a light at the end of the tunnel. This works to deliver thoughts about marking a journey and suggests an element of intrigue as to what is beyond the far panel; the city of Wyndham being the ultimate

answer. Furthermore, as one proceeds past the screens that make up our instillation it is notable that the effect that was created at the front of the instillation is indeed a deliberate one and is done so through variation that is applied to patterned panels. This obvious change in the panels is to illude to the transition that one is making with regards to physical environ-ment. Additionally, as this effect is most visible on the way into Wyndham, the approach for those entering Melbourne is less visually en-gaging as the layers of patterns here are less transparent and thus interact with each other far less, there is a greater amount of lighting effects and interesting elements to note in one’s ap-proach to Wyndam. Thus connect-ing the design to the idea that there is more to see in Wyndham than Melbourne, with particular regards to this idea of ‘City, Coast, Country’ and being connected to a range of environments, that sparked our initial design ideas and remains the logo for Wyn-dham City Council. This act as a promotional piece to encourage people to work, live and visit and

area of greater Melbourne that has a great amount to offer. What’s more our group would like to acknowledge that as this instillation is another attempt for the Wyndham City Council to improve it’s image through the initiative that focuses upon improv-ing street scapes, open spaces and parks within the area. As the design begins with this element of curiosity suggesting that what is beyond is worth seeking out and later moves to show a deliber-ate attempt to spark such interest through varying the design of pattern on the screens, a connec-tion can be made to the efforts currently being made by the local council to create deliberate change in environment in order to spark interest from those entering the municipality. Thus the efforts of the council to improve the city of Wyndham work to underpin this project in its entirety.As a whole the design that we have created produces a visual and thought provoking experience that aims to mark a drivers transi-tion into an interesting environment with a wide range on offer in which is led by a progressive and forward thinking city council.

GATEWAY PROJECT:

DESIGN CONCEPT

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The way in which this instillation will be put together and erected is somewhat easy. However, this would not be the case had it no been through the use of computa-tional design methods to accu-rately produce connection joints and structural details. The structural system is rather simple whereby a series of poles are positioned in line with where the screen will eventually be located. These poles are attached to concrete footings, that are precisely located in the correct positions and then erected into place. Sections of these screens are then hung from these poles

with nuts and bolts that attach to brackets that are connected to these poles.The timber panels that make up the design are not large enough to span the entire screen thus smaller sections are joined to one another with steel elements that are cut to fit exactly over the laser cut timber panel, with predrilled holes ready for nuts to thread through and connect the members together.Though the elements that connect the timber members together are going to inevitably by completely unique to one another this does not mean that the process of

producing them is going to be tedious or exhaustive one. Through the use of computational design this element of detailing becomes very straightforward and ensures an accurate job is completed, with results in a clean aesthetic overall. The following images display construction detail models that our group produced at a scale of 1:5 and display just how neatly our design can be put together and the potential computational design has in improving the con-struction industry with regards to accuracy and ease of assembly.

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GATEWAY PROJECT:

TECTONIC ELEMENTS

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GATEWAY PROJECT:

FINAL MODELS

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At this point it is interesting to reflect on what I personally have achieved from the semester. I have definitely improved my skills with regards to computational de-sign tools, there is no doubt that they have progressed a long way. I came into the subject with great apprehension as I was worried I wouldn’t have the ability produce something that I am proud of. I now look back and realise how ridiculous this was, there was so much material available to use as learning resources and it was all taught at a very gradual pace. If I wanted to become an expert at parametric design I could have over the course of this semester, it would have just been a matter of following taking time each day to learn something new. Overall, I am disappointed that I didn’t have this type of dedication and discipline. We had such a great opportunity at our fingertips to learn become proficient in something that is extremely useful, not only in pro-ducing new and novel forms, but in extremely practical things, like producing construction details. I know that everything I have learned in this tutorial has been useful information, when you learnt one thing you would see how it could be applied to a range of projects, including my design work at Snowdon Architects, and yet I feel that I didn’t stretch my brain to its full capacity and really test myself with this subject and that is quite disappointing.

We seemed to be so worried that we wouldn’t be able to do something great that we settled for trying to produce something easy, which in the end just made things more difficult. I would urge anyone who is completing this subject in the future to fully immerse themselves in the learning resources that are made available to them through this course as the everything that you take out of this subject will end up being skills you use for the rest of your degree and perhaps career. And if you don’t you will be in the position if looking back and see-ing a whole range of incredible tools that you don’t know how to use because you were too scared to try them. I do not mean to sound defeated or give the impression that I am not proud of my design because I am actually quite proud of what our group presented and fully be-lieve that we achieved what we had set out to. However, my main concern upon reflection of this sub-ject is that there is a whole range of things I wish I knew how to use and it is now up to me to learn them in my own time after seeing the potential they can achieve in other peoples projects.

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LEARNING OBJECTIVES & OUTCOMES

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IMAGES;(1) Product of the author(2) Product of the author(3) Wood: 53. 2013. [ONLINE] Available at: http://cltad.arts.ac.uk/groups/foundation3d/revisions/32f28/53/. [Accessed 2 August 2013].(4) Cantilever lounge chair by Alvar Aalto at 1stdibs. 2013. [ONLINE] Available at: http://www.1stdibs.com/furniture/seating/lounge-chairs/cantilever-lounge-chair-alvar-aalto/id-f_527954/. [Accessed 2 August 2013].(5) Vintage silver gelatin print, signed, Ezra Stoller, 1939, [ONLINE] Available at: http://greg.org/archive/2010/10/18/the_enlarged_pictures_generation_al-var_aaltos_1939_finnish_pavilion_.html. [Accessed 2 August 2013].(6), (7) sit. 2013. sit. [ONLINE] Available at: http://www.matthias-studio.com/sit/sit.html#. [Accessed 12 August 2013].(8), (9), (10) dECOi Architects » OneMain Street. 2013. [ONLINE] Available at: http://www.decoi-architects.org/2011/10/onemain. [Accessed 10 August 2013](11), (12), (13) Worlds first on-site manufactured home! New build eco house Architecture Design, Facit Homes. 2013. . [ONLINE] Available at: http://ment-morestudios.co.uk/made/detail/worlds-first-on-site-manufactured-home. [Accessed 12 August 2013].(14), (15), (16), (17) ICD/ITKE Research Pavilion 2010 « Institute for Computational Design (ICD). 2013. [ONLINE] Available at: http://icd.uni-stuttgart.de/?p=4458. [Accessed 11 August 2013]. (18), (19) Dermoid – Daniel Davis. 2013 [ONLINE] Available at: http://www.danieldavis.com/dermoid/. [Accessed 16 August 2013].(20) “File: Wyndham City Logo.svg.” Wikipedia. Wikimedia Foundation, 14 Mar. 2013. Web. 13 Sept. 2013(21) “AD Classics: Institut Du Monde Arabe / Jean Nouvel.” ArchDaily. N.p., n.d. Web. 14 Sept. 2013.(22) “Chez Chiara.” : Shanghai Expo 2010: Chinese-Saudi Relations and More! N.p., n.d. Web. 14 Sept. 2013.(23), (24) “John Lewis Department Store by FOA.” John Lewis Department Store by FOA. N.p., n.d. Web. 15Sept. 2013.(25) “1010 Building Melbourne.” World Architecture Festival. N.p., n.d. Web. 15 Sept. 2013.(26) “The Gleaming Lights of Souls by Yayoi Kusama.” N.p., n.d. Web. 18 Sept. 2013. (27) “Green Void / LAVA.” ArchDaily. N.p., n.d. Web. 18 Sept. 2013.(28 & 29) “BANQ Restaurant by Office DA.” Yatzer. N.p., n.d. Web. 18 Sept. 2013.(30) “Chrysalis (III) « MATSYS.” MATSYS RSS. N.p., n.d. Web. 20 Sept. 2013.

REFERENCES:[1] Western Gateway Design Project, Competition Brief[2] Menges, Achim (2012), Material Computation: Higher Integration in Morphogenetic Design, Architectural Design Journal, Volume 82, Issue 2, pp.14–21[3] Schumacher, Patrik (2011) ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley), pp. 1 - 28[4] Williams, Richard (2005) ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102 - 116.[5] Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55[6] Fleming, J, Honour, H & Pevsner, N (1999), Dictionary of Architecture and Landscape Architecture, 5th ed., Penguin, London, pg. 1[7] Pallasmaa, J, (1998), “Alvar Aalto: Toward a Synthetic Functionalism”, in Alvar Aalto: between humanism and materialism, edited by Reed, P, Mu-seum of Modern Art: New York, pp. 26-28[8] Chevallier, F & Wittman, R, (1999-2000), Finland through French Eyes: Alvar Aalto’s Pavilion at the Paris International Exhibition of 1937, in Studies in the Decorative Arts, Vol. 7, No. 1, pp. 65-105[9] Hitchcock, H, R & Kidder, G, E, (1965), Aalto versus Aalto: The Other Finland Author(s), in Perspecta, Vol. 9/10, pp. 146[10] dECOi Architects » OneMain Street. 2013. [ONLINE] Available at: http://www.decoi-architects.org/2011/10/onemain/. [Accessed 2 August 2013].[11] Amelar, Sarah (2004), DECOi releases the potential energy of digital technologies in the architectural realm, Architectural Record, 0003858X, Dec2004, Vol. 192, Issue 12[12] Menges, Achim (2012), Material Computation: Higher Integration in Morphogenetic Design, Architectural Design Journal, Volume 82, Issue 2, pp.14–21[13] Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi[14] Mark Burry, scripting cultures, John Wiley & Sons (Chichester), 2010, pg. 8[15] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 32, 56[16] Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design Journal, 83, 2, pp. 8 - 15[17] Bell, Bruce & Simpkin, Sarah (2013), Domesticating Parametric Design, Architectural Journal, Volume 83, Issue 2, pp. 88–9[18] Menges, Achim (2012), Material Resourcefulness: Activating Material Information in Computational Design, Architectural Design Journal, Volume 82, Issue 2, pp. [19] Fleischmann, M, Knippers, J, Lienhard, J, Menges A, & Schleicher, S (2012), Material Behaviour: Embedding Physical Properties in Computational Design Processes, Architectural Design Journal, Volume 82, Issue 2, pp. 44–51[20] Weisstein, Eric (2003) CRC Concise Encyclopedia of Mathematics. Second edition. Boca Raton: Chapman & Hall/CRC.[21] Davis, Daniel (2013), Lecture 3: Architecture Studio: Air, University of Melbourne[22] Patrik Schumacher on parametricism - ‘Let the style wars begin’ | The Critics | Architects Journal. 2013. [ONLINE] Available at: http://www.architects-journal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article. [Accessed 14 August 2013].[23] Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71[24] Burry, Mark, Dermoid (2013) [ONLINE] Available at: http://mcburry.net/dermoid/. [Accessed 14 August 2013]d[27] A De Looz, ‘Smart Looks: Kengo Kuma on decoration’, 306090 Decoration, 2006, pg. 47[28] “Chez Chiara.” : Shanghai Expo 2010: Chinese-Saudi Relations and More! N.p., n.d. Web. 24 Sept. 2013.[29] Spring, Martin. “Foreign Office Architects’ John Lewis in Leicester: Great Drapes.” Building. N.p., 2008. Web. 24 Sept. 2013.[30] Garcia, Mark, ‘ Prolouge for a History, Theory and Future of Patterns of Architecture and Spatial Design’, Architectural Design, 2009, Vol. 79, No. 6, pg. 14[31] Rodeman, Patricia, ‘Pscyology and Perception of Patterns in Architecture’, Architectural Design, 2009, Vol. 79, No. 6, pg. 103-5

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