JustineLenkiewicz_389679PartAsubmission.pdf

8/12/2019 JustineLenkiewicz_389679PartAsubmission.pdf

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Architecture, then, as discourse, disciplin

form, operates at the intersection of prelations of production, culture,

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Dutton, T A and Lian Hurst M (1996) Reconstructing Architecture: Critical Discourse and Social Practices, Minneapolis: University of Minnesota Press

representation and is instrumental to thestruction of our identities and our differ-

es, to shapinghow we know the world.


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JUSTINELENKIEWICZ

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hello, this is me


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Profile:The offspring of two Polish migrants, who exposed me to the idea of a bigger world outside of myown, through travel from a very young age. I remember wandering the streets of Krakow and being

transported back to a time and place completely different to my own, and then wondering whyMelbourne was not the same. Why didnt we have the same beauty and history back home?The older I grew, the more captivated I became by how a citys narrative is conveyed through itsarchitecture. I guess I never really had that light bulb moment, it was always something that playedin the back of my mind but I wasnt sure I was committed enough to pursue it.Apart from architecture and travel, I also have a thing for fonts, colours, patterns, and Photoshop.Throughout my teen years I was regular sent MySpace profile pic edit requests.

EducationSix years at McKinnon Secondary College, where I first began to develop Photoshop skills throughsubjects such as Studio Arts and Visual Communication & Design.

Two years of a Melbourne Arts degree which I cant consider a completewaste of time as I did havemoments I enjoyed, and I did meet somenice people. During that time I completed Virtual Environmentsas my first year breadth subject, and this was my first exposure to 3D modelling through SketchUp.Perhaps unsurprisingly, my breadth was the only subject I really looked forward to.

Currently in my third year of Bachelor of Environments at Melbourne. Having experienced an Artsdegree, I was content I had made the right choice very early on. With the prospect of an actualcareercoming out of architecture, my perspective on university and life in general completely changed.Throughout my two years so far, I have covered everything from architectural history, to engineeringand construction, and finally urban design and sustainability. History subjects taught me the theoryand principles I needed to know, to help inform and shape my own design methods in my studios.Construction subjects brought me back to reality by teaching me the logics of construction in the

industry, and emphasised for me the need for a multidisciplinary approach to design.

Work ExperienceIn 2013, I travelled to Shanghai, China and completed a month-long internship with Michael BradleyArchitecture. It was probably one of the scariest things I ever embarked on - I knew no one, and Icertainly didnt know the language or the social etiquette, which resulted in a bit of a culture clashat the beginning.During my internship, I worked on several projects; the main one being a ClubMed Resort Project onHainan Island where I was involved in the prepartion of presentation drawings and a SketchUp sitemodel for the inital client meeting.I left China with not only industry experience, but connections and a life experience that wouldinspire me to be part of something bigger. Upon returning to Australia, I realised I was obsessed with

travelling, meeting new people, and immersing myself in new cultures.

I love the idea of integrating my love for travel and cultures with my appreciation for creative designand its narrative potential.So thats me so far.


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PART A


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CONCEPTUALISATION


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A.1. Design Futuring


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Through our anthropocentric mode of habitation, the human racehas unwittingly created a defuturing condition of unsustainability,where we cannot be expected, en masse, to have a future. And evennow, as the damaging consequences of our human-centredness on theplanets ecology ever increases, we fail to recognise or appropriatelyredirect our destructive tendencies, and instead sacrifice the future

to sustain our excessive presence.Design futuring, as a practice, aims to address the socio-politicaland ecological concerns of unsustainability, by recognising the role

of design in shaping the world we live in. Through architecturesmedium, we can construct a knowledge, a political act that operatesat the intersection of power and has the capacity to negate forms of

actions and institutions that defuturefrom our existence.There is a gap between requiring immediate action, and the currentavailablity of a means to create changes globally that would enablehumans and all that they rely upon to be sustained. But through themedium of design, we have a fighting chance to instigate the change

that is needed.

Lately, design has become too triviliased, too regularised; it has

been materially gutted and reduced to the simple elements ofappearance and style. In order to make good decisions, we require the

people making them to be well-informed.A clear sense of design and its ability to mobilise change is requiredto slow down the rate of defuturing, and a method of achieving thesegoals is by redirecting design towards more sustainable modes of

planetary habitation.


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DESIGN PRECEDENTs


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a.1.DESIGNFUTURING

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A second entry which caught my eye was Fluent-Fields. Iwas drawn to the beautiful presentation and composition ofthe proposal, which, from inital observation of the drawings,I assumed to suggest something along the l ines of light andmovement exploration.In a similar vein to pivot, Fluent-fields creates an innovativesolution to energy production by maximising the potentialof integrating two mainstream modes of energy harvesting- solar and wind.The proposal takes the form of a sinuous web of tensilestructure, composed of bent steel ribbing, steel cables, and

modular concrete footings. It is designed to generate sunand wind energy via the millions of thin photovoltaic filmstrips embedded within panels installed along the webof cables within the structure, that spin as wind passesthrough the site.To maximise the efficiency of solar energy production, theproposal exploits the use of two types of PV film - ThinFilm Non-Silicon Photovoltaics and Thin Film Dye SensitivePhotovoltaics. The higher efficiency of the non-siliconphotovoltaics rationalises their south-facing positioning atthe uppermost areas of the structure to obtain maximumsolar radiation while simultaneously providing shade for the

interior or the structure.The transparency of the Dye Sensitive Photovoltaics forthe remainder of the structure will help maintain visualconnections between indoors and outdoors while continuingto generate energy.In addition to the solar energy, the structure will maximumthe opportunities the site presents for wind energyharvesting, but at a smaller scale. As each mini panel withinthe tensile cable structure is mounted to an energy hinge,it will enable the panels to move backwards and forwardsin response to passing winds, which will not only createanother source of clean energy, but also a visual stimulant

for visitors as a colourful wall of motion.I feel this entry had a stronger focus towards the formmaking process, which translates well into their aims forthe proposal.

f luent- f ie lds


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DESIGNFUTURING

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danish Pavi l ion


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For their entry for the 2010 World Expoin Shanghai, China, Copehagen-basedBjarke Ingles Group took what wascore to Copenhagen city - the bike,and the harbour - and combined these

elements to produce an interactiveexperience for all visitors.While this project does not integratethe use of renewable energytechnologies, I chose it as my secondprecedent because I found it to besomewhat relevant to my own brief,with attributes that can inspire andcontribute to my own design.

Pollution as been problematic forShanghai with the rise of heavy motor

traffic and the car as the ultimatesymbol of wealth. At the DanishPavilion, the bike is relaunched asa symbol of modern lifestyle andsustainability by creating an exhibitionthat can be viewed only by walking,or via the city bikes provided solelyfor this reason. Guests can cycle, orwalk, throughout the spiral-shapedpavilion, viewing the exhibits, that area showcase of the Danish lifestyle, attheir own speed and leisure before

making their way into the heart of thepavilion where a Harbour Pool lies. Aschildren dapple their feet in the waterand play, they are watched over by TheLittle Mermaid statue, Copenhagensmost iconic sculpture. The people ofShanghai can experience the benefitsof a clean harbour in a sustainabilyoriented city and hopefully becomeinspired to make a change in their owncity.


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energy technology

research


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A.1.:DESIGNFUTURING

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electr ic i ty result ing f rom pressure

Harvest ingHuman

Movement


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Piezoelectricity is an electrical energy produced mechanical pressures (such as walking). As pressure is apto an object, it produces both a negative and positive c(on the expanded and compressed side, respectively), wonce relieved, carries and accumulates the electrical chacertain solid materials (crystals and ceramics).

what is it?

In 2008, a Railway Company in Japan installed a piezoeltechnology in the form of floor pads at ticketing gatesstation, as part of an ongoing experiment to make trains energy-efficient.The experiment was a follow-up of a similar one conducted inand was used to test improvements in power generation and caalong with material durability. The electricity generate from this used to power the light facilities as well as the automatic gates.

Currently, it is most used in applications for the productionand detection of sound, generation of high voltages andelectronic frequency generation; as well as in scientificinstruments and more common applications such as thecigarette lighters and push-start propane barbecues.

existing use

examples

peizoelect r ic i tyI am interested in the idea of using humanmovement to generate energy, as a way ofencouraging more people to visit my site.As visitors learn more about the uniqueharvesting methods, not only will theybe inspired to become more engaged thesite, but they will also develop a betterappreciation of renewable energy sourcesand their benefits in working towards a goalof sustainabil ity.I am inspired by the way the pivot entryfor LAGI 2012 integrated peizoelectricharvesting methods into their design in asubtle and modest way, such that the visitorsmay not even realise their contribution toenergy generation, mirroring much of thepopulations oblivion to their contribution tothe carbon footprint of this world.This ingenious approach has inspired me toexploit all opportunities, at the my site andwithin my design, to integrate renewabletechnology systems with an artful execution.


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A.2. Design COMPUTATION


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- Ignasi de Sola M

Having abandoned the discourse of style, the architecture of modertimes is characterized by its capacity to take advantage of the spe-

cific achievements of that same modernity: the innovations offered by present-day science and technology. The relationship between ntechnology and new architecture even compromises a fundamentaltum of what are referred to as avant-garde architectures, so fundamtal as to constitue a dominant albeit diffuse motif in the figuation onew architectures.


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While computerisationhas always played a large rolein storing, manipulating and realising an architectsalready conceptualised idea, computation, a methodwhich favours the use of computers as a design

tool, is a practise that is currently quite limited.The architects of todays Information Age are on theprecipice of a new era in architectural design. Justas Gustaves Eiffel Tower did for the Industrial Age,the ubiquity of digital technologies are changingthe face of architectural practice in ways that couldhave never been anticipated. The freedom grantedby a system driven by topological, non-Euclideangeometric space, kinetic and dynamic systems, andgenetic algorithms is quickly gaining momentum,

as it gives birth to a new dimension of architecturaldesign aided by the creative potential of digitalmedias that promise new and exciting possiblities.Todays digitally driven avant-garde architectureincludes a multiplicity of approaches, and is nolonger constrained by the overriding principles ofa single monolithic movement as architecture usedto be in the past.However, while contemporary architecture may appearto reject the notions of a structural typology, or historical

style or framework, it remains as ideologically andconceptually motivated as many of the ground-breakingprecedents responsible for establishing a style or fashionof architecture before it. When Baroque first broke theconventions of traditional Christian architecture, it set anew standard for beauty and proportions in architecture.But what sets todays contemporary approach to buildingdesign apart is the representational technology thatinspires new discourses and waves of thought.

At the centre of form origination and transformationin digital architectures is the notion of topology;which, by definition, suggests a study of geometricforms that remain invariant and dynamic under certain

conditions. This introduces a fourth dimension intoarchitecture, where the constructs become encodedwith qualitative and quantitative data necessary for allstages, starting with design and analysis right throughto fabrication and construction. As form is generatedfrom contemplation of pre-determined parameters itpermits a degree of novelty in the design of complexand organically generated outcomes. The process ofform-finding, as opposed to form-making becomes aproduct of the inherent qualities which exist entirely

within the context of a given architectural project.The most appealing aspect of topology is perhaps itscapacity to redefine conventional notions about spatialboundaries within architecture, for example, blurring thelines between what could be considered interior andexterior.In order to achieve these previously inconceivablegeometries, digital modelling softwares (such asRhinoceros) use an algorithmic model known as Non-Uniform Rational B-Splines (NURBS), which result

in smooth curves and surfaces. NURBS curves canalmost single-handedly take the blame for changingthe face of architecture, by offering a shift from thelimits of traditional Euclidean geometry by exploringbeyond their initial form. NURBs were first used in the1950s by engineers, to precisely model and representthe freeform surfaces of ship hulls, aerospace exteriorsurfaces, and car bodies. The taking of inspiration fromother industries is nothing new; architects have alwayspushed the boundaries of their discipline through

appropriating materials, methods, and processes, for thesake of innovation.

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/01he control points that govern a given NURBs curve orurface permit a degree of flexibility, as they behave asrubber band that can be pushed and pulled to applyanslations and transformations.

URBs surfaces are constructed using a seriesf parameters that are given values to generate aultiplicity of configurations. The use of mathematical

quations can also help to describe relationshipsetween objects, as well as the objects behaviournder certain transformations.gure 01 represents my own explorations in Rhinowhere I created a single NURBs curves, and then

uperimposed a second, slightly offset curve above theiginal curve. I then used the Loft function in Rhino

produce a surface from the two curves. With the aid a range of other functions, I was then able to createcladding by offsetting the loft, and then project a

attern onto the cladding which I could then convertto a stencil for the external cladding by splitting the

urface and cutting away the holes.

y embracing non-linearity, indeterminacy andmergence, the techniques of the new digitalchitecture challenge conventions for stable design

onceptualisation and first order logic that founds

ainstream comprehension of the computationalesign tools used for architectural production. Instead,chitects are now required to explicity acknowledgee unpredictable and the unexpected.parametric approach can change the nature and

stablished hierarchies of the building industry ase focus of design is shifted from the specific shape the sequence of guiding parametric equations andinciples as specified. By rejecting the fixed solutions an archaic architecture, the doors to the exploration infinitely variable potentials are opened up.

he ability to define, determine and reconfigure geometricaelationships is of particular value


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the to rus house

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/02

Preston Scott Cohen believes architectural predicaments helpgenerate the strange forms that feed the intellectual growth ofarchitecture. But in todays Information Age, computer-aided designhas led to a compromise in the art of creative form-making. A designneeds to be guided by a problem. For Cohen, it was the absence ofa torus.I chose the Torus House (2001) as a precedent because for me, itis one of the earliest examples that truly epitomise the essenceof computer-generated outcomes. It appears as a formal struggle

between parameter driven geometric design and traditionalEuclidean geometry of a forgotten architecture. Its as if he has takena box, decided it was uninteresting, and then used mathematicallyresolved algorithms to push a torus shaped block through thecentre, causing a rippling effect in the walls and floor planes asthey undulate and fold in on themselves.There is no resolution - neither flat nor curvilinear plane win thebattle. They stand their ground and mutually agree to disagree inorder to co-exist. Yet the presence of the torus creates a series ofpervasive spacial types and conditions within architecture, wherethe precedents remain discernible. As Corbusian pilotis raise the

house above ground level, it creates a space for an undergroundcarpark and also opens up the front to a ground-level courtyard.The torus voids obtrusive presence creates a conflict betweenthe ground and roof planes. As they collide with each other, thekitchen floor plate extends out beyond to create a new continuoushorizontal surface that can be used as a table (figure 02).What I found most intriguing about this project was how Cohen hasexploited parametrically driven design to create new spaces andchallenge perceptions of living arrangements within a containerperpetually oscillating between being outside-in and inside-out.For the client, who is an artist and likes to entertain, it was necessary

to have large open and inviting spaces and as well a picturesqueview of the open landscape; and through the aid of computerisation,Cohen has been able to produce a form that achieves this.


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I am also particularly intrigued by Kristoffer Tejlgaard aBenny Jepsens response to the debate on future housin

in Bornholm, Denmark. The brief required a multifunctionspace that could provide a stage for the debate. Tejlgaaand Jepsen took it one step further by simultaneouscreating a spectacle of a structure that would make its owcontribution to the debate.I chose it as my second precedent because of its succesas a public space that brings people together, a quality thI would like to echo throughout my project. The traditiongeodesic dome is a common shape that can be argued abeing mathematically rational, but this would result innon-architecture that does not relate to its surrounding

Tejlgaard and Jepsen were clever in the execution of thdome, exploiting the potentials of digitally-generatedesign by producing a deconstructed version that walgorithmically resolved by external parameters. Sun pathand existing site features governed the splitting up of thdome to create niches and crevices. Computational desigallowed the wooden frame to become unlocked, permittinthe extrusion, scaling and cutting away of sections response to the physical context. The interior space, in tuwould become a product of this process.What I like most about this design is its flexibil ity. The lattic

structure acts like a tent, parametrically programmed so thit is possible to vary its configuration by simply updatinthe existing parameters. Because of the domes structurefficiency, the interior space is left column-free and withothe need of internal load-bearing walls which providmultiple interior arrangements and window placemepossibilities. Parametric design has not only aided in thgeneration of a site-responsive form for the building, balso in creating a space that can be adaptable for future u the final result being a poetic composition that literalspeaks for itself within the debate on computational desig

people s m

Source: Peoples Meeting Dome / Kristoffer Tejlgaard & Benny Jepsen 27 Sep 2012. ArchDaily. Accessed 18 Mar 20Source: Peoples Meeting Dome. 27 Sep 2012. Ignant. Accessed 18 Mar 2014. < http://www.ignant.de/2012/09/27/peoples-meeting-dome/>

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t ing dome

A.3.C

OMPOSITION/GENERATION


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A.3. COMPOSITION/GENERATION


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f(x)=a +(a cos +b sin(n=1)

n n0n x

L n x

L


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New and emerging computation techniques provide an

architect with the digital tools they need to stimulatetheir intellect and open up new opportunities in the design,fabrication and construction processes. So monumental theimpact on avante-garde architecture these new techniqueshave had that it finally puts to rest the short-lived episodesof Postmodernism, deconstructivism, and minimalism;warranting its own style, dubbed Parametricism. This nameemerges from its creative exploitation of parametricallydriven design to help arrive at more complex socialprocesses and design solutions.

In order to achieve these complex solutions, thetechniques must rely on the use of algorithms, definedas a set of operations for calculating a function. They areexpressed as a finite list of instructions that start off withan initial (often empty) input, and result in an output of afinite number of defined successive states. An algorithmdescribes the process that a token has participated in. Theincrease in the use of these algorithms is changing the roleof the architect, as it requires a shift in the conventionalmethods of thinking and conceptualising design.

Parametric architecture uses algorithms to explore thespatial relationships between elements. Custom algorithmictools now take up a vital role in the design process and verymuch become embedded within a design itself. Algorithmicthinking thus takes on an interpretive role to understandthe results of generating code that underline the logic ofarchitecture, and it requires knowing how to modify the codeto explore new options and speculate further design potentials.By definition, an algorithm must be flexible and adaptable tochanging parameters in the design environment. It is necessarynow for the architect to also become flexible, and adapt to a

world that is also changing and becoming increasingly virtual.

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A.3.COMPOSITION/GENERATION

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serouss i

pav i l l ion / /par is

The project proposal for the Seroussi Pavilion(2007) was to insertthe pavilion into the site as a ground implant. Alisa Andrasekexplored the potentials of structural adaptation to site conditionsusing a distribution algorithm based on a set of self-modifyingpatterns of vectors derived from electromagnetic fields.With this algorithm behaving as the seed, the structure would beborne of the ground and, like a plant, it would sprout towards otherelements of the site and form connective tissues between them,

that would eventually envelope to create a diverse and coherentwhole.An extended radius of influence allowed the new fabric to weaveitself seamlessly within existing landscape pathways.The sinuous form is born out of a series of structural microarchingsections that have been computed through different frequences ofa sine function, in conjunction with the physical laws of attractionand repulsion.

Sin-wave functions also drive the parametric distrubtion lighting/shading, and programming of views, by differentiatiangles, orientation and size of apertures, as well as investigatirelationships between metal and glass components of each cell.Double charged trajectories are used to produce the cocoon liinternal space, that continuously unfolds itself through the buildispace and creates an elegant interlacing of fibres and opportunitifor varied degrees of cohabitation between humans and art exhibi

Through the aid of computerised simulation of the structurperfomance, a variety of potential exhibition sequences can examined with the flexibility to reconfigure art exhibits and discovoptimal spatial distribution within such a complex, labyrinthifabric.


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a Maze

A similar project undertaken by Andrasekis the a_maze furniture system which wasentered as an exhibition design at FRAC inOrleans, France.The strips are formed via a folding algorithmprogrammed to recursively subdivide alongthe logics of a fractal Koch curve. Similarlyto the previous example, the curve is alsoprogrammed to grow organically betweendifferent points in space, and continues to

subdividing for a number of iterations.The result is a previously unconceivableform, embedded with the complexity andintricacy of nature-inspired process ofsubdivision. By borrowing from nature,algorithmic and parametric design showthat architecture can lend itself to aninfinitude of possiblities and continue todefy previously set boundaries of knowledgeby revolutionising itself.


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swal low s nest


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Throughout my research on generativedesign in architecture, I came acrossthe work of Vincent CallebautArchitects, a firm in Paris, whose eco-utopian visions have earned them asterling reputation for sustainablearchitecture design. I was enamoured

with all their designs; combiningbiolclimatic architectural elementswith parametric design principles, inan aim to create urban ecosystemsthat celebrate the union of art andinnovative technologies alongsidenature.It can be argued that it is difficultto attribute a parametrically drivengeometry with the same depth ofsymbolism and representation as a

compositionally derived geometry.But, once again, the parametricallydriven digital morphogenesis ofSwallows Nest acheives an organicgeometry, inspired by natures owngrowth replication process, imburingthe form with motifs that reflect thearchitects desire to create a symbioticrelationship between nature andhumans. In this way, it becomes theperfect ecology gateway into Taichung

City.

Here, Callebaut has taken aMobius strip as a starting pothen repeated the section iscolese triangle around its epath. This has resulted in a sdynamic and fluid spatial tywith voids and variable elevati

help inform the internal spthree large pillars lift the sit liberates the ground allowcentral space to transform intoand aquatic Garden of Eden thain a downpour of natural sunthe atrium opening created original elliptical shape.The highlight of the building fthe use of an intelligent glassas the buildings skin. In on

move, Callebaut is able to achicreative aesthetics through appearance and patterned effects, as well as thermal effor the structure. Building inphotovoltaic solar cells andgenerate energy while low-windows permit natural ligprovide thermal massing, all thprotecting the interior art exhibdeterioration.

The variably oriented roomsconstant interaction betweenand outdoors, while state-ofrenewable technologies cwith parametrically-driven, orgderived form come together in structure that reinforces the arcaspirations towards building a between nature and humans.


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Cl imath// dubrov


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k

For my final precedent, I have chosen AndraseksHonoury Mention entry for the 2011 EuropanCompetition, an architecture cultivated from a hybrid

programming schema, which integrates physics andmicro-articulated algorithmic functions, such assynthetic weather and dispersed energy production,to reproduce the qualities and effects of CroatiasOld City. I was inspired by the creation of a syntheticecology; using computational techniques to interpretthe old citys architectural fabric in a new languageintentionally made to appear worn out.It is essentially a mixed-used space to be shared byresidents as well as visitors f rom the general public. Theluxurious residential sequence forms out of the physicalcontext of Mediterranean liv ing; the architectural fabr icis programmed towards achieving verticality throughthe design of structured apartment duplexes withdouble height windows, ensuring a fine quality of lightthrough a network of skylights and roof terraces. Theproject then achieves maximum spatial efficiency byfreeing the site for generous public and residential usethrough the installation of a double plaza with free-flowing topology of pedestrian-accessible zones.

The two plazas are bound to one another via a highly skin, pierced with a field of densely packed ceiling apeand canyons that produce a decorative ensembles o

formations and complex shading devices.These apertures and shading techniques were deriveda 5 coloured cellular automata algorithm, which generprobabilistic distribution of infrastructure cells to desigareas for furniture fittings such as benches, planterlight fixtures and openings. The programmed structurenables moderation of light intensities during the nigwell as scaling in size to accommodate different usagThe top layer of the plaza provides an escape for hot afternoons by synthesising an arena of water-mist ama field of aromatic planters. Meanwhile, the pavementadvantage of the abundant sunlight by harvestingenergy through the distributed arrays embedded withinMathematical analysis has aided in orienting the inshredded tectonic plateau which provides a clearanceview of the Old City Walls and also frames of a range ospectacular city sights.


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A.4. CONCLUSION


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To reiterate, we are currently living an extremely human-centriclifestyle to the point where we can acknowledge that it is endangeringus and our future, but not so far as where we are willing to makedrastic sacrifices and compromises to the way we live in an effort todo something about it.But there is a way of salvaging our situation. The capacity of theprofoundly secular, human-initiated, act of design displaces theinvisible hand of God and takes on a life of its own.

thinking in the momentThe onus is thus placed on the architect of today, who, throughthe advent of recent technological innovations and advancements,has been given a new toolbox and playground for which to exploreendless boundaries, to derail the impending defuturing condition ofour current world in the hopes of a more sustainable tomorrow.Parametric architecture is innovative because it is changing thethe methods of thinking a designer undertakes when producingarchitecture. Through the creation of new geometries, it ridsarchitecture of its rigid and traditional shackles, and encourages the

taking up of a holistic view towards the design. It becomes about theprocess of producing a design, rather than purely designing the endresult.Being empowered with the capacity to use this to my advantage, myproject will thus take on a parametric approach by creating a designborn of natural processes from its surrounding context and will depictCopenhagen as a forward thinking city well on its path to becomingcarbon neutral by 2025. The result will be a symbiotic additionthat contributes and enhances the site, rather than a destructivecontagion that only takes and disrupts; encouraging discourse aboutsustainability, and interaction about visitors, as well as economic

growth and change to the broader context of Denmark.


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A.5. LEARNING OUTCOMES


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Before starting this course, I could not tell you the difference betweencomputerisation and computation, I certainly knew nothing of the

processes underlying parametric design, and I barely knew how to useRhino and Grasshopper as a modelling tool, let alone a generative designtool.After four weeks, I feel I have a better grasp on the way parametrics candirect and manipulate everything from the inital analysis and designprocess to the final form, materiality, and fabrication and construction. Iunderstand that it is, in fact, inhibiting to have an idea of what you wantyour final result to look like, and the beauty of computational design liesin its unpredictablility. By having an understanding of contextual data andusing it as an input to shape and modify your design, you not only createsomething truly organic and specific to your project, but also the processes

and algorithms that generate the final outcome, and they become a uniqueand integral element embedded within the final design.But while the theory paints a clear distinction between computation andcomputerisation, I have discovered that within practice, there tends to bean overlap. With still so much research to be condcted and knowledgeto be gained in the field, many architects opt to take advantage of bothmethods of design, employing them at various stages of their design.The video tutorials have given me a basic grasp on the algorithmicprocesses behind Grasshopper and Rhino modelling; and it is fascinatingto the discover how new geometries and patterning systems can be createdby knowing only some of the most basic functions.

As someone who usually becomes inspired at the very last (and oftenmost inconvenient) minute, I feel like having this knowledge for my pastdesigns could have helped me generate quicker, and more complex andcontextually-rich outcomes.Finally, as a mere pupil of this new Parametric movement, I look forward tothe unpredictability of my future designs and the possibilities it can openup for me with great anticipation.


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A.6. APPENDIX -

ALGORITHMIC SKETCHES


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The following are taken from my Algorithmic Sketchbook and depict some of the highof my parametric explorations so far.

example 01/This geometry was generated using the prepackagedVoronoi 3D triangulation algorithm, which results in the

creation of cell patterns across a surface. It is a common-ly used method in the architecture of today, as a way ofgenerating natural looking and organic patterns. In somecases, voronoi patterning sequences have been applied tocladding systems as a way of creating innovation shadingtechniques.

example 02/Demonstrates sphere intersections that were created us-ing circles generated from three known points in a numberof iterations. It can be useful in creating complex interiorspaces and challenging conventional notions aboutspatial relationships.

example 03/My third example is one that I am extremely proud I wasable to achieve successfully. Parametically designedgridshells are becoming more and more prominent inarchitecture, for their durability and strength derived froma double curvature form in conjuction with a structural

lattice. They also exhibit the potentials of timber throughlarge spans often in curved and complex forms. I enjoyedlearning exploring this modelling method most because Ifound it most relevant to todays architecture.

01/

02/

03/


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