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a.1. ArChiteCture AS A diSCourSea.2. ComPutAtioNAL ArChiteCturea.3. PArAmetriC modeLLiNGa.4. ALGorithmiC exPLorAtioNSa.5. CoNCLuSioNa.6. LeArNiNG outComeS

B.1. deSiGN FoCuSB.2. CASe Study 1.0B.3. CASe Study 2.0B.4. teChNique: deveLoPmeNtB.5. teChNique: PrototyPeSB.6. teChNique: ProPoSALB.7. ALGorithmiC SKetCheSB.8. LeArNiNG oBjeCtiveS ANd outComeS

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the modernistic movement created a revolution towards architecture. williams (2005) describes a change in expectation towards architecture as he compares the pre-modernist prioritisation of an exterior aesthetic against tectonic architecture; the structural aesthetic. williams emphasises Kenneth Frampton’s ideal that attention should shift beyond a façade and that architectural beauty is possessed within a structure. Schumacher (2011) classifies such a transition as changes to the normative regimes, practices and the idea of quasi-objects, resulting in a large-scale conversation towards new architectural norms. Schumacher partially attributes this to the “global dissemination of published material”, referring to the increasing awareness for the “sub-system(s) of society” and academically inclined to create an autonomous network of communications.

the result is that a seemingly simple paradigm shift from an exterior to a structural aesthetic allows for the architectural discipline to be updated and upgraded (Schumacher, 2011).

this is an example of a conversation towards architectural diversity, however, through

the multiplication of many conversations, a larger scale communication or architectural discourse may arise. Schumacher (2011) argues that as architectural communication becomes more comprehensive, there will be the “dissolution of the distinction of architectural and urban design” (Schumacher, 2011). this is an example of architectural discourse.

Change in architecture is progressive. differing rates of change will relate to the degree of discourse that may been seen in society. however, whether the discourse be evolutionary or revolutionary, Picon (2010) criticises discourse as the ‘suspension of agenda’ as it loses ‘political and social relevance’. it is therefore necessary that if discourse is to occur, that it is not just a conceptual development of architecture but is also a societally relevant discourse.

Nieto Sobejano Arquitectos and Fernando romero enterprise demonstrate effective discourse in their buildings the contemporary arts centre & museo Soumaya respectively through their site responsive and societally relevant architectural communications.

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A.1.1 PreCedeNCeCoNtemPorAry ArtS CeNtre

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the Contemporary Arts Centre in Córdoba, Spain is a representation and interpretation of traditional geometric laws and recurring patterns as seen in traditional islamic architecture. Although beginning with base hexagonal shapes, each hexagon has been slightly altered to create subtle unbalance. the complex 3d fluidity of the tessellation between the hexagonal shapes rejects the conventional ‘container’ building metaphor, therefore instigating a form of new communication through reinvention.

Nieto Sobejano Arquitectos describe the homogeneous four walls and a roof shape to be ill-fitting for its globalised market. resultantly, a building that has characteristics similar to a warehouse or factory; large concrete pre-cast panels, continuous concrete floors and minimal windows creates an intervening sensation in comparison to other arts centres.

Constructing small perforations to channel beams of light from the facade not only makes the walls glow with the backlit illumination but also metaphorically questions the impenetrability of uniform pre-cast concrete.

Conversations within the strict control of light flow were initiated during the modernist period and has been centralised by many famous designs since, such as Louis Kahn’s National Assemble Building, dakha, Bangladesh and tadao Ando’s Church of Light, osaka, japan. these designers utilise the hierarchal power of light to highlight elements of their architecture, therefore creating a greater societally responsive form. Nieto Sobejano Arquitectos attempt the same play with light in order to create subtle discrepancies with what would otherwise be a regular form, thus denoting a form of discourse.

Nieto Sobejano ArquitectosCórdoba, Spain, 2013

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Alternative to Nieto Sobejano Arquitectos’ evolutionary development we can look toward mexico city to compare another arts centre that undertook a far more revolutionary stance to architectural discourse. williams’ article relating to architectural and visual culture is highly relevant to the design of museo Soumaya because of mexico’s rich history in culture and art. williams establishes that a purist visual culture will not enable successful discourse through consumption, but critically must have a structurally relevant form and symbolic reference to enhance the communication that can instigate discourse.

For instance, the impenetrable exterior not only demonstrates an aesthetic continuity but also is used to protect the art work inside from light damage. however, the challenge to construction is to create 16,000 unique hexagonal geometric panels that will allow the architectural communication to become a reality.

museo Soumaya’s revolutionary communication allows for discourse in construction techniques as it drives the necessity of parametric modelling to create the double-curved exterior surfaces which would usually be very challenging.

Progressive problem solving drives the necessity for architectural discourse. As the world globalises and ideas are shared, the drive to create innovative architecture is accentuated. this form of discourse is fully embodied within museo Soumaya’s structure as it achieves a visual and cultural representation of monumental continuity but has also been harmoniously coupled through the advanced design and manufacturing techniques, as demonstrated by computational and parametrically designed architecture.

Situated within mexico City, this building is an irregularity in the city’s traditional fabric and therefore creates conversational intrigue to changing architectural practice for non-academically inclined individuals. the continuously curved façade separates the building, breaking the traditional construct of four walls and a roof. the resulting appearance seems that the roof looms overhead and, in turn, creates an inviting encapsulation towards the entrance. the reflectance of the metal hexagons allows the building to reflect the daylight and create shadows that allow the building to be responsive to its site and therefore more socially responsive architecture.

Fernando romero enterprise (Free)mexico City, 2011

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we have seen that Nieto Sobejano Arquitectos and Fernando romero enterprise have developed unique forms of architecture. Commonalities between them suggest the increasing use of complex and comprehensive architectural form. Although both have taken the principle of tessellating hexagonal polygons, they both have chosen irregular paths to reach their proposed outcomes. the contemporary arts centre utilises a regular building form for the exterior and imbeds individualised shapes within. Comparatively, museo Soumaya uses apparently regular hexagonal polygons but manipulates them to be doubly curved to create a uniform parabolic exterior. in these cases the role of computational architecture allows the buildings images to be fully portrayed whilst constructability can be integrated and fit to the process as it is worked. observing wilson’s (2000) theory towards the ‘effective procedure’ of computational architecture, ideas can be rapidly formulated that encompass the use of computation early in design phases that allow countless outcomes to be tested. resultantly, as we can see in the figure below, we observe that the expanse to idea generation is highly

divergent and explorative. this critically ties to the idea that intensive conversations can occur early within design phases that allow extensive communications to occur towards the larger image of architectural communication and discourse.

Synonymous with the concept of discourse is the concept of flexibility. without flexibility, design would be stagnant and non-progressive. designers have to be willing to adapt and change to enable the continual progression of the movement. therefore, the design process needs to be easily responsive to exterior inputs.

the design of buildings, in themselves has been rapidly altered. the prioritisation of the overall image of the building rather than craftsmanship in minute detail, highlighted circa modernism, has overridden design practices. this has been driven by the scale of projects, the necessity for time constrained construction and arguably, derived from societal development, a response to the fast paced nature of modern humanity that demands instant gratification from arts rather than spending time to appreciate detailing.

Figures to show computational planning of structure and services in museo Soumaya

A.2. ComPutAtioNAL ArChiteCture

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Computation not only allows rapid concept generation but more importantly allows for integrated design processes across multi-organisations. Foster + Partners’ Specialist modelling Group (SmG) undertaken model of integration highlights the opportunity to construct sophisticated projects at an unprecedentedly rapid pace. this allows for the full “multitude of parameters that are instrumental in a building’s formation” to be leveraged as a unified system, previously stagnated in a cyclical process of development, conferring with experts and regeneration to find a mediated solution.

Arguably, computation is the key driver in rapid architectural discourse as a response to the globalised society of integrated architecture.

“when computation is integrated as an intuitive and natural way to design, then perhaps collections of essays like this Ad, will no longer be necessary. however, we are not yet at this point; these concepts must be tested in practice through designing and building.”

Arguably, the human imagination, with its

infinite sources of inputs can never reach an apex for design conception. this is a critical driver for the development of new technologies to develop and explore new design potentials. thus, by accelerating, increasing intractability and enabling flexibility within computational architecture will allow for more heightened levels of design engagement and therefore discourse to be obtained. Schumacher suggests that parametric modelling is the next platform for enabling the conceptual jumps in the architectural process and could lead to the complete integration of computation as the intuitive and natural methodology of design.

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the discourse of parametric design will bridge the complexities of culture with the expansive sophistication of modern design intent. Patrik Schumacher’s parametricist manifesto of 2008 instigated the formal characterisation of a new stylistic era in architecture. he suggests, that the new paradigm of parametricism will be a style of progression that will better facilitate the “cycles of innovation” and therefore enable discourse to ensue. Schumacher is already instigating change through suggesting projects under the firm Zaha hadid Architects (ZhA). ZhA are actively pushing parametricisim into practise so that architecture can appropriately adapt new practices to the complexity of culture in order to formulate a new architectural language and paradigm.

Formalities within the traditionalist architectural language stem from a linear transaction of blending ideas over centuries, with the disruptive ideas of modernism especially throughout expressionism, architectural upheaval occurred whereby buildings focused on materiality and functionality rather than decorative aesthetics. however, after the modernistic movement and towards the 21st century, architecture undertook a more complex notion that incorporated form, function, materiality, spatial relevance and temporal relevance and environmental responsiveness. it can then said to be true that parametric design was the extension of computation that could allow for communication to traverse this multi-disciplinary field of expectations towards architecture to create successful discourse.

however, Picon argues that “one of today’s most pressing challenges might be how to elaborate a convincing argument regarding the political and social relevance of architectural complexity”. with this new found sophistication, spawns the challenge to integrate. two commonalities seem to arise as problems, firstly, that because architecture has been traditionally been founded in formality, it appears that parametric design is residing back to the original necessity for common language between projects. As previously established, this is not for short comings confined to the human imagination, but instead a limitation of the current understanding of the explorative potential of the current methods. this will be further discussed in the similarities between Skidmore, owings & merril’s (Som’s) Convention centre, tanggu, China and Grimshaw Architects and jackson Architecture’s collaboration on melbourne’s Southern Cross Station. Secondly, as Picon brings to our attention, the social complexity of the modern world is unfulfilled by the sophistication of the parametric architectural process. Since two incredibly complex individual parts have so many elements to fulfil, the overlap where architectural discourse may be relevant is challenging in this relatively nascent environment for parametric modelling. therefore, it will be exemplified how constructions like Zaha hadid Architects’ Galaxy Soho and iCd/itKe’S research Pavilion successfully integrate the two and the motifs that they may use.

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melbourne, AustraliaGrimshaw Architects & jackson Architecture

tanggu, ChinaSkidmore, owings & merril (Som)

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Generic forms of irregularity are beginning to emerge as a norm in parametric design. Parametric design, can be considered to be stemming two paths; the first being a new design style that instigates a paradigm shift. Alternatively, there is a chance that a generic type could be produced by parametric design.

Parametric design creates a flexible but single and hyper connected objects through purpose, environmental responsiveness and cultural norms. through conventional design methodology it was possible to segment, disjoin or break up the design due to the maturity of the thought process and therefore the diligently creative mindset.

therefore, we start to see similarities in the design process. From a glance, melbourne’s

Southern Cross Station shares a lot of characteristics with Skidmore, owings & merril’s Convention Centre in tanggu, China, 2009. this shows how nascent the parametric design industry is in relation to traditional design. however, the rate in which the computational industry is progressing, this will be only a slight hiccup. Alternatively, and more positively, by creating buildings with similar characteristics actually allows the new industry to gain legitimacy and status for the parametric design, and create a platform to allow discourse to occur and new, iconic architecture to arise.

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Considering Schumacher’s background in parametric modelling and his integration within Zaha hadid Architects, their architecture such as Galaxy Soho are of utmost importance to depicting the ideologies of parametricism.

there were four positive principles in which Schumacher pursued for parametric design; softness of form, all systems must be differentiated, all functions are parametric, and all activities should communicate with each other.

this precedence demonstrates continuity within the flow of enclosed bridging spaces. it is these bridging spaces that allows for the interconnectivity of the building’s elements and have been designed in a seemingly organic method. Finally, the building creates softness within its contoured layers as it does not merely have rounded horizontal surfaces, but also vertical. however, cleverly, Zaha hadid have been able to avoid the double-curved surface, as was seen in museo Soumaya, thus making construction easier and depicting a strong visual effect of layering.

Critically, this fulfils the criteria of parametric design, however, to successfully show a discourse it must be socially responsive. the hollowed interior creates access to natural lighting and the contoured appearance depicts something that almost appears to be a building block, however it is through these building blocks that the building maintains its cohesiveness as each building block spans across two hollowed interior shapes. this makes the building permanently intertwined for paramount cohesion and connectivity.

ZAhA hAdid ArChiteCtS (ZhA)BeijiNG, 2012

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the research pavilion undertakes a detailed parametric model that highlights that aesthetic form is not the key driver towards architectural discourse. this is a critically undervalued point as architectural aesthetic largely drove the traditionalist architectural language. however, post industrialisation, william Curtis highlights that materiality and constructability are important. the research pavilion achieves this through the creation of sections as each section can be manipulated differently to the last to create a transitional ordering around the object. the mesh that controls the 80 different types of sectioned strip patterns, must account for the flexibility of the wood and the way in which they will be laid out, therefore demonstrating a high level of sophistication, thus showing the strengths of parametric modelling.

institute of Building Structures and Structural design (itKe) and the institute for Computational design (iCd) at the university of Stuttgart (2010)

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A.4. ALGorithmiC exPLorAtioNS

the iCd/itKe research pavilion demonstrates the strengths of sectioning in Parametric architecture. it allows for the perfect balance of lighting, as design programs can very simply factors this in for any time of the day at any stage of the year, at completely different longitudinal and latitudinal coordinates. this shows how comprehensive the design phase is that it creates a perfectly day lit enclosure. this inspired me to attempt to create something similar in form and an irregular arching canopy. despite the many methods one might undertake to achieve such a form, i attempted the use of a delaunay mesh function. however, since this is a triangulation, it does create angled edges rather than curved edges.

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jan Gehl describes cities based off pace. there is the 5km hour city or the city at a walking pace, the 60km hour (driving pace) and the city from a bird’s eye perspective. his ideology stipulates that the pace in which humans transcend cities is too fast. therefore, it is necessary to slow down. Gehl aims to create liveable cities. his ideas were implemented in the closure of Swanston Street in the heart of melbourne becoming a non-driving street and he has had a large influence in the danish model of a riding city. he aims to create cities that are far more liveable. this is an image of what the modern architects want. A city that they can live in and that will instigate conversation, communication and discourse. transition is necessary for a city to develop, therefore it is crucial that wyndham undertake a dynamic mindset, leaving static architectural practices behind, and look forward towards parametric design.

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Proposition one: Architecture must be progressive

it was earlier established that inadequate social and cultural responsiveness will lead to unsuccessful communication within the possible realms of architectural discourse. Picon (2010) suggests however, that architecture need not follow a repetitive “folding” pattern. this means that the deeply unified composition of architecture can evolutionarily progress without reiterating the same ideas. this synonymously agrees with the rapid idea dissemination that globalisation has instigated. therefore, this leads to the opportunity that repetitive trends in characteristics of digital architecture can be broken.

Proposition two: Massive structures are culturally irrelevant.

Picon (2010) observes that within the changing environment of the digital architectural culture, that society no longer values massive structures (relating to material mass rather than size). therefore for architectural discourse to proceed, designers need to respond to the environment so that their ideas will be well accepted.

these two propositions demonstrate that firstly, architecture must be progressive.

Change need not be revolutionary, in fact evolutionary change can be more relatable by observers and allow for public architectural conversation within discourse. Secondly, image portrayal is more valued to society than massed structures. Conveying an image within architecture, especially for wyndham City of adaptability and change will allow for greater public engagement. Architect Greg Lynn, deals with these propositions through his tool of discourse: architectural sectioning.

however, the complexity within sectioning will be creating a smooth transition between heterogeneous subparts (Picon, 2010). it will have to slow down to balance depicting a transition but must also change fast enough that a progression can be established. Lynn critically analyses sectioning through the envisagement of a “frozen movement of a flow” (Lynn, 2008). the idea that a static section is a remnant or a trace of movement yet still depicts animism is the area of core architectural opportunity within sectioning.

this is critical to respond to the transition that wyndham city instigates. As gateway project that embraces transition and change, throughout the design proposal, it is critical to analyse the ability of the outcomes to critically instigate discourse in relation to Lynn’s architectural movement of transitioning through sectioning.

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the compositional conversation between the interior and the exterior of Lynn’s Korean Presbyterian Church, fully embodies his ideological belief that transitioning amongst sectioning can depict discourse. the interior sectioning creates a smoothened surface, whereby, although layered, the sections create a more progressively unified appearance. Alternatively on the exterior, we can see large deviations from one section to another. As the sections reoccur, they expand, become more acute and more dissident. this is a recursive offset, whereby each stage is progressively different from the last, and creates intrigue as it is a subtle breaking of symmetry and regularity to create a movement over the whole set of sections of transition or change. individually, each section, barely represents Lynn’s idea of animated design, but collaborated, there is an internal dialogue of change.

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Sectioning and contouring have similar properties. For example, geographically, contouring allows for a uniform whole to be broken into segments of transition, each one allowing a visual representation to how it is altered. therefore, something that may appear to be a linearly curved surface, once broken down may exemplify more sophisticated transitions. Like Lynn demonstrates, parametric modelling allows for 3d shapes to easily be deconstructed into 2d shapes to define the progressive transition. we were able to quickly model contours using simple algorithmic expression to test the interplay between 2d and 3d shapes.

resultantly, this was a good place to start our experimentation and exploration into differing section techniques.

with further exploration into the technique of contouring, we began to integrate inputs and utilise multiple surfaces in the construction of contours. using a slightly more sophisticated algorithm, this allowed for more versatile and realistic exploration into parametric contouring, something that would have been stagnated through other computational techniques.

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the technique of fractal layering is a slight deviation from the idea of using sectioning as a transition. Nonetheless, fractaling utilises the similar principle of the recursive to gener-ate new iterations, however, this differs from section as it is an intrinsic function that builds upon itself, creating what appears to be chaos. the parametric modelling of fractals demonstrates sophisticated design however, when constructed in reality, it can look cha-otic. Considering the brief and the intent to construct a gateway that encapsulates Lynn’s idea of architectural discourse, further exploration into fractaling may be limited.

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B.2. CASe Study 1.0driFtwood PAviLioN - oFFSet FuNCtioN

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whilst exploring contouring, we also chose to represent sectioning through the method of the offset function.

our initial ‘offset’ exploration was in AA’s driftwood Pavilion. it demonstrated a more complex method of sectioning in comparison to contouring. it allowed for the exploration into the alteration of the distance between contours, the extraction of sectioning and the manipulation of 3d shapes. Fundamentally, each iteration is progressively offset in comparison to the base curve. this ties back to a recursive distortion which has been seen in Lynn’s architecture.

the extractable aspect of fixing a brep to a curve allowed for the investigation into variations of core geometric shapes as was explored in the matrix.

with the investigation into the development of polar arrayed equilateral triangles lofted together over three dimensions, proposes a complex shape that is an abstraction of one

of the most basic shapes. when sectioned in Grasshopper with the base algorithm for AA’s driftwood Pavilion, a seemingly chaotic shape emerged.

this development fits into the spatial and temporal metaphor of change for wyndham as it tracks the transition of space over time and can be considered to be representational of the chaotic complexity that comes with the urbanisation of a municipality. this therefore justified further exploration into the possibilities that may result.

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B.5. teChNique: PrototyPeSoFFSet FuNCtioN

replicating the parametric technique that was used in AA’s driftwood Pavilion, proved to be an interesting design progression that allowed exploration into the manipulation and reduction of surfaces. this technique is conducive to depict transition, however, when it came to manufacturing, this design process was limited. without scripting a parameter that could allow these designs to be constructed, differing manufacturing techniques were prototyped. Cantilevered rods were prototyped to attempt to suspend

some of the design, however, this produced an unstable construct as there were only two points of contact on any one sectioned panel. despite this being the technique utilised in AA’s driftwood Pavilion, this was unideal to construct since elements would have to be constructed close to each other, therefore making them seem like one unit, and failing to depict transition. this limited the practicality of the offset function to fulfil our design expectations.

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B.4. teChNique: deveLoPmeNtreCurSive oFFSet

early exploration into the parametric modelling technique of the recursive offset highlight a few key features. Primarily, the function takes minor inconsistencies in shapes and allows the varying parameters accentuates them from minor deviation to major deformation.

Further exploration will attempt to test these parameters more extensively to investigate the limits of the recursive offset function, before any designs are chosen.

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the recursive offset is a perfect parametric envisagement of Lynn’s ideas of architectural transition. whether the metaphor is spatial, temporal, social, cultural or political, all change will occur progressively and constructing upon a previous iteration until change has been established in the form of a paradigm shift. this justifies the project’s outcome being a recursive offset function, however, this function works well in the design phase to effectively explore ideas of communication and discourse with speed and precise control. with multiple sliders working with the quantity of control points, scale and maximum offset, idea generation is effective.

the defining quality of the recursive offset is its exemplification of irregularities. Parametricism often ‘smoothens’ designs and removes irregularities. one of the features of the recursive offset is the critical necessity of having an irregularity to allow interesting and sophisticated geometries to form.

Arguably, to instigate discourse at a level for the public, the viewer must be able to engage and understand the transition as viewed on site, which would be at 100km/h. this may be a limitation to attempting to fulfil the brief and create public level conversation towards the gateway of wyndham.

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two further techniques were experimented with for prototyping. the first is a spinal system for horizontal section suspension and the second is a layering for contours and recursive offsets. Although both techniques are valuable for limiting visual acknowledgement of joinery, for continued use of the offset recursive function, where elements are mainly vertical sections neither will be valuable. therefore a tongue and groove joinery technique was experimented with to allow vertical elements to be suspended apparently invisibly. when it comes to construction this would suggest the necessity to have a concrete base which can act as a groove and the tongued sections would be bolted in to ensure structural strength.

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Greg Lynn was like a father to our architectural process. Sometimes he was there controlling and dictating our progress and at others he was vacant & non present. For instance with our experimentation into sectioning, we sought his theories of transition as a reference but as we further explored into fractaling, he was not.

Greg Lynn criticises the culture of stasis in architecture, that the commitment to permanence was creating an inert environment. Lynn wanted to create inertia and architectural discourse.

he aims to animate architecture to create discourse. this is not to be confused as movement as it does not need to physically move. instead he aims to create an internal conversation through creating growth, animalism, vitality, virtuosity and animism.

“A lively approach to architecture could be applied to the design and creation, while more conventional tools are effective for modelling and manufacture”

we can see this transition in his Korean Presbyterian Church of Ny. the visual transition of space has been created through sectioning. temporally, the transition of what was originally a laundry factory into what today stands as a church shows a functional change based off the past.

this gave us inspiration to use a recursive function. A recursive function is different from an offset. An offset is a direct repetition of a previous stage, whereas a recursive offset responds and deviates based off the previous iterations. this directs transition between stages.

therefore, through the use of a recursive offset, we define our own form of animation and therefore transition.

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the envisaged creation of a frozen moment of flow, created by Lynn, inspired our investigation into the parametric modelling technique of the recursive offset. it allowed us to depict a transitioning animism through space with the aim to represent and instigate a progression in architecture as a movement forward in parametric design. the wyndham City freeway project: transition.

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Zaha hadid Architects. “Architecture: Galaxy Soho.” http://www.zaha-hadid.com/architecture/galaxy-soho/

images:http://www.archdaily.com/354500/contemporary-arts-center-cordoba-nieto-sobejano-arquitectos/http://www.dezeen.com/2013/03/22/contemporary-art-centre-cordoba-by-nieto-sobejano-arquitectos/http://img128.imageshack.us/img128/7678/sxsrender5hd.jpghttp://www.architecturaldigest.com/blogs/dailyhttp://www.dezeen.com/2012/12/05/beko-masterplan-by-zaha-hadid/http://www.uni-stuttgart.de/hkom/experten/expertenbilder/menges_iCd_iCd-itKe-research-Pavilion_2010_02.jpghttp://farm4.staticflickr.com/3058/3683168218_a260663849_b.jpghttp://www.topboxdesign.com/wp-content/uploads/2009/08/driftwood-aa-summer-pavilion-in-london-by-unit-2-students.jpghttp://glform.com/buildings/korean-presbyterian-church-of-new-york

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