STUDIO

A I RJ E S S I C A Z H A N G

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journal.

CONTENT S

EOI

ARCHITECTURE AS A DISCOURSE 3

COMPUTATION IN ARCHITEC

PARAMETRIC DESIGN 3

DEVELOP - MATRIX 3

DEVELOP - REVERSE-ENGINEERING 3

DEVELOP - MATERIAL EFFECTS 3

THE CASE FOR INNOVATION

C U T

ARCHITECUTRE AS A DISCOURSECOMPUTATION IN ARCHITECTURE

PARAMETRIC DESIGN

DEVELOP - MATRIXDEVELOP - REVERSE-ENGINEERING

DEVELOP - MATERIAL EFFECTSCONCEPT EXPLORATION

EOI

DIGITAL FABRICATIONMOVING IMAGE IN ARCHITECTURE

DESIGN DOCUMENTATIONCRITICAL DESIGN NARRATIVEFINAL LEARNING OUTCOMES

GATEWAY PROJECT

ARCHITECTURE AS A

DISCOURSE

STUDLEY PARK BOATHOUSE T H E K O O L H O U S E

2011 ---- The Kool House in the manner of Rem Koolhaas

This project was strongly influence by the works of Dutch architect Rem Koolhaas. This design could not be completed without computational tools, Revit Architecture 2011 was adopted here in order to accomplish a dynamic shape and innovative design features. The triangular skylights on the roofs are aligned carefully in order to maximise the sites sunlight and cast similar shadows as window frames, creating a stylish movement on the floor during a sunny day. The pliable surface, the kiosks frosted glass roof which lifts from the ground, could not be achieved without the simulation of the design in a three dimensional space. Conventional drawing techniques limit the possible geometrical outcomes, however modelling in three dimensional space allows critical thinking whilst designing. That is, taking advantage of computational tools as a way to express design intentions quickly, at the same time, once sees the result instantly.On the other hand, this project causes architectural discourse for that it evokes question of whether or not such a computational driven building is suitable for a serene boathouse. Nevertheless, it achieves all the criiterias in the proposal and was lucky enough to be displayed.

C C T V - CHINA.CENTRAL.TELEVISION

H E A D Q U A T E R S 2002

---- The Loop

Rem Koolhaass practice Office for Metropolitan Archi-tecture (OMA) designed this project for CCTV in Beijing, China. OMA decided to create a building which the three dimensions would force all of the facilities and activi-ties involved in one single giant loop. Structurally, the team described the building as a continuous tube, they realised the only way to deliver this daring and unique architectural form was to engage the entire faade structure, creating in essence an external continuous tube system. That is how and why CCTV building could resist earthquakes and wind load, as well as the huge forces generate by the cranked and seemingly unstable form. The planes of bracing are continuous throughout the building volume, as shown in the pictures, in order to reinforce the corners. CCTV Headquaters building caused the discussion about the emerging East/West architec-tural discourse and the rapid urbanisation of China. This building is indeed becoming an iconic building in Beijing, whether the people live in there like it or not. It is indeed revolutionary, for its truly three-dimensional shape on the outside and three-dimensional experience on the inside.

It pushes the limits of architecture, not just formally but

socially, culturally, and technologically.

PROJECT NAMEARCHITECTSSTATUS

CCTV Headquaters Rem Koolhaas/OMAConstruction

It pushes the limits of architecture, not just formally but

socially, culturally, and technologically.---- Tina di Carlo

T H E V M H O U S E S 2005

Bjarke Ingels Group (BIG) designed this multilevel-apartment building which interlocks in complex compositions on the faade, making the whole building seem like a three-dimensional game of tetris. It also won the best building prize in Denmark in 2006. The best and the most eye-catching feature of this building must be its distinctive triangular balconies along the north faade facing the park. The balconies are designed like that, which incorporates maximum cantilever with minimum shade, is to encourage residents to have a vertical backyard community with their neighbours in a vertical radius of 10 metres right on their balconies. It also promots a kind of experience as if one is standing at the bow of a ship in the air. If architecture is meant to make people feel comfort-able and happy, BIGs VM Houses was definitely heading towards the right direction.

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COMPUTING IN ARCHITECTURE

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Computers in our daily lives are making everything more convenient, efficient and easier. Due to the fact that computers are superb analytical engies, they will transfer humans knowdedge into their systems and will do everything quickly, repeatedly and correctly. Marc Forne from THEVERYMANY is one of the leading figures in the field. He certainly understands the translation of simple code could be structured into complex and appealing form easily using computers. NonLin/Lin Pavillion is one of the examples. NonLin/Lins computationally driven construction attempts to resolve an architectural gesture that could potentially be replicated indefinitely. The materials used in this project were lightweight perforated aluminum in parts then assembled. Something that could be related to final gateway project is what Forne said about this project: the parameters of these protocols are based on form finding (surface relaxation), form description (composition of developable linear elements), information modeling (reassembly data), generational hierarchy (distributed networks), and digital fabrication (logistic of production). the project originates from a Y model which referred to the most basic level of multi-directionality. Computational architecture allows designers to discover errors in design and fix them and control them on a local level, while having a picture of the whole complexity of the design in mind. Although Forne does a lot of installation projects rather than buildings, it is promising that computing in architecture might be the dominant of all methods in the future.

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MODELLING

Not just another brick in the wall? But lots of holes. This particular computer-aided design explores the possibilities of architecture in the near future combining skin, geometry, space and structure into one form. In the future, parametric modelling allows people to really express what they want. Since parametric design is not exactly very mature right now, the experimental stage we are at right now encourages a lot of architects and designers to explore and experiment; fail and learn; just go with it. Thus there is nothing quite conservative about parametric designs, they all appear to be very modern and innovative. On the other hand, it must be very hard for the public to accept the dramatic change of architecture from classical to modern and eventually parametric. In order to make parametric designs peoples design, it is essential to consider not only the functionality of the building, but also aesthetics -that can be accepted by the public -of it (some parametric buildings have far too many holes on them, which might make people have trypophobia). Nevertheless, the concept of parametric modelling highlights an interesting trend in the world of architecture and generative scripting.

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ATTRACTOR POINT

CURVE ATTRACTOR

IMAGE SAMPLER

ATTRACTOR POINT

CURVE ATTRACTOR

IMAGE SAMPLER

MATHSFUNCTIONS

MULTI. MATHSFUNCTIONS

STREAMING TEXT FILES

USINGSETS

EXPLICIT GRIDS OVERLAPPING

A matrix of combinations of definitions for the inputs: explicit grids, overlapping patterns and surface normals with 7 associations is presented on this page. The aim is to mix and match in order to find interesting geometry and patterns generated by the different combinations. By having a matrix it makes one easier to spot the similarities and differences. For example, Explict grids are straight forward, once a shape is identified, the particles form themselves together or apart to generate a certain result. Overlapping is an interesting one. By overlapping two surfaces one on top of another, the images start to differ and change, forming an overall new effect together. it certainly reminds me of lots of innovative parametric facades on the streets, where double thin layers of parametric designed surfaces are overlapped to create a skin of the buildings. If we are to create a double skin or even multi-skin sculpture for the Gateway, overlapping patterns shall definitely be used and explored further. Surface normal on the other hand, generates definitions in not 2D, but 3D. Although same associations are plugged in here as explicit grids, the results are quite different. Dynamically it changes the whole perception of the same defitions and makes them more interesting and less facade like. For the Gateway project, to work out a 3D overlapping sculpture sounds tempting yet achievable.

IMAGE SAMPLER

MATHSFUNCTIONS

MULTI. MATHSFUNCTIONS

STREAMING TESTFILES

PATTERNS SURFACE NORMALS

A matrix of combinations of definitions for the inputs: explicit grids, overlapping patterns and surface normals with 7 associations is presented on this page. The aim is to mix and match in order to find interesting geometry and patterns generated by the different combinations. By having a matrix it makes one easier to spot the similarities and differences. For example, Explict grids are straight forward, once a shape is identified, the particles form themselves together or apart to generate a certain result. Overlapping is an interesting one. By overlapping two surfaces one on top of another, the images start to differ and change, forming an overall new effect together. it certainly reminds me of lots of innovative parametric facades on the streets, where double thin layers of parametric designed surfaces are overlapped to create a skin of the buildings. If we are to create a double skin or even multi-skin sculpture for the Gateway, overlapping patterns shall definitely be used and explored further. Surface normal on the other hand, generates definitions in not 2D, but 3D. Although same associations are plugged in here as explicit grids, the results are quite different. Dynamically it changes the whole perception of the same defitions and makes them more interesting and less facade like. For the Gateway project, to work out a 3D overlapping sculpture sounds tempting yet achievable.

The Airspace Tokyo designed by Faulders Studio has a very interesting voronoi double-layered screen. Its absolutely great to see this very innovative facade. It was apparently designed through a series of computational geometric patterns overlaid and projected. Through research I learnt that there is one command in grasshopper that would help me achieve this effect, its called Voronoi. When first started experimenting the pattern, I assigned several point on grasshopper, eventually I stopped after the first layer because there was no way to change the points for the second layer as shown on the facade of the Airspace to create void. One wall falls another rises, to create a wall/facade, a surface was needed. Then, instead of manually click in all the points, a Random was used to get random numbers, which was basically, random locations of points. When that was done, Voronoi was inserted and created offset around the points, that basically meant each point is a void we see on the facade. That concludes the first layer of the facade, then I went on and did 2 more and made a triple-layered screen using voronoi in grasshopper.

PROJECT NAMEARCHITECTSCOMPLETEDFACADE DESIGNFACADE COMPUTATIONPUBLISHED

Airspace TokyoFaulders Studio2007Faulders StudioProces2Birkhuser; Springer distributor, 2010

INITIAL SURFACE ORGANISATION OF POINTS

VORONOI OFFSET DISTANCE EXTRACTION OF CURVES

FILLET TYPE

INITIAL GEOMETRY, ORGANISATION OF POINT IS THE MOST IMPORTANT FACTOR, AS IT EFFECTS THE COMPOSITION

EXTRACTION OF FINAL GEOMETRY AND ABILITY TO OFFSET AND FILLET INTO FABRICATED PANELS

PRODUCES THE PLANAR VORONOI DIAGRAM USING THE INITIAL GEOMETRY TO ORGANISE THE CELL STRUCTURE

Although the production of a Voronoi is considered as simple in grasshopper, we used this technique to show how you could create and manipulate many ilterations in a short period of time. Voronoi is in its primitive form, an organisation of points. By using grasshopper to manipulate how this geometry is spread over a surface, we can see how the voronoi patterning can be aesthetically organised.

Matrix ExplorationThe organisation of points and the number of points in a voronoi patterning determine the various results generated from grasshopper. The matrix on the right demonstrates the ability of grasshopper make variations of voronoi patterning possible.

Voronoi Patterning

1. BENDING|OVERLAPPING

2. 2D FOLDING

3. 3D FOLDING

4. TRANSPARENCY

5. MOISTURE DEFORMATION

Material ExplorationThe following experiments explore the use of 2D voronoi patterning produced by laser cutter. They attempt to introduce dimensionality into voronoi patterning. 1

2

4

3

5

WEATHERING EFFECTSIn order to understand the project better, it is essential to consider the possible weathering

effects on site , both in long-term and short-term period of time.

short-term: instant weather change like rain and moisture

long term: the split of the material over a long period of time caused by

weathering

Capsular Theory:The capsular theory speaks of how people often feel the need to be protected and therTefore live in cities that are large capsules for humans. The car is seen as an extention of this capsule. The people in these moving capsules are in a controlled environment with controlled climate and protected from the sounds of the exterior world. Our concept of Reconnection needs to reactivate their senes, to bridge them out of this capsular environment and to inter-act with the site.

RECONNECTIONGEELONG|WYNDHAM|MELBOURNE

Our geographical observation of Wyndham at the moment shows how people are often going past Wyndham on the way to Geelong and do not interact with the site. Our aim is to reconnect the people who go through the site and there is a need for the site to be a place-maker for Wyndham - to put Wyndham on the map.

The sun path was generated in order to provide us a better understanding of the site. The effect the sunlight would have on the site help us to think about the posi-tioning of the gateway, how people would approach the site (towards or against the sunlight from different directions at different times), and the materials to utilise for the gateway.

EMPLOYMENT LOCATION (WYNDHAM)57.5% of people work in Wyndham but do

not live in there

OCCUPATION OF WORKERS36.7% are tradesmen.

EMPLOYMENT LOCATION (OUTSIDE)57% of Wyndham residents travel out for

work

MODE OF TRANSPORT TO WORK73.9% use cars to get to work

Research shows the stakeholders of the site, that 73.9% of Wyndham residents use cars to get to work, which means our site has a very high possibility of being used by them. Among which, 36.7% are tradesmen. That means, they are mostly likely to use the site for the longest time, that sure shall be take into consideration to our design. Hence, our idea of the gateway project is something that would be constantly changing throughout the whole day, connecting people to the site, and thus reconnecting the site to Geelong and Melbourne.

PLAYING WITH MOVEMENT

This model shows our concept of Reconnection. The basic notion of this model is to domonstrate how the sculpture would react to vehicles. Earlier we described the drivers are isolated in capsules. To encourage interaction, the model would move with the circulation, providing interesting movement on site. This would generate interest and encourage the drivers to interact with the site more. This concept works especially well if they move through the site twice a day, it would somehow produce different effects everytime they go through.

This model highlights the variations of the concept of movement that we are trying to explore. The individual discs rotates in different directions that create various patterns.

Feedback from Group EOI-Instead of mechanical forces, think about forces that can be passively driven by wind on site-Site analysis and data collection were good, but connect it back with the concept-Learn from Victors articulated cloud, experiment movement

PROJECT PROPOSAL| CONNECTING THROUGH KINETICS |

80,000 small aluminum panels are hinged to move freely in the wind. The entire wall reacts to the wind, appears to create waves on the facade. This precedent links back to groups interest in reconnection through movement. Ned Kahn materialises the force of wind into a visually pleasing display of kinetics. Here, repetition creates pattern. The use of small panels gather together to form a dynamic, constantly changing sculpture. In a sense, this precedent demonstrates how a successful design can be seen in two different scales: smaller scale - close-up look -, and bigger scale - when viewed from afar-. The Gateway project is designed to be experienced and viewed in two different scale as well, in order to connect the cars, community, wind and site together.

PROJECT NAME ARTIST/SCULPTORCOMPLETED

Wind Veil Ned Kahn2000

The Wave is made of five components: two camshafts orientated at right angle to each other on twn-foot tall platforms, two matrixes, one long and narrow, the other big and square, fixed fourteen feet above the ground, and suspended by 81 cables. The motors rotating the camshafts can be varied in speed giving the generated wave a period between 100 and 10 seconds in either direction. Each camshaft can be controlled independently. Its motion can be described as Asina+Bsinb+C, where C is the over height of the wave, A and B are the variable amplitudes, and a and b are functions of the speed of rotation and position of each cam. It would be interesting for the gateway project to encourage interaction between the sculpture and people. Margolins design is a good example how it interests people, encourages them to look at it, study it and understand it. Margolins sculptures are rather slow for Wyndham City Gateway project as people could not slow down to look at something that moves only centimeters in 10 seconds. What we need is a sculpture that draws peoples attention to it, while driving safely at 100km/h. Hence, our design must be moving relatively fast, responding to the speed of passing vehicles.

The Square Wave Reuben Margolin2005

PROJECT NAME ARTIST/SCULPTORCOMPLETED

Tsunami 1.26 Janet Echelman2010

PROJECT NAME ARTIST/SCULPTORCOMPLETED

Tsunami 1.26 utilises Spectra, a material 15 times stronger than steel by weight. The mesh is knotted by machine in order to withstand winds, however, it is engineered to reflect the obscurity of handmade lace. Echelman focuses on the development and creation of large-scale artworks. What we should learn from this is how her design is alive, it responds to the forces of nature, such as wind, water and light. As well as how it is inviting and embracing the general public, accessible to all. The Gateway project is indeed in the middle of a highway, however, while stamping Wyndham city on the map, it is also essential to consider the local residents. Therefore, we must take the community into account, ensure our design embody local identity and invite residents to form a personal and dynamic relationship with the place and sculpture.

Ned Kahn - Wind VeilThis inspires our group to harness the wind to capture the change in nature. Also to design a sculpture that can be viewed in both big and small scales.

SUMMARY

Reuben Margolin - The Square WaveThe movement of the sculpture interests people, encourages them to stare at the sculpture. to create a sense of awe. The gateway project needs that particular exciting and eye-catching effect. In doing so, we need to take car speed into account.

Janet Echelman - Tsunami 1.26Gateway project should be accessible to all like this precedent. In order to do that, the project must be community friendly, that is to ensure general publics safety while being on the highway, especially on site.

Connecting Through Kinetics is a Wyndham City Gateway project aiming to reconnect residents and people traveling through Wyndham with the site. Heavily influenced by artists and designers such as Ned Kahn, Ruben Margoln and Janet Echelman, the project uses motion and dynamic objects to generate interest. This project proposes to use wind as an important changing variable and uses its own power to generate different geometrical shapes and effects. The users of the site, bound in the seats of their cars, sit through the experience of this invisible phenomenon becoming visible through the movemnt of spinning turbines.

Although many of the precedents works without the use of computation, this sculpture uses Rhino3D with the plug in Grasshopper to further enhance and simulate the effect and execution of this proposal. These turbines are massed on site and distributed according to their different functions.

This project further advanced the interaction between people and site, this is depicted through the moving vehicles and the design of the wind turbines. To achieve such a connection the turbines close to the roads harnesses energy through the air movement left behind by the passing vehicles. Its ability to activate the site on human contact as well as responding to the sites environment (wind condition) proves that gateway designs ought to consider social and environmental demands on top of being aesthetically pleasing.

1:500

Learned from the precedents and improved from Part I of the journal, our decided to continue design something that moves, only this time, with a stronger concept. The natural context is to harness wind, which changes over time, every second, minute, hour, day, month and season. On a smaller scale, we are going to continue using passing vehicles as a changing variable for wind, which would change our design in some way. Pin wheels, air planes and wind turbines got our attention as they are objects that react to the change in wind, and move with or against the direction of wind. Again, we are intending to propse a reconnection joint, making Wyndham City on the map, through its newly designed sculpture which connects the site, the people, and the vehicles.

DESIGN PROPOSAL

DESIGN EXPLORATION

The models very clearly demonstrate the path of design. It is shiny, it it elegant, it responds to light very well, it collects wind and let the wind push itself in a circular motion. It is a new kind of wind turbine. The model on the bottom right proves one of the very first ideas we generated, a wall with patterns organised by computational techniques, where elements in the holes would react to the movement of passing vehicles. Later we ditched that idea because, a wall is unnecessary in this case, where the focus is on the element that respond to wind movements. Now we have before our eyes, some elegant looking wind turbines which actually move quite smoothly in the wind. The shiny effect shown in these photographs ought to be kept in the later and final design. The elegance, cleanness and purity of these draft models should be important characteristics, and should not be lost in the end.

MATRIX.

This matrix establishes different effects we are able to generate from one wind turbine, but positioning the blades in various ways. In doing so, the aim is to look for the most efficient design. That is, a wind turbine that would capture wind the best and create a smooth circular motion while spinning with the wind. Here, sine graph, exponential, linear, basic roation and so many more are experimented.

Experiments by Victor Wong

THE GOLDEN RULESOF SITE POSITIONING/DISTRIBUTION

Topography determines span and height - because of the 12% increase in height, the increase of wind speed would double.

1st RULE:

2nd RULE: Point of interest - how to design a program throughout the site.

3rd RULE: Influence and interaction with the car and community.

SELECTION OF SITE

PROGRAMING CIRCULATION:OUTBOUND/INBOUND TRAFFIC

RELATIONSHIP TO PROGRAM:DISTANCING/INTERACTION

Options of distribution of wind turbines on site

SIZE MATTERSRecall the three golden rules and apply them on site. Drivers are expected to gradually get into the site, where they see human scale wind turbines (roughly the same height as the cars) scattered across on their right hand side. This is when they get interested or suspicious. Progressively, as they drive at 100km/h, within a few seconds, they see wind turbines become dense and intanse. Why are they spinning crazily?, a driver ponders. Its the car before mine making them go wild! How did that happen? Without getting an answer, the vehicle keeps going forward, and hold on, these spinning things are growing bigger, oh theyre further away from me and going uphill now. Now the bigger wind turbines are carefully placed on site, as a transition between the small and the big. Eventually, the biggest turbines spin gracefully in the wind on the top of the 4m hill. As one drives away from the hill, he sees how the cars to the oppositite direction interact with the wind turbines. This one minute or so made my day! I must go home and google this wind turbine field. The driver then goes around and tells his friends about this amazing new sculpture in Wyndham City Gateway over a drink or two.

To his and many peoples surprise, this place is accessible to all. There is a parking lot near the petrol station. One then walks on the path which leads one to a submerged /underground observatory , where when one look upwards, spinning wind turbines amaze you all.

Parking

Submerged Observatory

The construction processes diagramed on these two pages signifies the wind turbines can be done on site. As discussed before, the distribution of the turbines are carefully designed and placed, hence each turbine has their own place to be. Therefore the construction process would be straight forward.

The blade itself also has a template to follow. This establishes the fact that these wind turbines can be fabricated, and since the material weve used is durable and low maintenance, there is a foreseeable future where this could be mass-produced and used wherever needed.

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FROM NOTHING TO SOMETHING.

TEAM SUPER AWESOME ISOLATED THEMSELVES FROM THE CROWD FOR 3 DAYS AND NIGHTS. RESULTS? 1:100 SITE CONTOUR + 2000 WIND TURBINES.

NIGHT EXPERIENCE AS DRIVE BY

NIGHT EXPERIENCE AS DRIVE BY

The Relationship Between a Car and Wind Turbines ^

Community Experience ^

MATERIALITY

MATERIALITY

LEARNING OBJECTIVES AND OUTCOMESIt has been a long journey. I was on the road.

Before undertaking ADS Air, I had never used Rhino or grasshopper before. In fact, I were one of those people who was scared of trillions of holes on a building facade. When I first heard that we were going to learn parametric design this semester, I was excited to learn something new but never had the chance, at the same time I was afraid I might learn it too slowly and fall behind soon, not to mention my view on parametric design was still very hole-ly. On top of that, computers never work with me, I am not particularly good at any computational design software. Nevertheless, the journey began.

Some people might be constantly complaining about this course, I do not really see it. Even though it might be unorganised at some point but this is a new course, and Stanislav has absolutely put in all his effort to teach us. Even though I am still not very familiar with grasshopper, but thanks to this course, it showed me some light in the dark. In the future, it will be quicker to pick up, hopefully. Besides all of this, this course also introduced me to stop-motion film, issuu, ffffound.com and so many more exciting things to look at when Im free. In addition, a little voice in me always felt this was like virtual environments throughout the semester: at first it seems unbearable, all the videos, journals, new program to learn, that probably would last for a semester, but in the end, when I looked back, I felt grateful that I learnt how to use sketchup (rhino and grasshopper in this case), and I learnt how to layout (hopefully), how to be critical with fonts and so on.

This stuido has been a very different one from previous architectural studios. For the first time, our design brief was not to design a building, but rather, a sculpture, on a highway. When it does not measure the width of your toilets, its a strange one. Through the semester, Ive been trying to figure out if it was strange-good or strange-bad. This studio has actually taught me more than the previous ones. What materials are you using? Concrete would be the easiest answer for a normal studio, but not this one. Think, think, research, analyse, think again, check with your tutor, research again, finalise it. What is going to happen over a period of time, long and short? Why not play with your material and fire, water, fog, ice, colour (all experimented in this journal) and figure out yourself? The tutors: Chris and Loren are extremely helpful as well. Whenever we were stuck, for example, when we were unsure where to position our turbines, they gave us some exceedingly helpful suggestions. We then analysed it and discussed which one is better, why is it better, why isnt the other ones as applicable as this one. Questions were asked, through a few different answers, we then all agreed to one and only, because together we made it far better than all the other options. This was exactly why our group project was done. In that way, we knew every single detail of things we needed to know, or didnt need to know, but we learnt anyway. It has definitely pushed me through the semester, with 8 quizzes and weekly tasks. But it is exactly because of that, I was on track of everything and didnt go to the wrong direction.

Although groupwork might not be everyones cup of tea, I am still unsure whether its a good idea to have a group project throughout the whole semester or not, for the future third years. Having that said, I feel privileged to be working with Team SuperAwesome (because we are): Victor, Tracey Nguyen and myself. Everyone has their strength. For example, Victor is really good at making diagrams and layouts (see his journal), he and Tracey have both learned grasshopper before, so I can ask them questions whenever I wish. Tracey is good at concepting and encouraging. And I guess Im a little better at model making and photography. We even spent 3 days and nights together at architecture building making our final models. The environment in this team is strong and warm. I am very grateful for this.

Thanks to this course, now when I go out and see simple parametric patterns and/or facades, I might get slightly excited and whisper to my close friend, hey, I know how to do that. On a more serious note, it has shown me a higher standard of work we are expected to produce, and for that, I need to work harder in the future. Parametrics might or might not be my thing, but I am certain to say I dont find it scary anymore, rather, I find it charming, interesting and dangerous ( in an exciting way) sometimes. I hope to enhance my parametric skills because it will definitely be an important part of architecture in the near future.

REFERENCE.BIG. YES IS MORE Denmark, Taschen, 2010

CCTV- Headquarters, China, Beijing, 2002, OMA, last modified in 2012, http://oma.eu/projects/2002/cctv---headquarters

Echelman, Janet, 2011, Taking Imagination Seriously, TEDtalks, United States, viewed on 8 May, 2012, http://www.youtube.com/watch?v=9YekkGz1E2k

James M. Dennis and Lu B. Wenneker. Ornamentation and the Organic Architecture of Frank Lloyd Wright, Art Journal, Vol. 25, No. 1 (Autumn, 1965),4

Kahn Ned, 2007, Wind Veil, Charlotte, NC, viewed on 8 May, 2012, http://video/google.com/videoplay?docid=7901501115882163997#

TEDtalksDirector, Michael Pawlyn: Using natures genius in architecture. http://www.youtube.com/watch?v=3 QZp6smeSQA

The Square Wave - Math and the Night Sea, Reuben Margolin, last modified 2011, http://www.reubenmargolin.com/wave/Square/squareWave_text.html

Tsunami 1.26, 2011 - Sydney, Australia, Janet Echelman, last modified 2012, http:www.echelman.com/sydney.html

VM House, BIG, last modifired 2012, http://www.big.dk/

Wind Veil, Ned Kahn, last modified in August 2000, http://nedkahn.com/wind.html