Studio Air Final Journal - Alessandra de la Fuente

STUDIO AIR2015 | SEMESTER 1

ALESSANDRA (ALIX) DE LA FUENTE | 606722

INTRODUCTION

ALESSANDRA ISABEL (ALIX) DE LA FUENTEBachelor of Environments Major in Architecture The University of Melbourne3rd year student

Over the course of studying architecture at The University of Melbourne, I have developed an increasing passion in sustainable architecture. Coming from the Philippines, a country it is prone to natural disasters like typhoons and earthquakes, I decided that I would delve into experimenting with architecture that would be able to withstand these natural disasters in a sustainable fashion. Though I have yet to learn much about this type of architecture, I plan to intern at a firm that has already tested this.

Digital design theory is an aspect of architecture that I want to learn more about. As we are in a digital age full of computers and mobile phones, the concept of design is advancing at an exponential rate. The idea that design can easily be manipulated to different forms to better suit clients is one that has shaped the meaning of design. It will be interesting to see how design evolves.

In terms of digital tools, I have learned new programs, and developed my skills in others. I’m proficient with several Adobe Creative Suite programs such as Illustrator, Photoshop and InDesign. My knowledge of architecture programs consists of Google SketchUp, AutoCAD, Rhinoceros and the most recent, the plug-in Grasshopper.

1 INTRODUCTION

CONTENTS

PREVIOUS WORK

PART A. CONCEPTUALISATION A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning outcomes A.6. Appendix - Algorithmic Sketches

PART B. CRITERIA DESIGN B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B.8. Appendix - Algorithmic Sketches

PART C. DETAILED DESIGN C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives and Outcomes

BIBLIOGRAPHY

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CONTENTS 2


TUTOR: ALESSANDRO LIUTI

VIRTUAL ENVIRONMENTS: SECOND SKIN

Back in my first year of university, we were tasked to create a second skin that would either invite people in or distance yourself from others in a public setting. My group was assigned the skin and bone strategy and decided to create a moveable skirt. It was our first time experimenting and using Rhinoceros.

With this project, we decided to mirror the kite system where we would have a series of eyelets sewed into fabric that were then put in tension using balloon sticks. This allowed the fabric to stretch as shown on the images on the left. The panels in the front can be moved to accommodate a ‘friend’ who would be in a more intimate space. The panel, in turn, can be closed to maintain a distance between others.

We encountered various problems with this design and realised that it could have been improved if we used digital fabrication instead of manually constructing the final project.

PREVIOUS WORK

3 PREVIOUS WORKS

STUDIO WATER: RICHARD MEIER

My most recent studio project involved the design of a boathouse structure mirroring a modern master of architecture to replace the Studley Park Boathouse in Kew. I chose to emulate Richard Meier’s works as his buildings express an open atmosphere that focuses views outwards through the use of glass and double heighted spaces to create a sense of transparency to diminish the boundary between the interior and exterior spaces. Perspectives of my project can be viewed on the right.

As shown on the right, I chose to model it close to the Hoffman house, with the angles representing that of the Melbourne CBD grid and the rest of Melbourne. Furthermore, the ramp goes across towards the far end of the building to allow users to appreciate the view of the river as they ascend to the second floor.

This studio developed my critical skills and aided my understanding of nature and how architectural history has progressed throughout time in the modern era. Richard Meier has definitely influenced the way I design my works and would continue to be one of my references when it comes to architecture for the future.

PREVIOUS WORKS 2

PART A. CONCEPTUALISATION

A.1. DESIGN FUTURING

7 PART A CONCEPTUALISATION | DESIGN FUTURING

Smith and Allen produced the first and largest 3D printed architectural installation that exhibits the

relationship between architecture and technology. The translucent white structure was fabricated

and printed into 500 unique parts that were then assembled using a panelled snap fit connection.

The structure introduced the notion of speed when it comes to the new technology associated with

architecture. It only took 2 months to print out and 4 days to build.2 Since 3D printing is increasingly being

used in everyday life, the idea of this relatively new way of constructing contributes to another means in which we can design for the future. The possibilities brought about by 3D printing have not only affected architecture, but also other fields including culinary.

Each component is composed of a plant-based bio-plastic, implicating that the installation will decay

and decompose in the next 30 to 50 years.3 As the structure is located in a forest, this element of the

design suggests the play between nature and human interaction that architects have long been expressing.

However, the idea of decomposition instigates the idea of focusing on the environment and how our

effects on nature should be transient. To what extent does this play a role in how we design in the future?

It’s unsure. The idea though, poses questions that one can maybe reflect on within the structure itself.

4 Julia Kaganskiy, ‘Biodegradable 3D Printed Architectural Installation Will Become A Micro-Habitat For Plants And Insects | The Creators Project’, The Creators Project, 2013 <http://thecreatorsproject.vice.com/blog/biodegradable-3d-printed-architectural-installation-will-become-a-micro-habitat-for-plants-and-insects> [accessed 7 March 2015].5 Rakesh Sharma, ‘The World’s Largest 3D Printed Art Installation’, Forbes, 2013 <http://www.forbes.com/sites/rakeshsharma/2013/08/27/the-worlds-largest-3d-printed-art-installation/> [accessed 7 March 2015].

ECHOVIRENSMITH | ALLEN

MENDOCINO COUNTRY, 2013

Top-left: A photograph of the overall structure of Echoviren4

Bottom-left: A photograph of the detail of the structure4

Top: A photograph showing the structure at night5

1 Smith and Allen, ‘ECHOVIREN - Smith|Allen’, Cargocollective.com, 2013 <http://cargocollective.com/SmithAllen/ECHOVIREN> [accessed 7 March 2015].2 ArchDaily, ‘Echoviren / Smith | Allen’, ArchDaily, 2013 <http://www.archdaily.com/419306/echoviren-smith-allen/> [accessed 7 March 2015].3 Dezeen, ‘Echoviren: World’S First 3D Printed Architectural Structure Built In California’, Inhabitat.com, 2013 <http://inhabitat.com/echoviren-worlds-first-3d-printed-architectural-structure-built-in-california/echoviren-smith-allen-2/?extend=1> [accessed 7 March 2015].

PART A CONCEPTUALISATION | DESIGN FUTURING 8

9 PART A CONCEPTUALISATION | DESIGN FUTURING

Image of the Jean-Marie Tjibaou Cultural Center9

6 Bridgette Meinhold, ‘Renzo Piano’S Gorgeous Jean-Marie Tjibaou Cultural Center Inspired By Native Architecture’, Inhabitat.com, 2011 <http://inhabitat.com/jean-marie-tjibaou-cultural-center-inspired-by-native-architecture/> [accessed 8 March 2015].7 Kari Silloway, ‘Marie Tjibaou Cultural Center New Caledonia By Renzo Piano’, Galinsky.com, 2004 <http://www.galinsky.com/buildings/tjibaou/> [accessed 8 March 2015].8 Jorge Chapa, ‘Green Star Rating Tools - Rating Tools - Green Building Council Australia (GBCA)’, Green Building Council of Australia, 2014 <https://www.gbca.org.au/green-star/rating-tools/> [accessed 9 March 2015].9 Cofely, ‘Cofely Au Service De La Performance Énergétique Des Bâtiments De Prestige | Cofely’, Cofely-gdfsuez.com, 2013 <http://cofely-gdfsuez.com/medias/cofely-au-service-de-la-performance-energetique-des-batiments-de-prestige> [accessed 9 March 2015].

JEAN-MARIE TJIBAOU CULTURAL CENTER

RENZO PIANONOUMEA, NEW CALEDONIA, 1998

Before the eco building movement, Renzo Piano utilised strategies to stabilize temperatures and

integrate nature in his pavilions in New Caledonia.The ten pavilions that are asymmetrically arranged

boast various sizes and heights that take inspiration from Kanak huts.6 The modern take on the traditional

architecture have elements of roof skylights and screens of laminated wood to allow for natural

ventilation, whilst a bamboo wall filters natural light.7

Again there is this play of nature within the technological advancements within a building. The idea of ‘green architecture’ that considers

the environmental footprint of the building has increasingly grown over the years. This

building may not be the first, but could be one of the leading structures that initiated this

change in design. Being environmentally aware gave rise to various standpoints that became

socially acceptable throughout time – Australia for example introduced the Green Star rating

in 2003 that assesses sustainability.8

As greenhouse gas emissions, depleting resources, and climate change has become prevalent in more recent years; the more I feel that design is pushing

towards idealizing sustainable means of living. Buildings like the cultural centre will continue

to be appreciated until a new way of designing is introduced to benefit both humans and the

environment. There are zero-carbon structures that have developed over the years, and in my opinion,

these have resulted from these experiments on sustainable architecture. The future development

of this means in designing will continue to improve and perhaps shape the way we live in the future.

PART A CONCEPTUALISATION | DESIGN FUTURING 10

A.2. DESIGN COMPUTATION

Computers are analytical engines – they process the information programmed by humans and manipulate them to express the data in a comprehensible manner. The use of newfound technologies and computers in design has illustrated various advantages and disadvantages when it comes to architecture.

Computing affects the design process in ways that can graphically and numerically communicate solutions to a problem once humans input the data. It has allowed a quicker and more organised means of keeping track of changes and potentially act as an alert system when an element of the design is inconsistent with the rest of the computations. As a result of this technology, it can be used to re-define the practice of architecture. The design process, over time, has become more computer-based as such that we rely on computers and updated software to model and draft our designs. It has become an easier and more detailed means of expressing how a building is constructed. it also reduces the amount of costs with regards to construction. Where architecture is developing to, with this software however, is unknown. New technologies appear over time and humans learn and develop only to create a structure different from the rest. The experimental post-modernist architecture

is only the beginning of this computational movement that designers are all experiencing.

According to Oxman, a new wave of tectonic and material creativity is shaping the way we design today.10 Parametric design has become the preferred means of visualizing ideas and generating designs. Scripting algorithms induced the way mathematics has become more than just a tool to keep the building stable, but now also a way to form shapes and spur creativity to move past the designs in the previous architecture movements. Computation allows geometries to morph into shapes that we would never have thought to see in architecture – the idea of curvatures and free form that Gehry explores; and thus impacts the range of architecture we have today.

Computation has also impacted design with regards to relationships between people. It has strengthened the relationship between the architect and the structural engineer as the availability of this new technology inhibits more research towards design and how the designs can be mirrored in real life.11 Furthermore, design computation has formed a new relationship between humans and architecture, as will be discussed with Gehry’s works.

11 PART A CONCEPTUALISATION | DESIGN COMPUTATION

PART A CONCEPTUALISATION | DESIGN COMPUTATION 12

Bottom-left: Computation design12

This page: Image of detail in The Guggenheim Museum in Bilbao, Spain by Frank Gehry13

10 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

11 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

12 Karamba, ‘Karamba 1.0.4 | KARAMBA3D’, Karamba3d.com, 2013 <http://www.karamba3d.com/karamba-1-0-4/> [accessed 12 March 2015].

13 dhr Boon, ‘Archikey.Com | Buildings | Guggenheim Museum Bilbao’, Archikey.com <http://archikey.com/building/read/2747/Guggenheim-Museum-Bilbao/512/> [accessed 11 March 2015].


Image of the Guggenheim Museum in Bilbao, Spain17

Bottom-right: Image of The Guggenheim Museum in Bilbao, Spain being modelled on CATIA18

14 FMGB Guggenheim Bilbao Museoa, ‘The Construction - Guggenheim Museum Bilbao’, Guggenheim Museum Bilbao, 2015 <http://www.guggenheim-bilbao.es/en/the-building/the-construction/> [accessed 12 March 2015].15 TEDTalks, Marc Kushner: Why The Buildings Of The Future Will Be Shaped By ... You, 2015 <https://www.youtube.com/watch?v=hha0NsYXS5c> [accessed 12 March 2015].16 Brian Pagnotta, ‘AD Classics: The Guggenheim Museum Bilbao / Frank Gehry’, ArchDaily, 2013 <http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry/> [accessed 13 March 2015].17 WallpaperSam, Guggenheim, Museu De Bilbao <http://pt.wallpapersam.com/wallpaper/guggenheim-museu-de-bilbao.html> [accessed 13 March 2015].18 Gehry Technologies <http://www.gehrytechnologies.com/en/main/about/> [accessed 13 March 2015].

GUGGENHEIM MUSEUMFRANK GEHRY

BILBAO, SPAIN, 1997

The Guggenheim museum is one of the most influential pieces in architecture history. The

expressionist modern building is composed of steel frame and titanium sheathing that forms

a curvaceous and sculptural composition. This building changed the way we have a relationship with architecture. Due to the composition and complexity

of Gehry’s design, an aerospace industry program was used to translate his ideas into reality.14 The

use of CATIA explored the notion of interdisciplinary design to move forward with architecture.

“The Bilbao effect” as people call it, is the way the structure revolutionized the way architecture could be

appreciated. Tourism in Bilbao increased by 2500% once the building was completed, and influenced

other cities in the world, like Chicago and New York, to construct one of these buildings in their cities.15

Through this example, it is shown how engaging with contemporary computational design techniques can introduce new architecture that has a positive effect on the relationship between people and architecture.

As the building was constructed on time and budget constraints, design computation played a major

role in reducing construction time and estimating the costs.16 This notion of reduced wastage is one

of the great advantages of design computation.



Image of the Soumaya Museum by FR-EE Architects21

Bottom-right: Image of the Soumaya Museum being modelled on computer software22

19 Karen Cilento, ‘Soumaya Museum / LAR + Fernando Romero’, ArchDaily, 2009 <http://www.archdaily.com/33925/soumaya-museum-lar-fernando-romero/> [accessed 14 March 2015].20 Adam Wiseman, ‘Soumaya Museum By Fernando Romero Architects’, designboom | architecture & design magazine, 2010 <http://www.designboom.com/architecture/soumaya-museum-by-fernando-romero-architects/> [accessed 14 March 2015].21 WikiMedia Commons, Museo Soumaya (Plaza Carso), 2013 <http://commons.wikimedia.org/wiki/File:Museo_Soumaya_(Plaza_Carso).jpg> [accessed 15 March 2015].22 GalleryHip <http://galleryhip.com/soumaya-slim-fernando-romero.html> [accessed 15 March 2015].

MUSEO SOUMAYAFR-EE | FERNANDO ROMERO ENTERPRISE

MIGUEL HIDALGO, MEXICO, 2011

The museum’s complex geometry and sculptural shape stems from the use of 28 unique curved steel

columns that exhibits the way architecture has moved the standard volumetric museum boxes into a more

avant garde form.19 How each curved steel column is connected involves the use of design computation

to efficiently calculate the angles and curvatures of the seven ring beams that act as bracings.20

The advantage of engaging with computational design here is that the computer generates the mathematics

involved with the engineering of the design. It has become a quicker process of forming ideas and

simulating them on computers to envision how they would come together in reality. Furthermore, the use

of contemporary computational design techniques is quite flexible in terms of testing and experimenting which form would work best in a certain situation.

For instance, using the plug-in Grasshopper on Rhinoceros would give variations if programmed

to do so. The time and energy saved with the ability to come up with variations is an attribute

that design computation brings to the table when it comes to new ways of designing.


A.3. COMPOSITION/GENERATION

New technology influences the generation of new building design options that couldn’t otherwise exist without the use of computation. With this approach to design, however, comes with various benefits and limitations that affect the design process. Us humans are fond of impressive and unique buildings. Take a look at Frank Gehry’s designs or the buildings in Beijing – these structures depend heavily on computational design processes that dramatically changed the way we view architecture today.

If you think about generative design, it’s not necessarily about designing a building. Lars Hesselgren expresses that this method would correlate to the process of designing the system that designs the building.23

Advantages when it comes to this type of designing outweigh the inconveniences, in my opinion. For instance, programs that can easily generate designs through algorithms have now replaced the tedious process of drafting objects and components one by one. This exacerbates the shortened time spent on designing. Furthermore, using parametrics that can easily be manipulated allows for experimentations and investigations towards alternatives to design.23 With that in mind, it also presents the ability for the computer to recognise and predict possible errors in the design that could then easily be repaired and revised.

Despite the overwhelming amount of benefits that generative design introduces to architecture, there are limitations that they also bring. Firstly, parametric modelling normally has references that work for or against each other.24 This may restrict the design. If an aspect of a component were to be manipulated, this could result in a drastic effect on the overall design to the point where the model could fail. Moreover, having parameters in the design may restrict creativity in a way that it slows down innovation and the option to explore freely.

Nonetheless, generative design has shown great promise in the way we design today. Computation has greatly affected the future of architecture and design in general. It has also improved the relationship and appreciation of humans and architecture as such that it has produced somewhat of a butterfly effect throughout the world.

New technology influences the generation of new building design options that couldn’t otherwise exist without the use of computation. With this approach to design, however, comes with various benefits and limitations that affect the design process. Us humans are fond of impressive and unique buildings. Take a look at Frank Gehry’s designs or the buildings in Beijing – these structures depend heavily on computational design processes that dramatically changed the way we view architecture today.

17 PART A CONCEPTUALISATION | COMPOSITION/GENERATION

PART A CONCEPTUALISATION | COMPOSITION/GENERATION 18

Bottom-left: Astana National Library generative process25

This page: Image of detail in Water Cube by PTW Architects26

10 Angus Stocking, ‘Generative Design Is Changing The Face Of Architecture | Cadalyst’, Cadalyst.com, 2009 <http://www.

cadalyst.com/cad/building-design/generative-design-is-changing-face-architecture-12948> [accessed 17 March 2015].

24 Emma Rudeck, ‘The Pros And Cons Of Parametric Modeling’, Concurrent-engineering.co.uk, 2013 <http://www.concurrent-engineering.co.uk/Blog/

bid/97311/The-Pros-and-Cons-of-Parametric-Modeling> [accessed 17 March 2015]. 25 City Travel, Debbie’s Gallery For Trip 2008, 2008 <http://citytravel.ec-t.

com/events/2008_Debbie_Gallery.aspx> [accessed 19 March 2015].26 GCSZY, 2015 <http://www.gcszy.com/zhuanti/ShowArticle.

asp?ArticleID=5580> [accessed 17 March 2015].


Image of the Water Cube by PTW Architects29

27 PTW Architects, ‘The Watercube - National Aquatics Centre, Beijing | Architecture Insights’, Architectureinsights.com.au, 2008 <http://architectureinsights.com.au/architecture/the-watercube-national-aquatics-centre-beijing/> [accessed 19 March 2015].28 Tristam Carfrae, ‘Engineering The Water Cube’, ArchitectureAU, 2006 <http://architectureau.com/articles/practice-23/> [accessed 18 March 2015].29 Pre-tend, Beijing National Aquatics Center, 2015 <http://www.pre-tend.com/discover-the-chinese-capital-beijing/> [accessed 19 March 2015].

WATER CUBEPTW | PEDDLE THORP & WALKER

BEIJING, CHINA 2008

Using soap bubbles as a precedent, PTW, China State Construction, Engineering Co and

Arup constructed the 2008 Olympic Swimming Centre that utilised a generative approach in

their design process.27 The geometry of a soap bubble was used throughout the structure.

The entire production process was automated. They had a programme that generated the whole

geometry from scratch despite the randomized appearance, including the size of the steelwork

and their connections. As a result of the generative process, major changes to the building structure took

less than a week to generate the new documents.28

Considering the deconstructivism elements evident in this structure, the position and role

of this building with regards to the architectural discourse is that it forms somewhat of a standard in architecture today. As this building was built for the Olympics in 2008, the architecture and design

process is promoted through media influencing the way we view architecture. It moves away from

the modernist approach and introduces the notion of curves and parametric forms as structures.



Image of the Astana National Library, Kazakhstan32

30 David Basulto, ‘National Library In Astana, Kazakhstan / BIG’, ArchDaily, 2009 <http://www.archdaily.com/33238/national-library-in-astana-kazakhstan-big/> [accessed 19 March 2015].31 Ridhika Naidoo, ‘BIG: New National Library In Astana, Kazakhstan’, designboom | architecture & design magazine, 2009 <http://www.designboom.com/architecture/big-new-national-library-in-astana-kazakhstan/> [accessed 19 March 2015].32 Kazakhstan Live, National Library Project, 2015 <http://www.kazakhstanlive.com/7.aspx?sr=11> [accessed 19 March 2015].

ASTANA NATIONAL LIBRARYBIG | BJARK INGLES GROUP

ASTANA, KAZAKHSTAN, 2009

The structure combines the history of architecture with new technologies to produce a wonderfully crafted library. The design utilizes four universal

archetypes namely: the circle, the rotunda, the arch and the yurt to form a Möbius strip.30

Through generative approaches, the designers were able to formulate the interlocking structures

that smoothly transitions one form to another, creating a timeless and unique design.31

The building’s skin (Möbius strip) was also generated through computation and gave rise to a texture and a tactile form that adds character

to the structure. Without using generative means of designing, the complexity involved would not have been able to be constructed.

This design brings forth the idea of looking into the history of architecture to move forward in advancing

the principles that we have an improving them, possibly merging ideas, to form more interesting and sculpture-like structures. These would then

express not only the evolution and progress of design through time, but also the appreciation

and regards to former architecture styles.


A.4. CONCLUSION

Reflecting on Part A, I think that design is currently at the stage where opportunities are infinite. With the availabilities of new technology, design has moved forward to form curved and geometric shapes that were difficult to calculate manually. As expressed in A.2., computation has allowed a quicker and more organised means of keeping track of changes and potentially act as an alert system when an element of the design is inconsistent with the rest of the computations. Due to the advantages of what technology brings to design, we are able to create and introduce complexity to the future of architecture. However, A.3. also expresses the limitations involved with these new technologies, for instance the possible restriction of creativity.

My intended design approach involves introducing complexity to simple forms that then influences the means in which humans view architecture or design. I plan to induce a sense of curiosity and interaction between humans and the design. I think that it would be significant to design in this way as it proposes an awareness and appreciation to the technology we use today to the point where designers would accept that this movement towards a more technological means of designing.

Part A developed my knowledge of design approaches and where design is proceeding in terms of the future. The lectures and readings

enabled me to critically think about my role in the design process and what I could learn from these

technological advances. I learned more about how certain buildings were designed and what

technology is capable of doing - for example would be creating interlocking curved shapes that can

actually be translated into reality in architecture.

In terms of Grasshopper, I find it easier to use than Rhinoceros. I think that I prefer the methodology

and notion of one component plugged in to another in order to follow a specific process. There

is a clear and rationalised reason as to how the structure or design is built. Over the weeks, the

videos and tutorials increased my knowledge and understanding of the program. If I had known how

to use this program before my project in Visual Environments, it would’ve aided and expanded my design process and design generation with

regards to the skin and bone technique.

A.5. LEARNING OUTCOMES

23 PART A CONCEPTUALISATION | CONCLUSION AND LEARNING OUTCOMES

A.6. APPENDIX - ALGORITHMIC SKETCHES

PART A CONCEPTUALISATION | APPENDIX 24

manipulate designs to produce different variations. This was my first time using the WeaverBird plug-in and I find that this produces really interesting surfaces or materiality that I could use for my project. This example supports the idea of complexity when it comes to computation. Furthermore, the fact that there are plug-ins for a plug-in of a program suggests the continuous development of digital technologies to further improve the software we have today.

On the previous page, I selected two different patterns that I’ve generated through techniques that consist of cross-referencing and image referencing. I chose these two as it forms as a basis to generating patterns and ideas. For example, the top-right image with circles stems from a painting I have done in full colour. The ability for computers to generate varying sizes of circles depending on how white or black an image is, in my opinion, can produce very interesting and unique patterns.

I chose at least one example of my sketches per week of studio air. Like many others, I am new to the Grasshopper plug-in and I’ve never really experimented with Rhinoceros since Visual Environments. The tutorial videos and classes themselves improved and developed my skills drastically in these first few weeks.

For the first week, we were tasked to create vases. One of my strategies, as shown above, involved the use of polygons that can be manipulated according to the number of sides, radius, and height. After producing the first few strategies, it only took me around 5 minutes to make this strategy. Due to the availability of tools that can easily change parameters and characteristics of the original vase, this shows how computation is in fact an easier way of designing and composing ideas quickly, as discussed in the readings and research undertaken throughout this part A.

The second week involved creating a pavilion. As shown on my sketches below, again it is easy to

25 PART A CONCEPTUALISATION | APPENDIX

The last example from my algorithmic sketchbook would be my experiments with the Voronoi tool on Grasshopper.

With this strategy, I experimented with both the 2D and 3D voronoi components. The irregular shapes and patterns are dependent on the surface made. I created a lofted curved surface as seen on the right For the 2D Voronoi, it was as simple as plugging that into the component. However, I decided to create a bounding box for the 3D Voronoi that could then have elements deleted to then utilise a subtraction technique to create a unique product as shown on the images below.

This tool, among others, I feel will be very useful when it comes to designing my project for this semester. It demonstrates the possibilities that architecture can achieve in a shorter period of time in comparison to the manual techniques that designing used to be restricted to.

PART B.CRITERIA DESIGN

B.1. RESEARCH FIELD - DEFLATEABLES

Pneumatic constructions, though not necessarily noticeable, have widely been used in various aspects of building construction with the Eden Project in Cornwall being an example. Despite this, the field of deflateables is still largely unexamined and is lacking experimentation.[1] The principle behind this technique follows the inverse of an inflatable, where instead of air being pumped into a membrane, the air is vacuumed out. Recently, this technique caught attention with its increasing potentials with membrane technology which will be discussed further in the first case study.

How do deflateables work?The concept revolves around a vacuum sealed structure. A vacuum is a space containing no matter. When air is drawn out of a sealed structure or object, it becomes rigid and maintains forms the shape it encapsulates. According to 010 publishers, the process of deflating benefits building technology in various ways: by inhibiting convection, reducing sound waves, compress and stabilize

incoherent materials, and attachment between two materials due to the pressure difference. [2]

What is its potential for the future?Vacuum technology has the potential to improve the thermal and acoustic insulation properties of building structures that could then be applied to building facades to reduce cost and contribute to energy-savings. [3]

What are the restrictions involved with the design technique?With pneumatic constructions, leakages are fairly common. The need to minimize and ensure that all possible leakage points are sealed requires extensive research and design improvements. Furthermore, the level of vacuum would need to be at a high enough level to achieve the insulation benefits discussed earlier, suggesting stricter parameters on structural stability and sealing properties. [4]

27 PART B CRITERIA DESIGN | RESEARCH FIELD

Images from Imagine the Blog, ‘Imagine The Blog’, 2010 <http://imagineblog.tumblr.com/post/641386236/vacuum-bridge-the-vacuum-bridge-was-the-very> [accessed 19 April 2015].

1 Ulrich Knaack, Tillman Klein, and Marcel Bilow, Imagine No. 02: Deflateables, Rotterdamn:nai010 publishers, 2013. pg. 7




PART B CRITERIA DESIGN | RESEARCH FIELD 28

B.2. CASE STUDY 1.0 - GREEN VOID BY LAVA

Examining the case studies, the Green Void by LAVA is the closest structure available to mirror the action of deflateables. The relaxation effect that the live physics engine simulates could further be developed to produce a simulation for a deflateable.

This experimentation led to the exploration of a selection criteria with regards to the brief of the project. Furthermore, it lead to the investigation of the form within the membrane of the deflateable and how this may affect the form of the finished product.

The first six species consisted of using mesh relaxation through the live physics simulation software. A series of box meshes were welded and differenced to create one mesh. From there, the naked points were identified to choose various anchor points that then could be manipulated to change the form.

From the forms, it is clear that the less amount of anchor points the iteration has, the more interesting and diverse the outcomes are.

1 2 3

4 5 6

7 8 9 10 11

The next species examined the differences with the spring level of the simulation. Despite this experimentation, the outcomes didn’t quite vary as well as the previous species. Furthermore, the limited amount of change restrained the exploration of the possibilities the form can achieve.

29 PART B CRITERIA DESIGN | CASE STUDY 1.0

12 13 14 15 16

17 18 19 20 21

22 23 24 25 26

28 29 30 31 32

33

The next ten iterations examined an exoskeleton form where various sizes polygon sides were tested to achieve several results. It is essential to note that this experiment does not necessarily relate to deflateables as such due to the more rigid structural properties associated with the exoskeleton component. However, this exploration did allow the integration of the means of addressing the form within the membrane of the deflateable.

The last eleven iterations explored the same concept as the first species, but with more freedom. As opposed to having the structure supported by four sides of the form, experimentations with three or even just single points were carried out to express different variations that could produce ideas for the selection criteria.

PART B CRITERIA DESIGN | CASE STUDY 1.0 30

With these iterations, four exhibited characteristics that deflateables could potentially achieve with regards to the brief:

“...propose an architectural invention that will, express, support, amplify or question continuous relationships between technical, cultural and natural systems.”

The selection criteria composes of the following:1. TransientAs shown in the first two chosen iterations, the ability to chose various anchor points to create a different form creates an impression of a transient characteristic - one that can change. The potential for a deflateable to change is an area that can be further explored through kinematics. Furthermore, the process of deflating is already one that expresses this change as air is drawn out of the membrane.

2. FluidityThere should be a flow to the structure. As shown in the relaxation of all the iterations, there is a consistency with the mesh despite the anchor points. The membrane of the deflateable should mirror this approach. These four iterations express this characteristic in different ways exhibiting the extent to which this process can be further explored.

3. Pressure points for the structure should hold up the form.The pressure points, or anchor points, would be the areas where the structure is held. These four iterations were chosen as they exhibited varying methods in which the relaxation was held. The first and second illustrate differing levels of single anchor points, which in turn created two unique forms, whereas the third expressed a shape being an entire anchor. Lastly, the final iteration expresses the ability to have anchor points all over the form to weave within the structure and think within the form.

31 PART B CRITERIA DESIGN | CASE STUDY 1.0

B.3. CASE STUDY 2.0 - BOOKSHELF FACADE

The potential of deflateables and experimenting with the technique is vast. The previous case study illustrated the different forms relaxation can produce, however, with that simulation applied with the concept of deflateables through the live physics simulation software, more forms and concepts may be generated from the process.

The first steps to create the grid-structure was to set the parameters using the mathematical generating plug-in. The grid was then offset on either sides to create the thickness.

The grid was then extruded and closed capped to form the structure. The next task was to create the live physics simulation through a series of meshes that were deconstructed and welded.

The Bookshelf Facade by Lourdes Lopez-Garrido, Tillman Klein, Robert Barnstone, Arie Bergsma and Raymond van Sabben explores a grid-structure that was pre-cut and assembled with a plastic membrane encapsulating it. The reverse-engineering process involved the use of a mathematically generating plug-in partnered with the live physics simulation.

There are two live physics components that were used in the making of the deflateable: spring from mesh and pressure from mesh. These controlled the relaxation of the mesh to seem like the simulation is deflating. The pressure is at a negative to deflate rather than inflate.

facadeworld, ‘BOOKSHELF FAÇADE’, 2013 <http://facadeworld.com/2013/10/11/bookshelf-facade/> [accessed 21 April 2015].

PART B CRITERIA DESIGN | CASE STUDY 2.0 32

B.4. TECHNIQUE: DEVELOPMENT

Continuing from the reverse-engineering of the facade, a series of iterations have been tested to explore the various forms that deflateables could achieve.

The first seven iterations consists of experimenting with different patterns of surfaces that were then extruded to frames to create the deflatable effect. They consisted of the following patters: normal grid, voronoi, diamond panels and hexagonal cells. These, partnered with various extrusion factors and pressure levels, created the deflation forms explored.

The eighth iteration was formed using a surface morph. Whereas the ninth to the eleventh had multiple spheres within them at different configurations.

Iterations twelve to eighteenth consists of a topological mesh editor’s geometrical features such as a diagrid structure or a hexagonal one. Furthermore, other mathematical shapes were derived from another plug-in called Lunch Box. Shapes such as a docahedron were used.

1 2 3 4 5

6 7 8 9 10

11 12 13 14 15

16 17 18 19 20

21 22 23 24 25

33 PART B CRITERIA DESIGN | TECHNIQUE: DEVELOPMENT

1 2 3 4 5

6 7 8 9 10

11 12 13 14 15

16 17 18 19 20

21 22 23 24 25

Iterations nineteen used a doughnut formed docahedron that was then encapsulated by a membrane.

Iterations twenty to twenty-three consists of experiments with polygon surfaces varying in the number of sides from triangles to polygons with ten sides.

Lastly, the last couple of iterations explore three-dimensional voronoi solids to see how the membrane would react with a mixture of flat and framed structures.

Based off this half of iterations, the frame structure produced the most interesting deflateable structures. However, there is still more potential to explore when it comes to flat surfaces that may kinematically form when deflated.

PART B CRITERIA DESIGN | TECHNIQUE: DEVELOPMENT 34

26 27 28 29 30

31 32 33 34 35

36 37 38 39 40

41 42 43 44 45

46 47 48 49 50

The twenty-sixth iteration implored the use of voronoi in a three-dimensional surface which was then differenced to obtain the frame to create the desired effect on the membrane.

Iterations twenty-seventh to thirty again used spheres, but instead of being random, lines and curves were drawn out then divided to produce evenly spaced spheres that were then wrapped around with the membrane.

The next set of iterations used various ready surfaces found on the program: mobius surface, helicoid surface and super shape. These three surfaces or solids produced interesting results that tested the breaking point of deflatables within the program.

From thirty-seven to fourty-seven, triangular shapes are beginning to be explored and experimented with. They all use various types of grids with different configurations and pressure levels to produce the results. Furthermore, the pipe radii were also altered to give either more depth, or less, to explore how it changes based on those parameters.

35 PART B CRITERIA DESIGN | TECHNIQUE: DEVELOPMENT

26 27 28 29 30

31 32 33 34 35

36 37 38 39 40

41 42 43 44 45

46 47 48 49 50

Lastly, the exoskeleton concept was applied to the final three iterations. These last three related more to a tensile structures rather than deflateables therefore it was decided that these types of structures would not be further developed.

Despite all the iterations provided, there seems to be a gap between what deflateables are able to do with regards to interaction with humans. Therefore, towards the next few stages of development, a more kinematic focused project will be conceptualised and refined to best suit the brief.

With that said, several characteristics were added to the selection criteria:1. No sharp edges within the membrane2. Sense of stability 3. Either frame or solid structure within the membrane4. Non-circular

PART B CRITERIA DESIGN | TECHNIQUE: DEVELOPMENT 36

B.5. PROTOTYPES

The first prototype was an experiment to examine the deflateable concept of the bookshelf facade case study. The grid was made out of foam core, waffled to create part of the structure. The membrane consists of a regular freezer bag that was then sealed using double sided tape. The plastic bag was also taped to the grid on the four edges of each box. The corners, however, were left open for the air to flow through when drawn in or out.

FIRST PROTOTYPE

As the air was drawn out, the plastic became more rigid and tense. However, as the grid structure was already rigid, this prototype only highlighted the form the deflateable can produce, rather than what it can do for the structure.

The second prototype found on the next page was a quick experiment on what it could do with a formed structure like an egg crate. What it showed was that it slightly bent at the side with less support between the individual egg spaces when air was being drawn out.

37 PART B CRITERIA DESIGN | PROTOTYPES

SECOND PROTOTYPE

With that realised, the last prototype for this series was produced using a freezer bag and pieces of Styrofoam cut up into pieces. However, instead of just taping the membrane evenly, one side was taped with more tension than the other. This, partnered with a more flexible inside structure, formed an interesting experiment. When air was drawn out, the triangular shape curved upwards towards the direction where the tension was greater. Furthermore, the form became more rigid and harder to alter.

Despite these tests, the need for more experimentation when it comes to kinetic structures should be explored further as this may provide an extra push towards where this technique may develop to. With regards to the brief, the prototypes achieve the questioning as to how this technical structure can relate to the culture and natural aspect of the site.

THIRD PROTOTYPE

PART B CRITERIA DESIGN | PROTOTYPES 38

B.6. TECHNIQUE: PROPOSAL

SITE - MERRI CREEK

The site chosen is an area north of Merri Creek primary school near Merri Park. The natural landscape will play a major role in the framing of the structure. The idea is to connect the people with the landscape, particularly the river.

As it was a particularly quiet site, there wasn’t an immense amount of human interaction within the landscape. There were no seating areas available despite the clearing and fence that indicated that this site could potentially be a meeting spot. The peacefulness and calmness of the site could possibly induce a sense of contemplation and appreciation of the natural landscape.

INITIAL PROPOSAL

The initial proposal is to construct a deflateable hammock structure for two to three people supported by the trees in the landscape. This supports the brief as it forms a relationship between the culture of the people and connecting them to the natural systems surrounding them, encapsulating them into the environment, in a technologically designed object.

It is innovative as there is an increased amount of rigidity in a flexible structure. The drawbacks would be that it would have to be sealed efficiently to work.

However, this proposal may proceed to more developments in terms of a more kinematic approach.

39 PART B CRITERIA DESIGN | TECHNIQUE: PROPOSAL

B.7. LEARNING OBJECTIVES AND OUTCOMES

“interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies

As digital technologies becomes a tool that could essentially create more complex geometries, the brief that was provided to us allowed for a more critical mindset of what to build, where to build and who to build for and what purpose would it serve. With the experimentation, it helped narrow down what possibilities there are with relation to the site and its stakeholders.

developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration.

Examining the iterations from both case studies to the technique development stage, it is illustrated how there are unlimited design possibilities for any given situation using programs such as grasshopper to further push the boundaries with design.

developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication

The whole concept of deflateables is a very unexamined area where parametric modelling and simulation exhibit this objective where the need to develop these skills is necessary.

developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in the atmosphere

developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse

Despite having to further my research into more kinematic structures, the interim presentation has more than developed my ability to make a case for proposals.

develop capabilities for conceptual, technical and design analyses of contemporary architectural projects

As a result of going through this journal process, we are able to critically think about contemporary architectural projects as explored in part A of the journal.

develop foundational understandings of computational geometry, data structures and types of programming

Throughout the algorithmic sketchbook and the development of the projects, there has been a development in the foundational understandings of what computational geometry is and how it could be programmed using computer software such as Rhinoceros and Grasshopper to produce complex structures.

begin developing a personalised repertoire of computational techniques by substantiated by the understanding of their advantages, disadvantages and areas of application.

The journalling process and the ability to remember what various components do express this development and understanding of computational techniques and what could potentially evolve into something great despite their setbacks.

PART B CRITERIA DESIGN | LEARNING OBJECTIVES AND OUTCOMES 40

B.8. APPENDIX - ALGORITHMIC SKETCHES

MATHEMATICAL SKETCHES

The sketches consists of creating a floral pattern out of mathematical equations. With this, however, solids were also experimented with to see what the effect of the equations would have on surfaces rather than points.

INFLATABLE BENCH

The sketches exhibit the inflation effect from the live physics simulator plug-in on grasshopper. As a result, the multiplication component can illustrate the process of an inflation - from the deflated structure to the end product.

What was interesting about this experiment was the form it takes as the pressure increases. The far right photograph is the bench as it is meant to be without the inflation characteristic.

41 PART B CRITERIA DESIGN | APPENDIX

SPIDER WEBS

These two webs show the possibilities of creating a surface or mesh through either a series of lines and lists, to using mesh boxes as explored in B.2.

These three tasks have each provided a clearer understanding of lists and kangaroo applications that have further helped in the development of the project. It formed as a basis to begin scripting algorithms with limited resources to follow.

PART B CRITERIA DESIGN | APPENDIX 42

PART C.DETAILED DESIGN

C.1. DESIGN CONCEPT

Based off the feedback received, a more kinematic approach to the design was developed. Instead of designing a hammock, it was decided that a transient deflateable chair would be designed.

As observed, there are various activities that take place around the area - examples would be fishing, sports games, picnics, runs and walks. This structure aims to cater to the need of more rest spots or benches for people around the creek.

Hence, the structure should possess the following characteristics:1. Transiency2. Modularity3. Caters to different activities

The concept consists of people renting these structures out and either have them flat, as a mat, or deflate them to form the actual structure that can act as a shade or a table for picnics. The diagram below shows the concept of the deflation as modelled on Rhinoceros with the physics simulation tool from Grasshopper.

The users on site played a big role in the structure’s size in height and width. The anthropometric measurements from the average heights of Australians was used to calculate the height of the structure. Based on the Australian Bureau of Statistics, the average Australian man is around 176cm tall. This information, together with the ergonomics reference guide, estimated the height of the structure to be 900mm tall.

AS THE STRUCTURE IS BEING DEFLATED, IT FORMS THE RIGID SYSTEM.

45 PART C DETAILED DESIGN | DESIGN CONCEPT

CONSTRUCTION PROCESS

This process consists of four separate components. Firstly, the vacuum sealed bag must be properly sealed and measured to encapsulate the three panels that are slotted in. The vacuum sealed bag must include a mechanism that allows for air to be vacuumed out and pumped in if the structure were to be aired out. Sealing the bag would either include the use of heat to melt the plastic together, or by using tape. However, melting the plastic together would be more effective as it reduces the chances of leakages.

The three panels are designed to have a 45 degree angle on the edges that fold over. This is to ensure that the panel folds towards the correct direction.

The top and bottom panels are both 600mm x 600mm, whereas the middle panel would be 900mm x 600mm. These are then slotted into the vacuum sealed bag before sealing the final edge of the plastic. With those in place, the structure is all set for a vacuum to remove the air and make it a rigid structure.

To ensure the lightweight and transiency of the structure, the materials proposed for the panels are made of a lightweight material such as foam, whereas the plastic surrounding it would be Polyethylene and Polyamide.

PART C DETAILED DESIGN | DESIGN CONCEPT 46

C.2. TECTONIC ELEMENTS & PROTOTYPES

PROTOTYPE 1 & 2

These prototypes tested if the actual joint of the 45 degree angle as expressed earlier would work.

Process:The assembly process consisted of placing the foam panels inside a vacuum sealer bag used for packing. The foam panels in the first prototype tested the 45 degree angle cut between two panels and once that was resolved, the second prototype was used to test the three panels.

Problems:The first prototype worked perfectly. However, when it came to the second prototype, it took longer to allow the removal of air to make the structure rigid. There was a need to aid the deflation process to reach the desired shape. Furthermore, the vacuum sealed packing bag came in set sizes, therefore the need to construct a custom bag is needed. However, this will increase the probability in air leaking into the bag.

Solutions:Include ridges in the foam panels to allow for quicker air passage. There is a need to experiment for paths and panel shapes. Perhaps a thinner third panel to allow for a more light top to lift. In terms of the vacuum sealed plastic bag, the need to experiment sealing properties using available resources needs to be carried out.

47 PART C DETAILED DESIGN | TECTONIC ELEMENTS & PROTOTYPES

PROTOTYPE 3 (1:3 SCALE)

The introduction of ridges allowed for a quicker reaction time between the system and the vacuum as shown on the image on the right. Furthermore, the custom vacuum plastic bag was sealed using layers of tape. This did not work as effectively as the heat sealed bag that was purchased. The taped method will be used due to the lack of sealing resources available in the project.

Further experimentation will be carried out to decide the pattern that produces the best results in terms of deflating the structure.

The image below shows the successful deflation of the structure.

PART C DETAILED DESIGN | TECTONIC ELEMENTS & PROTOTYPES 48

TESTING TEXTURES

Grasshopper was used to create various textures to test out to decrease the time taken to deflate the structure. From these textures, as seen on the right, a prototype was formed and the deflation time was recorded.

Note: the purple lines imitate the flow of air through the foam.

1st texture - multiple horizontal and vertical lines that form a grid.

2nd texture - series rotation of the first texture to create different rotations

3rd texture - 45 degree rotation along an axis. Still in a grid format

4th texture - five by five grid

5th texture - multiple vertical indentations

Result:Based off these five textures, the last one performed the most efficiently with a 2 second difference in deflation time. This may have resulted from the straight paths of air removal. The second texture performed the least efficient as there were no clear air paths for the air to move towards the vacuum.

Time taken: 10 seconds

Time taken: 18 seconds with help

Time taken: 12 seconds with help



49 PART C DETAILED DESIGN | TECTONIC ELEMENTS & PROTOTYPES

C.3. FINAL DETAIL MODEL

As expressed earlier, the objective of the design is to cater to various activities within the creek. The actual deflation process and renting of the structure may be done in the CERES Environment Park - a major destination along the creek.

These structures can either be laid flat and at rest to allow people to lay down on them and relax, or they can be deflated and used as tent structures to shield them from the sun while fishing, lounging, picnicking and other activities like watching sports.

PART C DETAILED DESIGN | FINAL DETAIL MODEL 50

51 PART C DETAILED DESIGN | FINAL DETAIL MODEL

0 500mm250100

0 500mm250100

0 500mm250100

0 500mm250100 0 500mm250100

0 500mm250100

The 1:3 scaled model on the bottom left was created using foam that followed the pattern developed to decrease the deflation time. Furthermore, the sealing process involves using tape to seal the bags.

The sealing mechanism is already attached to the vacuum sealed bag.

The 1:20 scaled site model shows various configurations that the structure can be arranged in the space.

Bottom left: Front elevationBottom: Side elevation

PART C DETAILED DESIGN | FINAL DETAIL MODEL 52

“interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies

As digital technologies becomes a tool that could essentially create more complex geometries, the brief that was provided to us allowed for a more critical mindset of what to build, where to build and who to build for and what purpose would it serve. With the experimentation, it helped narrow down what possibilities there are with relation to the site and its stakeholders.

developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration.

As the weeks passed, there was a fluidity in the application of certain components in grasshopper. There was no need to double check and research what component to apply. With this, the ability to create adjustable designs formed and aided in the generation of variations of designs.

developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication

The whole concept of deflateables is a very unexamined area where parametric modelling and simulation exhibit this objective where the need to develop these skills is necessary.

developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in the atmosphere

developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse

Despite having to further my research into more kinematic structures, the final presentation provided a clearer understanding of the system involved.

develop capabilities for conceptual, technical and design analyses of contemporary architectural projects

As a result of going through this journal process, we are able to critically think about contemporary architectural projects as explored in part A of the journal.

develop foundational understandings of computational geometry, data structures and types of programming

Throughout the algorithmic sketchbook and the development of the projects, there has been a development in the foundational understandings of what computational geometry is and how it could be programmed using computer software such as Rhinoceros and Grasshopper to produce complex structures.

begin developing a personalised repertoire of computational techniques by substantiated by the understanding of their advantages, disadvantages and areas of application.

The journalling process and the ability to remember what various components do express this development and understanding of computational techniques and what could potentially evolve into something great despite their setbacks.

C.4. LEARNING OBJECTIVES

53 PART C DETAILED DESIGN | LEARNING OBJECTIVES & OUTCOMES

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Meinhold, Bridgette, ‘Renzo Pianoâ€™S Gorgeous Jean-Marie Tjibaou Cultural Center Inspired By Native Architecture’, Inhabitat.com, 2011 <http://inhabitat.com/jean-marie-tjibaou-cultural-center-inspired-by-native-architecture/> [accessed 8 March 2015]

Naidoo, Ridhika, ‘BIG: New National Library In Astana, Kazakhstan’, designboom | architecture & design magazine, 2009 <http://www.designboom.com/architecture/big-new-national-library-in-astana-kazakhstan/> [accessed 19 March 2015]

Pagnotta, Brian, ‘AD Classics: The Guggenheim Museum Bilbao / Frank Gehry’, ArchDaily, 2013 <http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry/> [accessed 13 March 2015]

55 BIBLIOGRAPHY

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Rudeck, Emma, ‘The Pros And Cons Of Parametric Modeling’, Concurrent-engineering.co.uk, 2013 <http://www.concurrent-engineering.co.uk/Blog/bid/97311/The-Pros-and-Cons-of-Parametric-Modeling> [accessed 17 March 2015]

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BIBLIOGRAPHY 56


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