Design Studio: AirJournal: Gateway Project!omas Mitton, 391969

DESIGN STUDIO AIR!omas Alexander Mitton

JOURNALCONTENTS

INTRODUCTION

-02- About Me-02- Past Experience

PART 1: CASE FOR INNOVATION

-03- Architectural Discourse-07- Computational Architecture-08- Parametric Modelling-11- Algorithmic Exploration-12- Learning Objectives and Outcomes

PART 2: DESIGN APPROACH

-13- Design Focus-14- Precedents/Inspiration-16- Design Brief-17- Case Study 1.0-19- Technique: Development-21- Case Study 2.0-25- Technique: Development-27- Technique: Prototypes-35- Technique: Proposal-37- Learning Objectives and Outcomes

PART 3: GATEWAY PROJECT PROPOSAL

-39- Gateway Project: Design Concept-43- Gateway Project: Tectonic Elements-44- Gateway Project: Final Model-47- Learning Objectives and Outcomes

1.

INTRODUCTION

THOMAS MITTONTHIRD YEAR BACHELOR OF ENVIRONMENTSUNIVERSITY OF MELBOURNEMAJORING IN ARCHITECTURE

ABOUT MEHi Everyone,My name is !omas Mitton and I am a 21 year old architecture major studying in my third year of study at the University of Melbourne. I was born in Melbourne and at a young age my parents opted for a ‘tree change’ and moved to a quaint farm in Barfold called Riversdale commuting to Melbourne and later Bendigo for work. I have lived in Barfold until moving to Melbourne to study architecture and now reside in Brunswick and work in West Melbourne at a practice called ePlus Architecture, working mostly on documentation using Revit.

PREVIOUS EXPERIENCESince I began studying architecture in 2011 I have gained experience in Revit Architecture so"ware and the adobe design suite through work and study. I use these programs primarily as a way to present my ideas and work, using sketching and models in early stages of design.I have had no experience using programs such as Rhinoceros and Grasshopper as tools for designing. I am eager to learn and use computer aided and paramet-ric design as part of the design process and widen the potential outcomes I can achieve with my designs.

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PART 1: CASE FOR INNOVATION

3.

ARCHITECTURE AS A DISCOURSE“architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideration as discourse that one can engage with it as visual culture.”1

!erefore when discussing architecture it is easiest and most useful to think of it as an evolution of idea’s relating to design, structural technology and context. It is a constantly changing discourse that leads to the built forms created in society. Or as Schumacher explains “it [Architecture] encompasses all three categories: artifacts, knowledge and practices - all understood as communications that connect to each other in an ongoing recursive network”2. !ough the discourse never stops and takes many di#erent forms o"en a zeitgeist of idea’s can be seen emerging throughout periods of time.!is is obvious throughout the history of architecture from the Greeks and Romans temples to the onset of modernism and the international style. !e leaps in architecture generally co-encide with major advances in technology and/or culture and as society changes so does the architecture as architecture is an expression of the cul-ture, technology and solution to a presented brief.

With the recent onset of parametric and computer aided design and a leaning towards sustainability and e$ciency I believe we have already begun to see a newer, organic and yet geometric, style that in the future will develop further. !is use of parametric design is still in its early days and in the future may be compared to the early skyscrapers (fol-lowing a Tripart Pilazzo house style extruded %g. 1) before developing into the highrise buildings we see today (%g. 2). Having said this parametric design would be the most relev-ent choice for a project at Wyndham as through capturing the architecture of the age but also completing gripping and compositionally pleasing works can remain timeless and not be le" looking boring or tacky. !ough many buildings are examples of this such as works by Frank Lloyd Wright or Mies Van Der Rohe a precedence will be shown through contemporary works from Zaha Hadid (Guangzhou Opera, China) and David Fisher (Dynamic Tower, (proposed) Dubai, UAE). !ese examples are chosen as they are set heavily into the current architectural discourse and are closer to the realms of computer aided and parametric de-sign and while not being similar to the intention of a design for Wyndham City Gateway Project and begin to place this project into the discourse this project may be set in.

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In order for Wyndham to become a renowned and grow within the wider region of Victoria and even Australia it needs to contain archi-tecture worthy of joining the global discourse. !e Seeds Of Change is a step in the right direc-tion but a larger more iconic and technology driven approach testing the boundries of the discourse must be made. !is is what I intend for the Gateway Project.

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NATURALLY INSPIRED, TECHNOLOGY DRIVEN

GUANGZHOU OPERA HOUSEZaha Hadid2003-10 Guangzhou, China

Hadid explains her Guanhzhou opera house in China as being inspired by pebbles in the Pearl river4 but it can also seen as a response to the Sydney Opera House5 (as Sydney is Guangzhou’s sister city). Parametric design has been used to create the two pebble-like main buildings of the Opera house to further the ideas of Utzon as seen in the Sydney Opera House. !e site context of this building is also important to the discourse as it is part of a duo of buildings (Guangzhou and Guangdong Museum) to transform a currently industrial area into an arts centre and become cultural icons. !is is heavily in&uenced by previ-ous buildings in the Guangzhou area and will have lasting e#ects on the style of buildings here in the future.

!e advancements in both architectural design tools and construction technology have enabled for the form of this building yet the relation to Sydney and the context of the site (Pearl River) inspired the discourse of the design. Guang-zhou “boasting superior acoustic planning to that of the Sydney Opera House”5 and “catering for both Western and Chinese opera”5 has only become possible due to modern techniques. It is important to include a work by Hadid when regarding the subject of discourse as she is at the forefront. !e blobby organic curves of Hadids work are portrayed by the likes of Schumacher as ‘Parametricism’3 but this to many is incorrect as parametric design encompasses much more. I do not doubt it is likely that Hadid’s architectural works could form in to a style, yet the question lies in what other styles may spring up from the current architectural discourse.

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INTENTION DRIVEN, REJECTING THE SPECIFIC SITE

DYNAMIC TOWERDavid FisherProposedTBC (Dubai, UAE)

Fisher noted that “for centuries we have been trying to work against wind and the challenges it poses for architecture, and he asks why not work with the wind instead and creates wind energy for sustainability”6. !is innovative, e$cient and equal design adds greatly to the current discourse. While it has proven to expensive to build these towers with current tech-nology in the future ideas or parts of this design are likely to be incorporated in too many designs. Fishers work sit’s close to the Kreod pavillion/exhibition space by Chun Qing Li (discussed further later) as is looking towards the sustainability of architecture and smart responses to problems that arise, don’t %ght the wind use it. !is form of architecture will de%nitely have a place in the green aware population currently seen and for successful architecture ideas such as these must be incorporated into design.

David Fishers Dynamic Tower, commonly known as the wind friendly skyscraper, has a completely di#erent approach on both intention and draw-ing it’s idea’s and in&uences from Hadid’s Opera house and also holds a di#erent place in the discourse. Rather than responding to the context of the speci%c site he aims to build these sustain-able towers in many cities around the world in the exact same form. It is a new discourse regarding iconic building’s, as these would be, because cur-rently and in the past iconic structures have been unique cultural designs speci%c to a place. !e reasoning behind this is due to the necessity of certain elements to achieve its aims. Fisher stated “I had a view of the Hudson River and East River at the same time, it was beautiful and I wanted to make that feeling accessible to more people”6 in order to achieve this he needed to create a build-ing that could see all views, hence the rotation. (V)

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COMPUTATIONAL ARCHITECTURE

“[A]ny serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject […].”7

As a new era in architecture approaches with a move from post-modernism a struggle to %nd a new form and lan-guage of design has begun. With the advancement of technology in construction and design processes new forms unimaginable or more importantly un-constructible structures can now be built. !is can be seen in the Guanhzhou opera house and Royal Ontario Museum Extension (discussed later), though both projects are varied the &owing form of Hadid’s and sharp angular volumetric crystals of Libeskind. !is is primarily due to these advancement in computer technology. !e advancement in design and computing has been in&uenced by the coexistence of both con-cepts within each other, meaning that a change in one causes a change in the other in a repeating system to advance both. !is has caused critics to argue “It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination.”8. A claim that is closer to the truth states “design computation is still only seen by many as ‘just a tool’ and remote from the real business of creative design[...]”9. !e case for this argument lies in the limitations set by the program o"en having an e#ect on the way a design can be formed and the end products may be e#ected by the program they were designed in. As many argue a project making use of Revit may have a boxy feel or more importantly for this context a computer designed or parametric building having a natural and &uid feel. But this may also be attributed to the fact that the type of structure we see using advanced computing and so"ware are di#erent to traditional architecture and tend to have a complex geometric or free &owing organic surfaces. !ese outcomes we see are more likely produced allowing architectural design to enter territory not possible before. As “advances in computer aided design and computer aided manufacturing technologies have started to have an impact on construction practices. !ey opened up new opportunities by allowing the production and construction of very complex forms that were, until recently, very di$cult and expensive to design, produce and assemble”10. !is could imply that a lot of what many opponents to computer design argue is a limitation could in fact be the embodiment of what computers have allowed design to achieve. While the critics points may have some validity at this point as tech-nologies advance further designs will likely be re%ned into more styles as advancement continues in computing.

In order to take the next step in architectural design, we need to “take advantage of the abilities of computers where ours fall short, and use our own abilities where computers’ fall short, we would create a very powerful symbiotic de-sign system: computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve designproblems”11 . Digital design enables an architecture beyond the abilities of traditional architecture, and allows a further exploration of design concepts. It is through the use of these tools that a new style will form but the need for a good designer is still required. For without the designer composition, bal-ance and pleasing outcomes cannot be obtained yet the possibilities this symbiotic design system allow are furthering architecture to places not seen before in building history.

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PARAMETRIC MODELLING“Parametric modeling is not new: building components have been adapted to context for centuries”12

While all design can be referred to as parametric as there are a set of constraints that must be adhered to (site, materi-als etc.) I believe this quote %ts the purpose of referring to the work of architects such as Gaudi and the early use of the hanging chain model. I agree that it is inherently true in both cases that parametric design has been seen in archi-tecture countless times before and in many di#erent and varied forms. Yet, the parametric design discussed today is of a di#erent type referring more speci%cally to computer aided parametric design and computing. ‘Parametricism’ as de%ned by Patrick Schumacher is the use “Instead of classical and modern reliance on rigid geometrical %gures[...] the new primitives of parametricism are animate geometrical entities – splines, nurbs and subdivs.[...] that react to ‘attrac-tors’ and can be made to resonate with each other”3 and “Parametricism aims to organise and articulate the increas-ing diversity and complexity of social institutions and life processes within the most advanced centre of post-Fordist network society”3 Whereas an opposing de%nition by Daniel Davis would “de%ne parametric, within the context of digital architecture, as a type of geometric model whose geometry is a function of a %nite set of parameters.”13 I %nd this de%nition too con%ned while Schumachers de%nition is too broad, though both de%nitions have merit and many adversaries, the middle ground between both extremes is close to parametricism that I will discuss. !ese de%nitions cannot fully encapsulate my argument as what they discuss is a style proposed for the Gateway project whereas the above discourse is regarding the validity of calling the style of Hadid parametricism and whether works like Guang-zhou opera house embody everything that parametricism should be de%ned by. I intend to explain why it is useful and will beni%t the Gateway Project.

“In conventional design tools it is “ easy” to create an initial model - you just add parts, relating them to each other by such things as snaps as you go. Making changes to a model can be di$cult.”14

!e strength in parametric design today lies in its di#erence from the traditional design process. !e e$ciency of a design comes at di#erent stages the initial speed of traditional design lacks in its ability for change later in the project when minor (or larger) details changing will require a proportionally large amount of work in changing other parts of the project to conform to these changes. In the case of parametric design the opposite is true, with much early work to create the form of a project changing details at a later point in the project is far easier as the design is self righting due to the parameters it is bound to when changes occur. In this way parametric design is seemingly the better option for larger and more complex projects. !is allows parametric design to have scope for a larger breadth of design op-tions where traditional processes will generally have only the depth of a chosen design. However parametric design can also be considered less &exible, depending on the initial parameters, as a design is then bound to the set param-eters and to incorporate design outside of the set parameters is then harder to include in the design and may there-fore be le" out. Yet again this account of parametric design can be disputed as the breadth of a design at relative ease should ensure that the chosen idea is correct and changes outside of the set parameters will not be required. Another facility of parametric design is the organic, &uid and sometimes more functional outcomes than convention-al design methods. !is way of designing also allows for structures that are hard to express and conceive in traditional design methods and can easily work out geometries for the most e$cient transfer of loads. !e shortcoming of such expressive, e$cient and extreme designs lies in the ability to build these structures with current technology and if this is possible the high cost of doing so. But this high cost can o"en be countered by the smart use of materials in readily available sizes or cheap to manufacture forms to create the whole using optimisation and geometric patterning of smaller parts to create a complicated &owing whole. !e current examples of modern parametric design already seen today are prime examples of the aesthetic, functional and e$cient value of this form of design. As building technol-ogy and computer interface become more advanced this form of architecture will become more accessible.

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TECHNOLOGY MEETS TRADITION

ROYAL ONTARIO MUSEUMDaniel Libeskind2007 Toronto, Canada

!is is an extension to an illustrius older Royal Ontario Museum and while being an impressive piece within itself incorporates the old build-ing into the design process and thoughts behind the space. !e Gloria Hyacinth Chen Court is a large atrium that separates the new from the old and gives a nearly complete view of the heritage facade within the structure15.!e use of parametric design can have aestheti-cally pleasing results, but as in this case it must still respond to the site and context of its cultural and spatial position. !is is an important factor to consider when using digital aids for design and the physical and built form should always respond to the speci%c situation.

!e Royal Ontario Museum in Toronto Designed by Daniel Libeskind is a perfect example of both the direction that computing and design can work to create a structure based on a design idea, and the use of parametric design to generate this. Cre-ated as an exhibition space to add 100,000 square feet of exhibition space the form mimics that of 5 crystals15. !is creates 5 volumetric spaces. !e o#set and collision of these 5 spaces and the di#erent planes the structure of this building inhabits would be impossible to construct and design without the aid of computation for both the design and construction.

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NATURAL MATERIALS, MODERN RESULTS

KREODChun Qing Li2012Greenwich Paninsula, London

!e optimisation of Kreod is also of major importance to the reasoning of the structure, it is designed in such a way that relatively small and inexpensive to produce timber is used to form an organic whole. !e structural optimisation of the installation means that the lightweight structure is self supporting and strong17. Yet this has failed to detract from the aesthetic appeal of Kreod, if anything the intricate geometric patterning is what creates the interest in this design. !is design represents much of the parametric design I hope to achieve in the gateway project.

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Kreod (a temporary installation/exhibition space in Greenwich Paninsula, London16) needs to be included as a precedent for smart parametric design and showcases some of the advantages of using this form of design. !e modularity of the structure means that a"er the current utilisation is ful%lled it can be taken down into its smaller components and can then be easily stored for re-use elsewhere or form parts smaller building such as bike sheds or even furniture17. !is is a step forward for sustainable design. In the current building process most redeveloped building sites require demolition (much of which goes to waste and then rebuilding using new materials)18. If future structures followed a"er the fashion of Kreod the deconstruction, re-use, storage and even transportation of the existing structure would become far easier and the waste would be greatly reduced.

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ALGORITHMIC EXPLORATION

As someone completely new to this form of design having never used Rhino let alone Grasshopper before the past weeks I have found the programs reasonably intuitive and the tutorials followed easily enough if time is taken. My interest in this form of design is in both generating forms and then changing the structure of these forms by the patterning of meshes laid over. Following on from the work given I have been explor-ing the use of two add-ons that further my interests, these being Weaverbird (to work with meshes) and Kangaroo to incorporate physics model to generate e$cient forms.

Porvided are some examples of using Kangaroo Physics on a simple mesh to create di#erent overlapping and optimized forms using gravity.

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OUTCOMES

LEARNING OBJECTIVES

!e past few weeks of Studio Air have been an eye opening experience in the concepts of design, it has uncov-ered a major hole in my technical knowledge that has changed my perception of the whole industry. Having not completed Virtual Environments during my %rst year I have had no experience in computer aided design and in my workplace a very tradition approach is taken and computer involvement is only during documentation. I now perceive the use of grasshopper with rhino as a very powerful tool in the design process. It would drasti-cally change many of the designs I have attempted in the past and likely improved my outcomes. !e discussion through lectures, readings and in class have been invaluable on bringing me up to date on this section of the architectural discourse and many projects unseen to me before. !is has caused a change in perception of what architecture and design can mean today and widened the possibility of what I perceive myself to be capable of in the future.

!rough the case for innovation section of this journal a discussion of the possible future direction of architec-ture has been brie&y discussed. A new style or styles is beginning to come into fruition with parametric design likely at the forefront of at least one future movement. Yet in order for this monument to have longevity it must not rely on predicting the future movements of architecture but on the balance of composition, timeless (whether geometric or organic) form and a relation to site which allows connection to a place rather than a time. !rough the use of parametric architecture these outcomes can be achieved. !rough the explanations of the given prec-edents and the understanding of the place of parametric design discussed a description of the outcome of this project can be perceived.

As a design team we understand the concept of an emerging Whyndam region and seek to involve the context, both site speci%c and to the culture of the wider region. To achieve a status as an icon of Whyndam and even wider Victoria the scale will need to be appropriate and the speed at which it shall see needs to be taken into account, meaning a large structure may be required. While creating this concept a compositionally pleasing and ‘timeless’ outcome will be sought through a &owing organic form. But through the optimisation and use of phys-ics modeling and geometrical structural pattern a sustainable and further interesting design will be achieved.

PART 2: DESIGN APPROACH

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DESIGN FOCUS

!rough a study of the available stream options to provide a backbone for the design direction our proposal for the Wyndham City Gateway project could head it came down to a few options all able to create a design responding well to the design brief. Sectioning, tessellation and bio-mimicry were all strongly considered with strengths such as perceiv-ing views (through or from close and far) interesting struc-ture from smaller parts and e$ciency through following natural forms. Yet the %nal selection of material perfor-mance was due to its alignment with previous arguments and precedents to this point but also the fact that aspects of the other options can be found within the material perfor-mance category. !rough the form and patterning options found within views can be controlled due to alignment and aspect and the form can be read di#erently from distant and up close viewing while e$ciency of structure comes from physics modelling.

In a more practical response to site the focused require-ments are in response to the viewing of the structure (aim-ing to make it icon for the region and timeless). !e orienta-tion of the approach to site is important and the di#ering experiences depending on entering, exiting or passing Wyn-dham City should be e#ected by the view of the design. !e other aspect of viewing important to consider is the speed at which the installation will be observed. From a distance it will be perceived as a holistic form and this form will be de%ned by e$ciency found through physics modelling. Up close at speed it will be viewed more as the pattern or struc-tural make up that the entirety of the form is de%ned by and is also of great importance to the design. In this material performance is important as the choice of material will determine the extent of possibilities the design can achieve whilst the study of cells and the e#ects of internal pressures create an e$cient form that also holds a strong and gener-ally organic aesthetic. Moving on to some precedent studies will further explain the reasoning for material performance.

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14.

PROCESSION

SHELL STAR PAVILLIONMatsys2012Hong Kong

!e idea behind this project combined with the assessment of forces through the material structure have led to the form. !e &owing curvature has not been intentionally designed to look this way but is determined by the most e$cient trans-mission of loads created from the structural mesh and anchor points. !is ‘architecture can be understood as a material body with its own intrinsic and extrinsic forces relating to form, growth, and behaviour.’21 with the aim to ‘develope material systems based on the hybridisation of compressive materials and tensile membranes to facilitate construction of double-curved surfaces.’21 It is particularly relevant to our design as the arched form with a central anchor point in compression is somewhat similar to what we aim to achieve and the use of grasshopper in achieving this design. While we do aim to have a materially and compositionally di#erent outcome the importance of experience and optimisation are similar using similar programs and process to achieve this.

!e consideration of space and idea of ‘a... vortex whereby visitors would feel drawn into the pavilion center and subsequently drawn back out into the larger festival site.’20 is both highly emotive and relevant to the site in Wyndham city. In the case of the gateway project the concept will be on a much larger scale to deal with the speed of viewing exit and entry of the structure, yet the idea remains the same of being drawn into the structure then being drawn back out. On being drawn out the experience will have a di#erent emotive feel, heading into the city an open welcoming feel whereas heading away the experience will be an entry into the wider region with landscape views. !e &owing form here can be likened to the work of architects like Hadid but almost combining it with the modular patterning of works such as Kreod meaning there is potential for deconstruc-tion, transportation and rebuild/reuse yet with added ideas incorporated. Something similar to this will likely b achieved in our project.

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MATERIAL PERFORMANCE

RESEARCH PAVILLION 2010ICD/ITKE2010 Stuttgart, Germany

Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physical form is determined by these pressures. However, in architecture, digital design processes are rarely able to re&ect these intricate rela-tions.19

!e 2010 Research Pavilion is especially important to consider as it relates so closely to our chosen stream of material performance. As the form is de%ned by its material and not the other way around, meaning the properties (elastic, bending etc.) have been taken into account in the design process and it could not be possible out of any other material. !e base of this ar-gument and ability to make it viable are approached in this project and discussed thus ‘ in the physical world material form is always inseparably connected to exter-nal forces, in the virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geomet-ric form generation and subsequent simulation based on speci%c material properties. !e research pavilion demonstrates an alternative approach to computational design: here, the computational generation of form is directly driven and informed by physical behaviour and material characteristics.’19

Whereas in this project the form di#ers greatly form our intended structure as the goals and brief do not coincide very closely the material performance aspect is intrinsic to what we plan to achieve as we hope to explore the bending (a"er applied moisture or steam) of plywood to explore the material properties that will then lead to the form we achieve combine with the other in&uences de%ned by our brief.

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!rough a close analysis of the group goals and precedents, we have been able to determine a personal design brief, and key considerations that apply to Material Performance.

!rough exploration with materiality, patterning and structure, the group aims to develop a landmark design for the Western gateway in Wynhdam City. !e Gateway with become an iconic feature within the area, and promote a discourse of pride, positive change and positive direction, with a connection to the greater region. !ese inspiring thoughts will be provoked through the meeting of natural material and state-of-the-art technology.

Key considerations to be taken into account when realising this design will be:

- close and distant views,- patterning and structure drawn from material performance,- materiality and material performance,- views from di#erent angles,- integration with site through relation to naturallity,- experience of procession through form.

DESIGN BRIEF

WYNDHAM GATEWAY PROJECT

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CASE STUDY 1: Voussoir Cloud

De%nition Provided

To begin a curve and points need to be provided in Rhinoceros for the grasshopper de%nition to input as paramaters to model around.

In order for the Kangaroo physics forces to be added the booleen toggle needed to be switched from true to false. At this point X,Y, and Z vector direction sliders could be used to increase/decrease the strength of ap-plied forces in alll of these planes.

!e Z unit slider can also be used to alter the height of the resultant columns created around the input points.

Lastly the scale input determines the width of the col-umns around each of the input points from Rhinoc-eros. If the scale is set beyond the limits of the surface mesh the model breaks down and the second image occurs.

!e Voussoir Cloud was chosen by our group due to the organic form created by a combination of the lightweight material and the use of Kangaroo to form a self supporting shape in compression. !is overall form and use of materials is de%nitely in the realms of what we want to achieve with our design project and therefore unpicking and learning the grasshopper de%nition and inputs used to create the form of this project are of great importance to us. In order to fully understand the extents of di#erent outcomes that can be achieved using this paramet-ric de%nition an exploration of what models we could create has been compiled into a technique development matrix on pages 19 and 20. Included within this exploration are examples of di#erent curve and point inputs, changing the input param-eters discussed to the right and applying weaverbird ptterns to the %nal mesh. !is %nal step of apply-ing patterns is added to the de%nition as it only provides the form of the design not the constituent parts that make up the structure and while we have not achieved results similar to those in the Vous-soir Cloud these investigations are important to our own understanding of Grasshopper and its plug-ins.

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CASE STUDY 1: Voussoir Cloud18.

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CASE STUDY 2: Shell Star Pavillion

!e Shell Star Pavillion was important to our group tp explore as a case study and reverse engineer from looking at the form and creating a Grasshopper de%nition from scratch. !is was because while it was similar to the Voussoir Cloud in outward appear-eance it requires a de%nition that di#eres in ways that our group expected would become important for the direction we plan to take in our design for Wyndham Gateway Project. Namely the Cloud has a curve with points that created an o#set around them to form columns so in this way the outward edge had to be raised o# the ground to allow access at an even level with the internal columns providing the support. In the starshape pavillion only anchor points are con-nected to the ground plane and these can be distrib-uted anywhere on the surface of a mesh allowing much more control of the overall form and that the outer edge can also have variation. Columns can be created by forming a ring of anchorpoints or signle points internal to or on the edge of the structure. !is de%nition is there for far more adaptable in form and can respond to many di#erent changes and variation and will most likely play some part in the form of the %nal outcome for the Gateway Project.

An exploration of the possible outcomes of the de%-nition we had made was again explored to test the boundries of what this de%nition can achieve. !is can be found on pages 25 and 26.

!e Grasshopper de%nition created to correctly as-semble and then apply physics to a mesh.

First the correct surface was created in Rhinoceros and referenced into Grasshopper, then using weaver-bird subdivision tools a hexagonal layout mesh surface was achieved to then apply Kangaroo physics too.

Before physics can be applied to the mesh anchor points must be set in Rhinoceros and referenced into grasshopper so that the places which will be connected to the ground can be set.

At %rst we had a lot of trouble getting the surface to subdivide properly and we were stuck with the result in the middle, to %x this we had to create many smaller triangular surfaces and join them.

On the right is the result of applying the physics to the mesh created (with another weaverbird mesh applied over).

!e %nal outcome results from moving the X,Y and Z vector inputs and the anchor points in Rhynoceros while Kangaroo is still running and then baking the stable result.

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CASE STUDY 2: Shell Star Pavillion22.

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CASE STUDY 2: Shell Star Pavillion

CASE STUDY 2: Shell Star Pavillion24.

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TECHNIQUE: PROTOTYPES

Our group at times has struggled with incorporating the concept of material performance as the driving factor in our design. Up until this point it has been understood as a consideration but has never become the pivotal argument for our design. Our design needs to consider %rst the material and its inherent properties and from that point comes structure and form (the form and structure being the same for this project). Moving on with these thoughts our group considered a few major alternatives for the material choice with the two most likely being a thin bendable natural wood that can be anchored or steamed into place or a robotically generated material similar to that used in the 2012 ICD/ITKE Research Pavilion.

A"er some consideration it was decided that in both relevance to the project and the brief we set the timber option would be far more appropriate and buildable than the synthetic material. !e use of timber allows us to use the timber as a physical parameter to our design, the spe-ci%c properties with and against the grain, thickness and length cause many changes in the possible results. On top of the innate abilities applying patterning techniques to the timber would cause changes in the natural properties of the wood causing further variation. Once an explora-tion of the chosen material is undertaken this experience can be translated into Grasshopper and Kangaroo to create de%nitions re&ecting the abilities of the timber and therefore the form and overall concept of the Wyndham Gateway Project would be de%ned by the material perfor-mance of the chosen timber.

In practice it could achieve something similar to the above mentioned ICD/ITKE Research Pavilion 2010 and to achieve this the material chosen would be Lauan Ply-wood due to its bending properties, and availability.

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28.

TECHNIQUE: PROTOTYPES

It was understood that in timber two basic principles of bending apply elastic and plastic. In elastic bending a force is applied to the material holding it in place and when this is released the material will spring back into its original shape, while in plastic bending the material ‘deforms’ and is %xed permanently in shape (this can be achieved in timber through steaming).22 To move forward with the design an investigation into the pos-sible manipulations of the plywood (plastic and elastic) both in traditional methods and computer aided design (patterning etc.) would need to be undertaken by our group. In order to do this we divided our attention be-tween three ways to form the structure: whole, compos-ite and separate.

!e ‘whole’ approach would consist of one or many large sections of timber bent plastically and formed into new expressive shapes. Strong curves can be achieved in the large scale we are considering for this project leav-ing shapes formed by timber reminiscent to the design of Hadid. !e large sections of plywood will also have changes in property over the surface due to scoring or cutting out sections forming patterns to change the bending properties in some areas and create interest in close up views and lighting.

!e ‘Composite’ approach would involve smaller para-bolicaly curved pieces of plywood joined together creat-ing an overall form similar to the Dragonskin Pavilion or Winnapeg skating shelters in Canada. Both of these projects create an overall form de%ned by the material properties of the plywood used. !ey create a %nish that appears seamless with no structural connection leaving an organic feel. In our design the smaller constituent parts would form a much larger whole than in these projects but with similar close up e#ects. Gaps and orientation of the smaller parts would create patterning and light interest.

!e ‘Separate’ approach would involve many varying sizes and techniques of bending the plywood placed ac-cordingly on site to respond to each other and the brief and form a cohesive whole.

Exploring !e MaterialA"er the selection of Lauan Plywood as the building material of our project we needed to test (as in the tech-nique development matrixes) the possible outcomes that could be achieved by the selected material. In practice these would be done as smaller parts of the whole at 1:1 using Lauan Plywood but for the purpose of this project varying thicknesses of Balsa wood have been used.

In order to mimic the e#ects of an elastic dry wood was simply bent to form curves and clipped or glued into shape. Patterning was applied to some to test the e#ects.

To increase the malleability and bending of the timber whilst making it more resistant to snapping it was %rst placed in water to soak overnight. When taken out vary-ing methods of producing plastic curves were undertak-en to see what could be achieved. In order for the wood to deform permanently and iron and hair dryer were used with re-wetting to slowly form the plywood into new shapes with clipping occurring at intervals to help keep the new shape while drying occurred.

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Testing the bending and breaking point.

Bending with openings.

Wetting the timber overnight.

Steaming to cause plastic bending.

scoring and bending.

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TECHNIQUE: PROTOTYPES

30.

Scoring and bending (elastic).

Bending with the grain on a smaller scale.

Clipping for plastic bending

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TECHNIQUE: PROTOTYPES

31.

Case study 2 in Balsa wood exploration.

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TECHNIQUE: PROTOTYPES

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Larger scale plastic bending.

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TECHNIQUE: PROTOTYPES32.

33.

TECHNIQUE: PROTOTYPES

!rough the experimentation with bending points both plastic and elastic we can now begin to translate these in to the possibilities available within the computer aided parametric design process. !rough a study of Winnapeg Skating Shelter in Canada (plastic bending) and the pavilion by emtech (AA) + ETH (elastic bending) more understanding can be achieved from past uses.

!e inherent physical properties within the timber can be manipulated by computer aided patterning and the overall form can be computed by creating a de%nition using the parameters set by the boundaries of the material performance. !erefore using Kangaroo and Grasshopper generated concepts and patterning can be combined to design a project that relies on both material performance (properties of the plywood) with the parameters and generative abilities by Grasshopper.

!e link between our provided brief and the context with-in the Wyndham region can be easily related to the ex-ploration and move onward with Grasshopper. We will be able to create a design with site speci%c view points and patterning, the project will be able to link with the wider area of Wyndham as well as the speci%c site through an overall theme of nature and technology coming together, representing the state of Wyndham. !e created design will respond to the air and atmosphere by ageing and weathering representing the continual movement of tech-nology as newer concepts and technology evolve.

What We Learnt

34.

TECHNIQUE: PROTOTYPES

WINNAPEG SKATE SHELTERSPatkau Architects2011Canada

PavilionEmtech (AA) + ETH2012Zurich, Switzerland

“Stress points were relieved by a series ofcuts and openings. !e form of the shelteris a resultant of this process of stressing/deforming and then releasing stress.”23

!e shelters here provide an example of a de-sign built from a lightweight easily weathered material constructed smartly to withstand the conditions as long as possible. It also relates due to the deformed (plastically bent) plywood connected in smaller parts to create a larger form and our outcome could be similar to a very large version of this project.

!is temporary shade providing structure mirrors some of the possibilities of what our project could achieve21. By using elastic bend-ing and the cutting of a pattern into plywood three curves have been created. !ese create a lighting e#ect through the shadows on a staircase provided by patterning that changes the structure. It also relates to the distant and up close views of focus on overall form and then up close the focus shi"s to the pattern and joining of parts.

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35.

TECHNIQUE: PROPOSAL

Now that a thorough understanding of material, prec-edents and the way we will begin to move foreword with the design. !is comes in the form of translating our ideas into Grasshopper and Rhinoceros.For exploring the overall form of the design two main streams have been taken the use of the already developed Kangaroo physics de%nition and the hinge script or a newly made de%nition involving a script called tapeworm. !e gain slider in this script allows variation in a curve to allow it to mimic the material performance of the plywood.From the overall form the virtual models will likely be assessed for areas of compression and tension with pat-terning applied (either weaverbird or self made varoni de%nitions) to appropriately deal with the forces/weather and create interest within the form.With this technique, there will be a controlof views, water and air within thespace that the design covers on site.

By attempting to combine technology with the innate properties of a natural material an interesting icon will be created for the Gateway project with strong ties to both the architectural discourse and the Wyndham region. It is through this applying of technology to a natural material that mirrors the urbanising state of a previously semi-rural area. !e bending properties and input of paramet-ric design will result in the organic curves o"en seen in parametric architecture yet with the use of the plywood material.

MATERIAL AND TECHNIQUE

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TECHNIQUE: PROPOSAL36.

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37.

LEARNING OBJECTIVES AND OUTCOMES

In %nding a group with similar ideas for the gateway project is has been easier to spread the workload and get the input of many ideas into the mix for a %nal outcome. With di#erent group members having di#erent strenghts the overall project achievable has greatly improved and the complimentary ideals about what needs to be done has made it easy to work together. With all of us now endevoring to further our skills in grasshopper our project is likely to gain strenght. Retrospectively my work in creating the de%nition for case study two would not have succeeded without the help given by groupmembers to crate the correct mesh to apply the physics to. My lack in presentation skills is avoided by me not completing much of the presentation pieces and likewise with my knowl-edge of 3D printing.

Before our presentation we discussed likely questions to be asked about our project to preampt answers to weak-nesses in our project, namely its relation to the studio focus of air and the dureability of using timber for our desing. !e conclusion resulted in combining the two to allow the design to be weathered and become a meta-phore for passing technology.

Working in a group also meant that the matrix explorations and modelling explorations could be completed much more thoughrally with each of us completing some giving a broad spectrum of results.

!rough case study 1, 2 and our further development we have shown that we understand the &ow of information in grasshopper, can reverse engineer a project in grasshopper and can therefore take what we have learnt through our material exploration to create our own models within grasshopper to be built.

PART 3: PROJECT PROPOSAL

DESIGN CONCEPT: PROCESSION WAY

!e %nal design selected for the Gateway Project 'Procession Way' consists 10 separate installations to be read as a whole forming a gateway into Wyndham. It will form the Gateway through a progression of changing structure with a readable evolution, not unlike in the 'Seeds of Change' project.

In the context of the location it is to progress over the main road between sites A and B (%g??). !is allows the strongest visual connection from both close up within the rings of the design or viewed from the other main roads alongside it. In respecting the design brief set for the Gateway Design its large scale will ensure it will likely become an 'icon' for the Wyndham region. Further-more, it has become a metaphor for the growth of Wyndham and its connection between smaller rural beginnings and its current movement towards an urbanised state. !is is done through the combining of natural materials and techniques (the steam bend-ing of wood) with computational design to formulate a sophisti-cated response. !e metaphor is carried further into the archi-tectural discourse (as most aspiring or established areas require presence in the discourse) by the project drawing ideas from the current place of parametric and computational design in the %eld. It does this through the evolution of forms from a representation of a traditional post and beam form (whilst not post and beam in structure the shape represents this) for form 1 into an evalu-ated and structurally e$cient 'tapeworm' structure at form 10. !e tapeworm form was chosen over Kangaroo physics forms due to the restraints on the size of plywood sheets (and therefore manufacturability), but also its emotive form and expression of the properties of plywood. !e patterning also re-enforces this progression of e$ciency and responds to issues found with our design in the earlier critique with the Veroni or weaverbird forms not relating strictly to our self set material performance focus. As with ine$cient or highly bent (plastically) wood a higher chance of failure (breaking) occurs a patterning was applied to the surfac-es that increases in areas with less bending and decreases in areas with greater bending. !is meant that patterning could be applied to respond to the bending properties of the plywood laminate in a way that would make it highly unlikely to fail yet provided areas that allowed the surface to become broken up creating contrast-ing shadows cast over the road.

In the %nal form a representation of some aspects of the current discourse in architecture and the play between urban and rural ful%l the brief by Wyndham city to create an icon and a Gateway for the region.

THE FINAL DESIGN OUTCOME

SITE A

SITE B

SITE C

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40.

DESIGN CONCEPT: PROCESSIONWAY

GATEWAY SITE URBAN AREA RURAL AREA

MELBOURNE

GEELONG

WYNDHAM

FORM 1

FORM 10

THE FINAL DESIGN OUTCOME

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TAPEWORM CURVE FINDING + LOFT INTO SURFACES

OFFSET CURVE AND LOFT TO SURFACE

CRITICAL 10 SURFACES

CREATE POLYGONS WITH THE CETERS ON CENTROID OF EACH PLANE

CURVE

TAPEWORM SURFACE

SPLIT SURFACE

SURFACE

DUPLICATE SURFACE EDGES AND LOFT THE CURVES TO GENERATE MOST SIMPLIFIED SURFACES

TRIM SURFACES WITH A LINE REPRESENTING GROUND LINE

DIVIDE SURFACE INTO EQUAL SEGMENTS

EVALUATE SURFACE PROPER-TIES AT UV COORDINATES

CREATE PLANES PERPENDICU-LAR TO THE COORDINATES

EVALUATE SURFACE CURVA-TURE AT SPECIFIED UV CO-ORDINATES

DEFINE RADIUS BY CURVATURE AT POINT

DIVIDE SURFACE

DIVIDE SURFACE

CREATE LINES BE-TWEEN UV POINTS OF THE SURFACES

EVALUATE CURVES

INTERPOLATE CURVES

LOFT

EACH SURFACE

COMBINE THE SURFACES

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DESIGN CONCEPT: PROCESSION WAY!is diagram displays a simpli%ed map of the nodes used within grasshopper resulting in the %nal design.

Above and to the right are some of the results from the form %nding process of form 10 to tween between. !ese are included as a response to questions about the selection of our form during the critique and wether we explored the outcomes that could be achieved using the tapeworm script.

THE PROCESS

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DESIGN CONCEPT: PROCESSIONWAYTHE PROCESS

Apply increasing Compression to bendto correct angle (whilst still applying steam)

Timber Pin Joints , Structural support for forms 1, 2 and 3

Outdoor Timber glue and Wooden Pin

Ground Joint

Horizontal Reinforcement through Plywood

Rienforced concrete footingsFinal Form of Built

Design

Cut Plywood:3 x 8 max.metres, with Length &patterning as per Files

Steam Wood

Sca!olding and formwork

Leave to set

!is diagram displays a simpli%ed map o"he steps re-quired to construct the design.

In order to be able to bend and steam wood at the required scale a hybrid method between the technique used by the dragonskin pavillion and using a larger ver-sion of a steam bending table as in furniture building.

!e pieces of ply would be placed above the steam table (bottom le") and held with clamps (similar to bottom right) weight would then be applied from above in a similar way to that used in the dragonskin pavillion (top). !e di#erence in bending would come from both the placement of the clamps and weight onto the ply.

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43.

TECTONIC ELEMENTS

Due to the nature of the selected focus, ma-terial performance, the integral construc-tion material of plywood was chosen very early in the design process. !e limitations of the sheet size available meant that the largest segments possible for our design are 3mx10m available within Australia. !is size was used to base the scale of our design around with segments of the structure being made from pieces of this size. For rigidity and strength many of these 14mm sheets will be laminated together before steaming.

!erefore the %nal design consists of 10 installations installed on site made of 8 to 14 laminated plywood sheets to create the overall form with a 3m width.

In order for the structures to be able to stand and maintain their shape rigid joints with overlap between each sheet would be needed. !ese consisted of timber pin joints %xed by glue appropriate to the conditions.

!e structure will continue into the ground with reinforced concrete footings to a su$cient depth. !e reinforcement will be punched through the plywood below ground to ensure the stability of the struc-ture.

!is simplistic method of construction using glue and pin joints has been e#ective in precedent projects such as WINNAPEG SKATE SHELTERS and ICD/ITKE Re-search Pavillion.

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FINAL MODELS

In order to e#ectively build our model some simple prototypes were sent to FabLab. !ese contained basic patterns including some overlapping lines, with two thick-nesses of Balsa (2mm and 2.5mm) being selected to test due to their already ideal bending properties. !ree depths of etching and fully cutting the wood was selected for testing in the laser cutter. A"er these tests 2.5mm plywood with deep etching and cut-ting through had the best results and were therefore selected.

For the %nal submission %le the sections were placed in order with numbers denot-ing which form the piece was part of and the pieces were individually numbered a"er cutting.

MANUFACTURE 44.

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FINAL MODELS

In presentation not all models were included as the feasibility of building them at 1:50 within a week was not possible. However the most im-portant concepts to be displayed by the models are present and evident in those built.

!e e#ects of light and shadow will be ap-parent to drivers as a variation of the amount of shadow cast as they pass under, causing a feeling of the structures becoming less over-bearing as they progress to form 10 and this can be seen by the amount of light let through by the models as they progress. !e architec-ture is applicable to the 100km speed along the roads viewing from a distance or up close. !is is due the use of multiple forms perceived at a distance or in &eeting view of the patterns up close. !is use of patterning depending on the degree of bending on a segment and the forms created will be appreciable as the connection between natural material and traditional tech-niques but with a technology based application. Lastly, the evolution of the form will be dis-cerned from both driving through and viewing from afar the structures.

PRESENTATION MODELS

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FINAL MODELSPRESENTATION MODELS

Form 1

Form 2

Form 3

Form 4

Form 8

Form 9

Form 10

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47.

LEARNING OBJECTIVES AND OUTCOMES!is course has been an eye-opening experience into both the possibilities and limitations of parametric design within the %eld of architecture. Whilst few architects are currently designing permanent structures with this method and those that are generally being highly expensive public works it holds an interesting place within the discourse. Whilst currently not appli-cable to many current architects it must be undertaken by those studying today as it is likely to decrease in price, increase in manufacturability and maybe become expected of an architect have these skills. !erefore as an introduction into the compu-tational design realm this has been a necessary and interesting step.

Regarding the design project complete by myself, India and Yvon it has been a solid outcome achieving many of the criteria set out by the Wyndham City Gateway brief and achieving many of our own aspirations for the project. !e learning curve for the use of Grasshopper was set quite high and we focussed strongly on the use of the Kangaroo Physics plugin to relate to the material performance of our project early on. !e idea of creating a structure in perfect compression with &owing and expressive form focused on views, procession and patterning was our original idea and what we set our brief by. !e &uid forms of Haddid's work the e$ciency and patterning of Matsys Shellstar pavilion and use of natural materials in Kreod were something I and we as a group saught to achieve. We came across issues later with this approach as a focus on learning the Grasshopper techniques to make this possible was taken. But stepping back we saw that if we continued in this way we would not remain on track for our goal of a project based in material performance as this could be made from almost any material to the point where the material became unimport-ant. At this point we took a break from Grasshopper and computational design to focus on the materiality of our project and how this could be incorporated. We did this by researching and testing techniques for plastically bending timber to form &uid shapes in which the timber would set into the new form. Some of our most elegant and simple models were produced here and the results were great. Our idea was to create large plastically bent plywood installations. At this point two issues arose, %rstly that the project no longer had much connection with computational design and secondly that it would be impossible to create these structures at any signi%cant size as they would be made of wood.

At this point we looked at a system of creating structurally e$cient (tapeworm scripted) shapes and applying patterning as set by parameters. !e degree of bending was set by the properties tested for our material and the size of patterning was de%ned by the amount of curvature required. With more timber necessary for strength with sharper curves. !e metaphor for Wynd-ham and connection with architectural discourse was made by deciding to have the shapes evolve by tweening from one form to another. With all of these aspects combined our %nal design ful%lled the brief of material performance, Wyndham gateway project and the requirement to use computer aided parametric design.

!e self set brief of material performance and requirement to use computer aided design were o"en at odds within our proj-ect and at times our design struggled to incorporate both aspects. Whilst we may have been happier with the overall forms of earlier designs in the process our %nal design managed to maintain the set requirements.

In a broader context the limitations of our skills in Grasshopper displayed some of the bene%ts of parametric design. Despite having no skill in this program between us 12 weeks ago we managed to produce a broad amount of di#erent project propos-als rather quickly and once the method was chosen rapidly produce the %nal outcome and models. !e ability to have a broad analysis of options then quickly %nalise a compelling design is one of the major strengths of parametric design along with its structural and analytical abilities. Despite the current di$culty and cost in the manufacturing of many such designs; these bene%ts will likely outweigh negatives sooner rather than later.

DESIGN STUDIO AIR!omas Alexander Mitton

REFERENCE LIST38.

1 - Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : De%nitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116

2 - Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in !e Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28.

3 - Patrik Schumacher, 06/05/10, ‘Patrik Schumacher on parametricism - ‘Let the style wars begin’ ‘, Architects Journal; Accessed: 27/03/13, http://www.architectsjournal.co.uk/ the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article

4 - Melissa Lesnie, 09/03/11, ‘Newly opened Guangzhou Opera House hailed an architectural masterpiece’, Limelight Magazine, Accessed:16/03/13, http://www.limelightmagazine.com.au/Article/250662,newly-opened-guangzhou-opera-house-hailed-an-architectural-masterpiece.aspx

5 - ‘Guangzhou Opera House’, Zaha Hadid Architecture, Accessed: 17/03/13, http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

6 - ‘Person: On Architectures David Fisher’s Wind Friendly Skyscraper’, Wordpress, Accessed: 17/03/13, http://hausmanllc.wordpress.com/2012/01/26/on-architect-david-%shers-wind-friendly-skyscraper/

7 - Vidler, anthony (2000). ‘Review of Rethinking Architecture and !e Anaesthetics of Architecture by Neal Leach’, harvard design Magazine, 11, pp. 1-4,

8 - terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley)

9 - Frazer, John h. (2006). ‘the generation of Virtual prototypes for performance optimization’, in GameSetAndMatch II: !e Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas oosterhuis and Lukas Feireiss (rotterdam: episode publishers), pp. 208-212

10 - Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, (2003), pp. 3 - 28.

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

12 - Aish, Robert. and Robert Woodbury. 2005. “multi-level Interaction Parametric Design” In Smart Graphics: 5th International Symposium, ed. Andreas Butz, Brian Fisher, Antonio Kruger, and Patrick Olivier, 151-162, Fraunworth Cloister. Springer.

13 - Daniel Davis, 25/09/10, ‘Patrick Schumacher - Parametricism’, NZArchitecture, Accessed: 27/03/13, http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/

14 - Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

15 - ‘Royal Ontario Museum’, Studio Daniel Libeskind, Accessed: 24/03/13, http://daniel-libeskind.com/projects/royal-ontario-museum

16 - ‘Background Story’, Kreod, Accessed: 24/03/13, http://www.kreod.com/

17 - Furuuto, Alison. ‘KREOD / Chun Qing Li of Pavilion Architecture’ 06/08/12. ArchDail,. Accessed: 24/03/13, http://www.archdaily. com/275460

18 - Roudavski, Stanislav. ‘Lecture 03 - Parametric Modeling’, Studio Air 2013, University Of Melbourne. 20/03/13

19 -University of Stuttgart, “Reasearch Pavilion 2010”, http://icd.uni-stuttgart.de/?p=4458, Accessed: 09/05/13

20 -Matsys, “Shellstar Pavilion”, http://matsysdesign.com/2013/02/27/shellstar-pavilion/, Accessed: 09/05/13,

21 -Matsys Design, “Shellstar Pavilion”, http://www.detour.hk/installations/shell-star-pavilion#.UW5c87VkPK0, Accessed: 07/05/13

22 - Nettleblat, Martin. “!e Geometry of Bending” http://thegeometryo'ending.blogspot.com.au/, Accessed: 09/05/13

23 - Furuto , Alison. “Pavilion / EmTech (AA) + ETH” 31 Mar 2012. ArchDaily. Accessed 09 May 2013. <http://www.archdaily. com/221650> 07/09/13

IMAGE LIST39.

(pw) - My Personal Images

(i) - http://upload.wikimedia.org/wikipedia/commons/thumb/f/fd/Prudential_bu#alo_louis_sullivan.jpg/250px-Prudential_bu#alo_louis_sullivan.jpg, Accessed: 07/05/13

(ii) - http://ec200-visual-cultures-catalog.pbworks.com/f/seagram%20building.jpg, Accessed: 07/05/13

(iii) - http://www.&ickriver.com/groups/513922@N22/pool/interesting/ Accessed: 07/05/13

(iv) - ‘Guangzhou Opera House’, Zaha Hadid Architecture, Accessed: 17/03/13, http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

(v) - ‘Person: On Architectures David Fisher’s Wind Friendly Skyscraper’, Wordpress, Accessed: 17/03/13, http://hausmanllc.wordpress.com/2012/01/26/on-architect-david-%shers-wind-friendly-skyscraper/ (Vi) - ‘Royal Ontario Museum’, Studio Daniel Libeskind, Accessed: 24/03/13, http://daniel-libeskind.com/projects/royal- ontario-museum

(Vii) - Furuuto, Alison. ‘KREOD / Chun Qing Li of Pavilion Architecture’ 06/08/12. ArchDail,. Accessed: 24/03/13, http://www.archdaily.com/275460

(iX) - http://matsysdesign.com/category/projects/shell-star-pavilion/, Accessed: 25/03/13 (X) - http://www.fastcodesign.com/multisite_%les/codesign/imagecache/960/article_feature/1280-skating-shelters-18-full.jpg, Accessed: 25/03/13

(Xi) - http://digiitalarchfab.com/arch433/wp-content/uploads/2012/08/Night-shot-Overall.jpg, Accessed: 25/03/13

(Xii) - http://www.oliverdavid.de/?page_id=213, Accessed: 25/03/13

(Xiii) - Furuto , Alison. “Pavilion / EmTech (AA) + ETH” 31 Mar 2012. ArchDaily. Accessed 09/04/13. <http://www.archdaily.com/221650>

(XiV) - http://ad009cdnb.archdaily.net/wp-content/uploads/2012/03/1331304126-component-production-line.jpg, Accessed: 08/05/13

(XV) - http://www.leevalley.com/us/wood/page.aspx?c=&cat=1%2c45866%2c45867&p=45869#species Accessed: 08/05/13

(XVi) -University of Stuttgart, “Reasearch Pavilion 2010”, http://icd.uni-stuttgart.de/?p=4458, Accessed: 09/05/13