STUDIO AIRARCHITECTURE DESIGN

KELI MURRAY 517928

19 1.3.2 MUESUM OF CONTEMPORARY ART WARSAW PROPOSAL

23 2.1.0 GROUP RESEARCH + ARGUMENT25 2.1.1 FAULDERS STUDIO27 2.1.2 FERMID30 2.2.0 CASE STUDY 1.033 2.3.0 CASE STUDY 2.0 36 2.4.0 MATRIX 37 2.4.1 MATRIX SELECTION40 2.5.0 SYSTEM DEVELOPMENT

+ MODEL ASSEMBLY

44 3.1.0 TECHNIQUE FOR CONSIDERATION

CONTENTS03 1.0 CASE FOR INNOVATION05 1.1.0 ARCHITECTURE AS A DISCOURSE08 1.1.1 EAMES HOUSE10 1.1.2 NATURAL HISTORY MUESUM

14 1.2.1 ARCHITECTURE IN THE DIGITAL AGE11 1.2.0 ARCHITECTURE’S NEW MEDIA

16 1.3.0 PARAMETRIC MODELLING18 1.3.1 BLOOMBERG PAVILION19 1.3.2 MUESUM OF CONTEMPORARY ART

WARSAW PROPOSAL

02

21 2.0 GROUP RESEARCH + CASE STUDY23 2.1.0 GROUP RESEARCH + ARGUMENT25 2.1.1 FAULDERS STUDIO27 2.1.2 FERMID30 2.2.0 CASE STUDY 1.033 2.3.0 CASE STUDY 2.0 36 2.4.0 MATRIX 37 2.4.1 MATRIX SELECTION40 2.5.0 SYSTEM DEVELOPMENT

+ MODEL ASSEMBLY

41 3.0 EXPRESSION OF INTEREST

44 3.1.0 TECHNIQUE FOR CONSIDERATION

47 3.3.0 DESIGN PROCESS59 3.5.0 POST-CRIT EVALUATION62 REFERENCES

CASE

F O

R INNOVATION

ARCHITECTURE AS A DISCOURSE

EAMES HOUSENATURAL HISTORY

MUESUMARCHITECTURE’S

NEW MEDIAARCHITECTURE IN THE DIGITAL AGE

PARAMETRIC MODELLING

04

1.0

Hi, I’m keli, 22 years old and i’m a third year archi-tecture student. This is my second year at melbourne university as i transferred from monash.I grew up on the mornington peninsula but have lived in melbourne for the past two years. i’m in-terested in design and jew-ellry making, particularly with the use of laser cut-ters. I have a very basic knowledge of rhino a various cad programs, but my experi-ence with digital architec-ture is very limited. I am looking forward to learning more of rhino and grasshop-per, though i do find it a bit daunting, especially grasshopper.

this is a project from one of my previous studios in which our task was to ex-plore architectural geometry through digital means. By combining archimedian sol-ids through 3d modellling we were able to create an in-credibly intricate physical model seamlessly, along with the use of laser cutters. from this project i began to the see the potential of 3d modelling as it allows for objects that may have been purely conceptual to be-come a reality, particularly within the architecture con-text.

IMages: own 3d modelling images from previous project

ARCHITECTURE AS A DISCOURSE051.1.0

ARCHITECTURE AS A DISCOURSE

Perez , Adelyn . “AD Classics: Eames House / Charles and Ray Eames” 28 Jun 2010. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.com/66302>

Great Buildings, ‘eames house’, http://www.greatbuildings.com/buildings/Eames_House.html, accessed 18 sep 2012

I find the eames house par-ticularly interesting bec-uase of the idea of prefab-rication and driven by the idea of a ‘kit of parts’. It was built with the inten-tion of using prefabricated materials that would not interfere with the natural site, be easy to construct and showcase the modernist style. i believe this house achieves that through the simplicity of design. i like the idea of designing from a ‘kit of parts’ rather than having a pre-conceived de-sign and figuring out what materials are required to achieve that. I’m also in-trigued by the idea of pre-fabrication off site as a

means of speeding up the construction process.Built straight after the second world war, their idea began from a need for af-fordable and quickly con-structable housing. I think they’ve achieved this by proving that constuction can be done quickly and cheaply, yet does not have to com-promise on individuality and design. I feel that ex-ploring parametric design may touch on similar ide-als - designing without a pre=concieved idea, with pre-fabrication in mind and trying to find individualism within in mass production.

Ray + Charles Eames1945

EAMES HOUSE1.1.1

08

I find the natural history muesum in london, built be-tween 1860 & 1880, inspiring mainly because of the intri-cate details used through-out. Built in the german romanesque style, the ar-chitect wanted to particu-larly with this building ‘to clothe over practical

necessities with such beauty as they were capable of re-cieving’. I think his inten-tion was not to just build a practical building, but to completely dress it with delicate and intricate de-tails as to simply create a purely beautiful building. He does this through his use

Natural History Muesum, ‘History and Architecture’, http://www.nhm.ac.uk/visit-us/history-architecture/, accessed 18 sep 2012

Great Buildings, ‘muesum of natural history’, http://www.great-buildings.com/buildings/Museum_of_Natural_History.html, accessed

18 sep 2012

NATURAL HISTORY MUESUM

of dramatic arches, towers and heavy detailing. I’m intrigued by this as it’s completely opposite to the Eames House in that water-house had an idea in mind instead of a way of designing in mind. I think we will explore this fur-ther in parametric design, trying to bridge the gap between practi-cal design and beautiful design

Alfred waterhouseLondon

NATURAL HISTORY MUESUM10

1.1.2

Design is a process in which we engage in activities that are aimed at achieving pre-defined goals with a spe-cific set of conditions. As architecture moved away from the traditional ‘master-builder’ construction method towards a planned process, new ways of communication needed to be developed for an architect to demonstrate their vision. Drawings and scale models were used to communicate these ideas with builders and clients, but also as a means of experi-mentation to produce alter-native design ideas. this also allowed more people to become involved and visual-ise the building during the design process.

The use of computers in ar-chitectural design is an ex-tension of this and has many benefits in the design pro-cess. Ultimately it allows for fast and effective com-munication of ideas visually through drawings,

renderings and 3d modelling. as the design process is on-going and often includes a combination of problem solv-ing and puzzle making, and solutions are constantly be-ing evaluated, often specif-ic aspects of the design or constraints must be changed. computers allow for chang-es and revisions to be made much faster. computers also allow for complex geometries and ideas to be explored that would not otherwise be possible due to the limits of our imagination. this aspect alone had benefited architecture in the way we construct and explore struc-ture and materials.Projects such as the BMW Welt by COOP HIMMELb(L)AU in munich, germany demonstrates the benefits of computer aided design. this project ex-plores the complex geom-etry of a changing cloud and translates that into archi-tecture.

ARCHITECTURE’S NEW MEDIA111.2.0

Yehuda E. Kalay, Architecture’s New Media : Principles, Theo-ries, and Methods of Computer-Aided Design (Cambridge, Mass.:

MIT Press, 2004), pp. 5 - 25

Saieh , Nico . “BMW Welt / Coop Himmelb(l)au” 22 Jul 2009. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.

com/29664>

ARCHITECTURE’S NEW MEDIA

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

Rosenberg , Andrew . “Yamaha Ginza / Nikken Sekkei” 20 Feb 2011. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.com/112205>

ARCHITECTURE IN THE DIGITAL AGE

The use of computer-aided design has opened architec-ture up to a way of design-ing in a non-conventional way. new forms and shapes cane be explored in a way that was previously unimagi-nable, and from that the representation and construc-tion of the design can be more complex and direct be-cause the information can be extracted, manipulated, exchanged and utilized much easier and quicker. within computational ar-chitecture a range of dis-courses have been developed, including ‘performance ar-chitecture’. performance architecture uses build-ing performance as a guid-ing design principle and focuses on the performance of a building over form-mak-ing. this concept of design broadly looks at the finan-cial, social, spatial and technical aspects when de-signing. it’s as though the building is a shell for ac-tivities and experiences,

and is shaped by it’s use. the building is then under-stood by the effect it has on those experiencing it. this concept is enhanced through the use of digital means as the performance of the building can be analysed and altered to achieve it’s optimal performannce.the yamaha ginza build-ing by nikken sekkei architects in tokyo, japan explore perfomance architec-ture as they try to express the essence of yamaha’s brand. they wanted to design a building that ‘exudes the feel and sound of music.’ they achieved this by call-ing on the concept image of a woodwind instrument and i glass case, using it as a theme for the building. the facade aims to reflect the rythmn and change in music. internally the building is very acoustically complex as it aims to accomodate a hall, shops and music teach-ing rooms.

ARCHITECTURE IN THE DIGITAL AGE 141.2.1

parametric design within ar-chitecture involves the pro-cess of designing based on relationships and rules using the computer. Through the use of parametric software objects are easily manipulated to quickly generate multiples and form complex free form shapes. instead of designing in a con-ventional way where parts are added independantly with no lasting relationship between them, designing parametri-cally takes the bottom-up ap-proach where the relationship by which the parts connect is established first - ultimately creating a system. A design is then built up from this system without an end prod-uct in mind. The designer is then able to modify the system based on the results effec-tively.

There are many advantages to designing parametrically, par-ticularly within the architec-tural discourse. as it allows for changes and outcomes to be made quickly, unlike a con-ventional design method, this does not limit exploration or restrict the design in any

way due to the time it takes to do this conventionally. this ongoing generative and reactive process allows for much more design exploration, ultimatley resulting in the best possible outcome.

There are also some disadvan-tages to designing parametri-cally. Mainly that the focus may become on the logic or system of the design rather than the actual design itself. the idea behind the design may be lost if it is not looked at holistically.

‘For example, think of an elevation with win-dows, each window must have an area equal to 1/8 of room’s floor area. It’s simple, but when next day You’ll de-cide that 1/7 will do better, and there are 1000 windows ? Let the PARAMETRIC design handle this algorithm.’ Ceborski

Ceborski, jaroslaw, Introduction to parametric design, Rethinking architecture, http://www.rethinking-architecture.com/introduction-parametric-design,354/, accessed

18 sep 2012Melbourne University, Architecture Building & Planning department Parametric

Design,Lecture slides, 2012

Ceborski, jaroslaw, Introduction to parametric design, Rethinking architecture, http://www.rethinking-architecture.com/introduction-parametric-design,354/, accessed

18 sep 2012Melbourne University, Architecture Building & Planning department Parametric

Design,Lecture slides, 2012

Images: Aggregated Porosity DAL WKSHP http://design-playgrounds.com/blog/aggregated-porosity-dal-wkshp/

PARAMETRIC MODELLING16

1.3.0

design playground, bloomberg pavilion, http://design-playgrounds.com/deviants/bloomberg-pavilion-by-aki-

hisa-hirata-architecture/, accessed 18 sep 2012

the bloomberg pavilion, at the en-trance to the to muesum of contempo-rary art in tokyo, borrows its form from the structure of trees and acts as is meant to provide shade for the area. white walls grow from a tri-angular base, which begin to unfold into a series of pleats.

BLOOMBERG PAVILION1.3.1

AKIHISA HIRATAMUESUM OF CONTEMPORARY ART

TOKYO

the bloomberg pavilion, at the en-trance to the to muesum of contempo-rary art in tokyo, borrows its form from the structure of trees and acts as is meant to provide shade for the area. white walls grow from a tri-angular base, which begin to unfold into a series of pleats.

Hirata uses parametric design tech-niques as he experiments with grow-ing the surface without an end re-sult in mind. Hirata plays with the surfaces by bending and folding them trying to create an overall tree effect. this is done by using the bottum-up approach as he creates a system which the design follows. this allows for outcomes to be al-tered and reworked efficently as he desires.

design process of bloomberg pavilion

BLOOMBERG PAVILION 18

MUESUM OF CONTEMPORARY ART WARSAW PROPOSAL

Kycia, Agata, muesum of contemporary art warsaw, http://agatakycia.com/2011/12/30/___museum-of-contemporary-art-in-warsaw/, accessed 18 sep 2012

19

1.3.2

MUESUM OF CONTEMPORARY ART WARSAW PROPOSALAGATA KYCIA

ARCHITECTURE STUDENT, WARSAW

This design proposal by a final year architecture student in warsaw looks at parametric design through the use of real time simula-tion during the design pro-cess. the project consists of five crystal-like forms embedded into the ground, around a central courtyard. Kycia looks at controlling different lighting condi-tions internally specific to their exhibition space use. Kycia used parametric design

techniques in the form find-ing process of the crystal shapes as they were defined by by light shafts that were orientated and shaped ac-cording to studies done of the sun circulation of the site using a simulation. the form was then dictated by what type of light opening was needed for the internal requirements including sun exposure, accessability and views.

Kycia, Agata, muesum of contemporary art warsaw, http://agatakycia.com/2011/12/30/___museum-of-contemporary-art-in-warsaw/, accessed 18 sep 2012

group research + case studyGROUP RESEARCH

+ ARGUMENTCASE STUDY 1.0

21

2.0

group research + case studyCASE STUDY 2.0 EXPRESSION OF IN-

TEREST DEVELOPMENT

GROUP ARGUMENT + REASEARCH

So far we have explored parametric design through studying projects, built and non-built, as well as be-ginning to understand the basics through rhino and grasshopper tutorials. i have founf the idea of para-metric design quite hard to grasp, but after looking at more examples of work i have begun to understand the de-volpment of a system with many variables rather than a finished product. Through the tutorials and case stud

ies i have also started to realise the benefits of de-sign parametrically particu-larly the ease at which you are able to make changes. as we started to research our chosen area of percep-tion and response and have started to play around with the case studies i have be-come more interested in us-ing parametric design as a technique as i didn’t quite undertstand the potential of using it until now.

PARAMETRIC DESIGN JOURNEY

23

2.1.0

GROUP ARGUMENT + REASEARCH

as a group we are interested in pur-suing ‘perception’ as a starting point to our expression of interest within the wyndham gateway project. we think perception and il-lusion are relevant to the project be-cause there will be a moving privileged point of view for the passengers of the car, making it an interactive and memorable architec-tural experience. even though the structure can be static through the use of different parametric design

techniques it can become visually and physically dynamic through shadows or some sort of inter-action between the driver and project. perception and il-lusion do not nec-essarily exclude the use of pas-sively responsive design, which coud react to stimuli from the environ-ment or the cars themselves. our key focus would be to create a struc-ture that portrays a message that is reflective of the wyhndam community.

FAULDERS STUDIO DESIGN PROPOSAL FOR MUESUM OF

CONTEMPORARY ART Faulders studio, Moca @ lbc, http://faulders-studio.com/proj_moca.html, accessed 18 sept 2012

25

FAULDERS STUDIO DESIGN PROPOSAL FOR MUESUM OF

CONTEMPORARY ART

this project was a submis-sion for the muesum’s new building that was adjacent to the freeway, allowing the facade to act as a vi-sual icon for the muesum. the design plays of the driver’s perspective as the text, colour and images are made visible from certain views. the facade also plays on the unique geometry of the stacked tubes as hey are sculpted to create varying surface depths, allowing for certain images to be made visible only from certain

view points. designed para-metrically it allowed fro effective placing of the tubes, and accurate test-ing from specific points to see the exposed images. this project specifically relates to ours as it combines para-metric design, perception and is also a freeway proj-ect. we are particularly in-terested in the revealing of the images and test as you move past the project, al-lowing the specific messages to be displayed as we aim to do.

FAULDERS STUDIO DESIGN PROPOSAL

2.1.1

FERMID

triangulation, fermid by behnaz babazadeh, http://www.triangulationblog.com/2011/05/fermid-by-behnaz-babazadeh.html, accessed 12 sept 2012

27

this project is based on kinetics rather than percep-tion, as a group we decided we would like to pursue the idea of ‘perception evolving from reaction’. this proj-ect inspired us to combine both perception and reac-tive parametric design as we would like to explore the idea of specific messages being being revealed as a result of movement from acrs passing on the freeway.

this project is a sculpture based on kinetics, which explores the relationship between movement and space. through the use of technol-ogy and parametric design principles the artist was able to create piece that mimics the movement based on that of living organ-isms. the sculpture reacts to movement around it mak-ing it seem like a living, breathing object. Though

triangulation, fermid by behnaz babazadeh, http://www.triangulationblog.com/2011/05/fermid-by-behnaz-babazadeh.html, accessed 12 sept 2012

Fermid by behnaz babazadeh

2.1.2

Using the grasshopper defi-nitions as a starting point we looked at manipulating it in a way that relates our chosen area of perception.

firstly we changed the de-sign by refrencing in cylin-ders and cubes rather than the basic 2d images used in the McCormick design.

we then changed the height of the cylinders and cubes so they would create a sort of ‘pinboard’ when the im-ages were overlayed.

we then referenced in basic .jpeg images of trees and clouds. the images were cre-ated not from shading but rather the positioning of cylinders or cubes of the z-axis.

2.2.0

MCCORMICK TRIBUNE CAMPUS CENTERGRASSHOPPER DEFINITIONS

CASE STUDY 1.0 30

CASE STUDY 2.0

- We will begin trying to reverse engineer the BKK pa-vilion by firstly creating the the external cube.- From there we will attempt to project a voronoi pattern onto the cube. - we will then extrude the voronoi pattern to a central point - then we will create a smaller internal cube - we will trim the extruded voronoi with the internal cube leaving the area be-tween the smaller and largercubes

The BKK pavilion began as an exploration of the trans-lation of ditigal design information into physical construction. they looked at precendants such as the buckminster fuller’s geode-sicsphere Toyo Ito’s orthog-onal Serpentine Pavilion to create as both projects in-volve a system of a contin-uos skin that doesn’t dif-ferentiate between the walls and roof. the structure is generated by projecting a geodesicsphere onto a cude which is then projected to a centre point. the cube is then trimmed by a smaller internal cube. we are par-ticularly interested in the BKK pavilion as it have a priveliged point of view when standing within in it looking out.

BKK PAVILION BKK ARCHITECTS

312.3.0

CASE STUDY 2.0

sial projects, rmit university, BKK pavilion, http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_Architecture.php, accessed 18 spet

2012

case study 2.0 reverse engineering33

2.3.1

As we began reverse engi-neering the BKK pavilion we realised that our original idea of projecting a voronoi pattern onto the cube and extruding it did not work as we hoped. we realised that we had to use a plugin called ‘geometry gym’ which allowed us to use a geode-sicsphere template which we then projected onto a do-decahedrom shape. from this we were able to extrude the geodesic pattern to an in-ternal point. we then cre-ated two cubes, an external

case study 2.0 reverse engineeringBKK PAVILION

one and a smaller internal one. we used this to cut away from the dodecahedron shape, leaving the area be-tween the two cubes. Ultimately this created a structure very similar to that of the BKK, though slightly different as we couldn’t get the extrusion point exactly the same.

through this exploration we have learnt a lot, and have become particularly inter-ested in created a self sup-porting structure from a sytem of a skin. we will be exploring this paramet-ric design method further as we look at our own wyhndam project.

SKINS

MATRIX CASE STUDY 2.0

As we began exploring perception and response through parametric techniques we realised in rela-tion to the wyhndam site there wasn’t anything particularly interesting on the site that we could direct attention to. From this we decided to explore per-ception and response through shadows and what interesting outcomes we could get from this technique. our main aim through this developmental matrix was to apply different skins to differnt types of surfaces to find interesting forms and ul-timately what shadows could be generated from them which would be seen on the road by drivers. we remapped hexagonal, circu-lar, square and triangular grids onto the surfaces and evaluated the outcomes, then moved for-ward with the ones that created the best shawdows.

SURFACES

36

2.4.0

MATRIX SELECTION CASE STUDY 2.0

BASIC GRID ON SURFACE

HEXAGONAL GRID ON SURFACE, EXTRUDED TO A SMALLER SCALED SURFACE

37

HEXAGONAL GRID ON SURFACE, EXTRUDED TO A SMALLER SCALED SURFACE

RENDER OF SHADOWS CREATED FROM EXTRUSIONS

from our matrix we developed a system that we felt cre-ated the best shadows what would be cast on the road. we did this through testing renders of the extrusions.

We agreed that the hexagonal grig created the best shad-ows and would be the best for a self supporting struc-ture as all the components fit together without gaps.

2.4.1

system development + model assememblycurves to create surface surface from curves hexagonal grid on surface

2.5.0

system development + model assememblyhexagonal grid on surface scaled internal

surface gridextrusions from external surface to internal

40

EXPRESSION OF INTERESTA PROPOSAL IN PERCEPTIVE TECHNIQUES FOR THE CITY OF WYHNDAM’S ‘FREEWAY ART’ PROJECT

41

EXPRESSION OF INTERESTA PROPOSAL IN PERCEPTIVE TECHNIQUES FOR THE CITY OF WYHNDAM’S ‘FREEWAY ART’ PROJECT 3.0

TECHNIQUE FOR CONSIDERATION

as a group we were inter-ested in pursuing perception and how we could manipulate it in such a way as to cre-ate a dynamic, interest-ing and changing freeway art project for the city of whyndam. as we began our exploration we expanded our field of interest to in-clude response, as we looked at passivley responsive techniques, mainly how the structure would naturally respond to sunlight and cre-ating shadows.

As the cars would be trav-elling at very high speeds slong the highway on a pre-dicted path we would like their view to be directed to a privileged point of view.

as the site has nothing par-ticularly interesting to view and fairly unpopulated directing their view to a point of interest would not work, therfore we explored directing their view in-wards through the creation of shadows and patterns on the road, made by the struc-ture. as the patterns on the road evolve passively due to the natural movement of the sun, we are inter-ested in pursuing what pat-terns/shapes would be rel-evant to for certain times of the day. conversely we are also interested in what images could be made from the headlights of cars pass-ing through the structure at night.

3.1.0

TECHNIQUE FOR CONSIDERATION

PERCEPTION +

RESPONSE44

precedents for argument

Bkk Pavilion our main case study direct-ly influences our design as we aim to direct the view-ers eye as this project does through the use of an ex-truded geodesicsphere pat-tern. we would also like our projects components to fit together seamlessly as they do in the BKK pavlion.

Buckminster fuller’s bio-spherewe were particularly inters-ested in this project as it’s completely self sup-porting. we would like the components/system to be the supporting stucture as well as the main idea, as some-times supporting structure detracts from the visual.

45

3.2.0

precedents for argument

University of porto con-structive geometry pavilionthis project directly re-lates to ours as it uses hexagonal extrusions which we explored in our design proposal. this project is self supporting, and also controls the amount of light it lets through with the size of the extrsions.

Faulders studio muesum of contemporary art proposalthis project explores the use of a privileged point of view on a freeway set-ting, which directly relates to ours. we would like to explore the portrayal of a message or image at a high speed as they successfully did in this project.

proof of technique:design process47

3.3.0

proof of technique:design processREVERSE ENGINEERING BKK PAVILION

We began our design process by attempting to reverse engineer the Bkk pavilion. this went on to directly in-fluence our design proposal. using this as a starting point we kept the idea of

a skin system that was ex-truded to a central point creating a priviliged point of view from within the structure. we then manipu-lated this exploring the shadows created by it.

proof of technique:design process49

3.3.1

proof of technique:design process

We set out as a group to create a structure that por-trayed a visual image that would relate to wyhndam in an artist sense. we created this as a starting point, a structure with preforations

which would cast a shadow saying wyhndam on the road. after we created this we de-cided this is exactly what we dont want. we don’t want our image of message to be too literal, becoming tacky.

proof of technique:design process

we developed a matrix of various skins on surfaces. we then made renders from the ex-truded surfaces to test the shadows that they created. from here we selected the skin and form that created the most dynamic and inter-esting patterns.

51

3.3.2

proof of technique:design processmatrix development

04

proof of technique:design system53

3.3.3

proof of technique:design systemdesign system proposal

we generated our design proposal system by firstly lofting three curves to cre-ate a surface. a hexagonal grid was then made to con-form to the skin of the sur-face. a second set of float-

ing hexagons was made on an internal smaller scaled skin, at random sizes and spaces. the two skins were then lofted to create cells that can funnel light through, creating shadows.

proof of technique:design system55

3.3.4

proof of technique:design systemrenders design proposal

Through this render we were able to explore how light may shine through the struc-ture at night from the head-lights of cars

This render shows the pat-terns created on the road from the natural sunlight

proof of technique:design system

we produced a physical model through the use of a laser cutter. each cell was as-sembled seperately, then attached to the overall skin, slowly building up the structure.

our physical model was able to demonstrate in real life the shadows that would be created by the sun from the hexagonal extrusions. it was also able to demonstrate the structural intergrity of the hexagons fitting seamless as a whole.

57

3.4.0

proof of technique:design systemphotographs of physical model

post -crit evaluation59

3.5.0

post -crit evaluation

following our mid-semester crit we have realised our design technique lacks an overall idea. whilst the panel said we had devel-oped a very complicated and good system, the idea be-hind it wasn’t showing, par-ticularly what message we wanted to portray. we knew that was our weak point and it was through lack of re-search or agreement as to what we were trying to show, wyhndam specific, with this system we developed. the panel gave some good sugges-tions to make it more rel-evant to this site possibly using a historical basis, or something that reflects the moods or feelings or those travelling through the structure.

ultimately learning/use parametric techniques and programs such as grasshop-per has been very challeng-ing, yet eye-opening. whilst there is a lot more to dis-cover on my parametric de-sign journey, i have enjoyed it so far and have really started to understand the concept of designing with a system rather than an over-all idea in mind. through this project we have begun to understand some of the possibilties of paramet-ric design, and especially the endless possibilites of grasshopper. I am really looking forward to expand-ing my knowledge on these programs as their advantages are limitless.

CASE FOR INNOVATION + GROUP RESEARCHPerez , Adelyn . “AD Classics: Eames House / Charles and Ray Eames” 28 Jun 2010. ArchDaily. Accessed 18 Sep 2012. <http://

www.archdaily.com/66302>

Great Buildings, ‘eames house’, http://www.greatbuildings.com/buildings/Eames_House.html, accessed 18 sep 2012

Natural History Muesum, ‘History and Architecture’, http://www.nhm.ac.uk/visit-us/history-architecture/, accessed 18 sep 2012

Great Buildings, ‘muesum of natural history’, http://www.great-buildings.com/buildings/Museum_of_Natural_History.html, accessed

18 sep 2012

Yehuda E. Kalay, Architecture’s New Media : Principles, Theo-ries, and Methods of Computer-Aided Design (Cambridge, Mass.:

MIT Press, 2004), pp. 5 - 25

Saieh , Nico . “BMW Welt / Coop Himmelb(l)au” 22 Jul 2009. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.

com/29664>

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

Rosenberg , Andrew . “Yamaha Ginza / Nikken Sekkei” 20 Feb 2011. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.

com/112205>

Ceborski, jaroslaw, Introduction to parametric design, Rethink-ing architecture, http://www.rethinking-architecture.com/intro-

duction-parametric-design,354/, accessed 18 sep 2012

Melbourne University, Architecture Building & Planning depart-ment Parametric Design,Lecture slides, 2012

refrenceS62design playground, bloomberg pavilion, http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa-hirata-architecture/,

accessed 18 sep 2012

Kycia, Agata, muesum of contemporary art warsaw, http://agataky-cia.com/2011/12/30/___museum-of-contemporary-art-in-warsaw/, ac-

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Faulders studio, Moca @ lbc, http://faulders-studio.com/proj_moca.html, accessed 18 sept 2012

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EXPRESSION OF INTEREST - PRECEDENTS

BKK PAVILION -sial projects, rmit university, BKK pavilion, http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_Architec-

ture.php, accessed 18 spet 2012

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al/Montreal%20Biosphere, accessed 18 sept 2012

University of porto constructive geometry pavilion - Suckerpunch daily, constructive geometry, http://www.sucker-punchdaily.com/tag/university-of-porto/, accessed 18 sept 2012

FAULDERS STUDIO - Faulders studio, Moca @ lbc, http://faulders-studio.com/proj_moca.html, accessed 18 sept 2012