STUDIO AIR2014, SEMESTER 2, BRAD ELIASGEORGINA ROBERTSONJOURNAL

Table of Contents

4 Part A: Conceptualisation

4 Background

5 A.1. Design Futuring

10 A.2. Design Computation

14 A.3 Composition/Generation

18 A.4 and A.5 Conclusion and Learning Outcomes

19 A.6 Appendix - Algorithmic Sketches

24 Part B: Criteria Design

24 B.1. Research Field - Folding

28 B.2. Case Study 1.0 - Biothing Pavilion

34 B.3. Case Study 2.0 - Banq Restaurant

38 B.4. Technique Development

48 B.5. Technique Prototypes

48 B.6. Technique Proposal

52 B.7. Learning Objectives and

Outcomes

53 B.8. Algorithmic Sketchbook

56 Part C: Detailed Design

56 C.1. Design Concept

60 C.2. Tectonic Elements

65 C.3. Final Model

71 C.4. Learning Objectives and Outcomes

4 CONCEPTUALISATION

Background

I am a third year architecture student, studying and working part-time. I have studied previously and have degrees in both Arts (History) and Law from the University of Melbourne. I had always wanted to study architecture and decided a few years ago to return to study rather the die wondering.

My background in digital architecture is minimal. When I undertook Virtual Environments in 2009, we used SketchUp rather than Rhino - some examples of my work from that subject are below. Since then, I have developed some familiarity with Rhino, as well as the Adobe Creative Suite. I suppose that I am of the generation where all aspects of life have not always been mediated by the digital world and, as such, I have some resistance to that way of living. The first time I was at University we hardly used email, and we barely researched using the internet, and subsequently the use of technology and digital media has been on a strictly need to know basis for me.

I hope this subject will be the turning point in my embrace of the digital world, through the medium of digital design. I can see the possibilities it presents for architectural practice, and understanding the medium will enhance both my own skills and appreciation of the architecture which results from it.

Part A: Conceptualisation

ME, MARCH 2014

VIRTUAL ENVIRONMENTS, 2009

A.1. Design Futuring

The Future for Architecture?

Architecture is at a critical juncture as humanity is at a critical point in its existence. Just as we are asking, What is the future for humanity? so the question What is the future for architecture? is being wrestled with by architectural theorists. In his book Design Futuring, Tony Fry starts this discussion by stating that: [T]he state of the world and the state of design need to be brought together.(1) Fry sees a role for design in confronting the issues facing humanity - primarily global warming and the unsustainable use of resources. However, he notes: [A]s change has to be by design rather than chance, design has to be in the front-line of transformative action. But for design to be able to perform this role, the sum of all design practices, including architecture, themselves have to be redesigned.(2)

However, Fry is critical of the current state of design which he refers to as design democracy. In his view, the design world is too fragmented and without form or purpose to act as an agent of change, and too reflective of other forces operating in society. As Fry states, [W]hat is actually required is a clearly defined model and means to induce people to function within it.(3)

As a first step, Fry suggests the redirection of design to become a participatory, although not consensual activity. This suggests the need for an active engagement in the discourse of how design can be used for the purpose of sustaining human existence, but also supports a multitude of responses. Fry posits that one way to achieve this is through the development of design intelligence and suggests that: [T]he realization of design intelligence would mean that having the ability to read the qualities

of the form and content of the designed environment in which one exists, would be a mode of literacy acquired by every educated person.(4)

Patrik Schumacher suggests that architecture can be understood is as an autonomous network (autopoietic system) of communications, and that design intelligence, encompassing everything from built works to blogs, represents this network. Schumacher draws on the social systems theory of Niklas Luhmann as the theoretical basis for his thesis of architecture as an autopoietic system of communications. The fundamental precept is that it privileges functional over causal explanations. A functional inquiry asks why a certain entity exists before asking how it came to exist. Related to this is the interest in social structures or institutions rather than mere events. The primary interest is in the raison detre of structures rather than in antecedent factors of events.(5)

This concept supports the idea of design intelligence and redirection because it allows for the imposition system (such as architecture as an autopoietic system) as a way of redirecting the broader architectural project within society, rather than just accepting that unstructured design democracy will lead to an appropriate direction or result. However, these approaches have their limitations - in suggesting that design intelligence be imposed for the greater good, Fry is eschewing any benefits of the organic development of such knowledge, and Schumacher, in effectively advocating a closed system, which, while broad in its scope, ignores the interaction of the system with other societal systems, and the influences and reliance that necessarily exist between those systems.

CONCEPTUALISATION 5

The Reciprocal Frame as Design Futuring

As a structural system, the reciprocal frame has a rich history, but the advent of generative or parametric design practices has seen both a renewed interest in this form and an expansion of its possibilities. It is an informative case study in the long architectural tradition of drawing on established principles and considering those principles in a new, innovative way and to meet current and future contexts - perhaps in some ways supporting Schumachers idea of architecture as a self-referential system. It is also provides interesting examples of how computational design has evolved in the last decade or so, both in approach and outcomes. The reciprocal frame has the beauty of being both simple and complex and with practical application, as it uses linear elements to create curved forms, and offers both a design and a structural solution: [T]he RF structure gives the potential for achieving novel and expressive curved three-dimensional complex forms, using straight members. At the same time, it offers the possibility for fast and simple construction using low-tech techniques and simple joints.(6)

The use of the reciprocal frame was explored by Leonardo Da Vinci in his works and throughout the following centuries by both Eastern and Western architects. A couple of interesting contemporary examples are the Serpentine Gallery Pavilion (2005) by Alvaro Siza and Eduardo Souto de Moura with Arup AGU in London (referred to here as Siza) and the KREOD Pavilion (2012) by Pavilion Architecture in London.

Since 2000, the annual Serpentine Gallery Pavilion project has been the source of significant architectural

FIG. 1: SERPENTINE PAVILION DETAIL

FIG. 2: SERPENTINE PAVILION, ARUP STRUCTURAL MODEL

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innovation and explorations of engagement with site, audience and purpose. The Siza Serpentine Gallery Pavilion is a reciprocal grid, expressed in the timber beams never lining up axially, but passing each other in an interlocking, weaving pattern.(7) (Figure 1). The structure is formed through traditional mortice and tenon joints. A solar-powered light in the centre of each roof panel turns on automatically at dusk, but because each panel is differently orientated, the lights come on one by one.(8)

As noted, Sizas work was designed in conjunction with the Arup AGU (Advanced Geometry Unit), formed in 2000 to examine the structural dynamics of shapes, patterns and naturally occurring phenomena to create new architectural forms (Figure 2). The possibilities of computing for both design and construction are evident in the work underpinned by Arups research and technology.

The Siza project represents the nascent approach to computational design technologies that is now losing currency. It appears that the Siza project was designed in a traditional representative way and the technology used to translate the idea into a structural solution, which was a common approach as computational techniques were gaining traction and acceptance amongst architects. Figures 3 and 4 show the early conceptual drawings, strongly reflected in the final design. According to Siza, engineering helped to give scale to the design, as well as expertise in timber performance.(9) Siza said such support frees up the architect to do what only the architect can do. ...[T]o avoid chaos, someone has to have the overall vision, to maintain the basic idea, but also to be able to transform it, to synthesise yet transcend the constraints of the various influences.(10) Sizas own words reflect the

FIG. 3: SKETCH BY SOUTO DE MOURA (INTERIOR VIEW)

FIG. 4: SKETCH BY SIZA (INTERIOR VIEW)

CONCEPTUALISATION 7

FIG. 5: KREOD PAVILION DETAIL

traditional view of the architect as a visionary whose ideas require translation into a representational form.

Within a decade, such collaborations have become more integrated, with less division between the design process and its structural realisation. For example, the KREOD Pavilion by Pavilion Architecture (2012) (Figure 5) which is a very similar project - a pavilion using the reciprocal grid form - was a collaboration between Pavilion Architecture the research and development team of Rambll London. It is made up of three pod-like pavilions with a hexagonal structural framework made from eco-friendly Kebony timber. The idea was to develop an inexpensive, easily constructed, demountable structure. It was designed in connection with the London Olympics .(11) The design was developed using parametric modelling, with 3D prototypes produced using 3D printing (Figure 6 and 7). As stated by the architects, and perhaps reflecting a change in the approach of the profession expressed by Siza, [U]sing digital technology ..., KREOD has been delivered in a collaborative manner with each member of the design team understanding the innovative work and challenges of

FIG. 6: KREOD PAVILION 3D MODEL

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the other contributors and designing accordingly.(12)

The interest in and usefulness of pavilion architecture is that it provides the opportunity to for architects to test ideas on a small scale, and without the burden of functional constraints, which can ultimately be translated into other projects - pavilions straddle the divide between conceptual and built projects. Sizas project is innovative in its incorporation of solar panels, and idea which has gained traction in the LAGI design competition, and clearly demonstrates a revival of interest in the reciprocal frame structure, further developing the possibilities of this form with the assistance of computational approaches. As demonstrated by the KREOD pavilion, this structural system is suitable for projects that need to be flexible in their purpose and location and can be adapted to current and future needs, and the ideas explored in such projects through computational design - structural, environmental, architectural and in relation to material use - may ultimately be useful for and adopted in larger scale projects such as temporary housing, furthering the development of architectural theory and practice.

FIG. 7: KREOD STRUCTURAL MODELLING

CONCEPTUALISATION 9

A.2. Design Computation

In his book, Algorithmic Architecture, Kostas Terzidis explains the difference between computation and computerisation thus: While computation is the procedure of calculating, i.e. determining something by mathematical or logical methods, computerization is the act of entering, processing, or storing information in a computer or a computer system. Computerization is about automation, mechanization, digitization, and conversion. Generally, it involves the digitization of entities or processes that are preconceived, predetermined, and well defined. In contrast, computation is about the exploration of indeterminate, vague, unclear, and often ill-defined processes; because of its exploratory nature, computation aims at emulating or extending the human intellect. It is about rationalization, reasoning, logic, algorithm, deduction, induction, extrapolation, exploration and estimation. In its manifold implications, it involves problem-solving, mental structures, cognition, simulation, and rule-based intelligence, to name a few.(13)

In recent times, there has been a demonstrable shift from the dominance of computerisation in architecture, represented by the use of CAD programs where entities or processes that are already conceptualized in the designers mind are entered, manipulated, or stored on a computer system,(14) to use of computational programs such as Grasshopper, which, in the analysis of Terzidis, opens up rather than quells possibilities for exploration. Design using digital technology no longer just offers a set of drawing or fabricating tools, rather, the digital in architecture has begun to enable a set of symbiotic relationships between the formulation of design processes and developing technologies.(15) We can see this shift FIG. 8 CHANEL PAVILION DETAIL

FIG. 7: CHANEL PAVILION

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demonstrated in the examples in Part A.1 - the Serpentine Gallery and KREOD pavilions - which illustrate both a shift in approach in the roles of the architect and other contributors, and, in parallel, the theory of design, within the context of two buildings which are typologically similar and constructed using the same fundamental structure of the reciprocal frame. While in the first instance the design was conceived in a representational fashion and then replicated and fabricated, in the second example, the design was the outcome of a parametric development process and is an example of the non-representational approach to design through computation reflecting the following idea: In effect, formation precedes form, and design becomes the thinking of architectural generation through the logic of the algorithm.(16)

Computational design has the capacity for input to many areas of the architectural and building process - in structure, in geometry and form, and in performance.

Computational design does not just provide a benefit in generating the most efficient structures, it also provides new ways of thinking about structure, form, construction and permanence, and provides the opportunity for collaboration. An example of this in practice is the Chanel Travelling Art Pavilion by Zaha Hadid (2009) (Figures 8 and 9). It consists of 8,000 pieces, reassembled each time the exhibit travels. The gallery is made of lightweight polymers; no structural element is wider than 2.2 metres. The parts are shipped in 50 freight containers and takes 25 days to assemble. The pavilions complex curving structure requires each of its faade panels to be of a different size and shape. Again, this project was a collaboration with the engineering firm Arup, and is a further illustration of the way in which the computational approach to design

FIG. 10: MUSEO SOUMAYA

CONCEPTUALISATION 11

is blurring the boundaries between the professions of architecture and engineering, fostering a collegiate approach and the development of a inter-professional knowledge base. In this way, it is evident that computation increases the scope for expansion of the expertise of the architectural profession to non-traditional areas. Indeed, firms such as Foster + Partners have, for some years, taken this relationship a step further through integrated practice groups such as the Specialist Modelling Group, dedicated to computation design and modelling.

Complex geometries such as that seen in Chanel Pavilion, and the Museo Soumaya in Mexico City by FREE (2011) (Figure 10), are more easily achieved with a computational approach - in fact, outcomes can be achieved that are unlikely to be possible with traditional representational drawings. The faade of the Museo Soumaya has many thousands of hexagonal panels which are not of consistent surface geometry, and extensive iterative modelling and adjustment was required to achieve the sublime result. The architects themselves commented: Due to the complex form of the building, the design of interior elements such as ramps, structure and roof would not have been possible using a traditional 2-D drawing and design process that leaves a lot of room for interpretation.(17) The precision provided by computational design has pushed the

FIG. 11: DETAIL OF CEILING OF CAFE AT TONI STABILE STUDENT CENTER

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boundaries of achievable built form beyond what was possible with a representational approach.

The renovation of the Toni Stabile Student Center (sic) at Columbia University Journalism School (2008) represents an example of how computation can contribute to building performance. The project consisted of a partial renovation and addition of a glass-enclosed caf to the existing McKim, Mead & White Journalism School building on the Columbia University campus. ... The focus of the project was the design and fabrication of performance-driven surfaces using quantitative criteria taken from digital analysis models. The surface types included acoustic, graphic, solar and mechanical, and the criteria adopted for designing and engineering each surface was developed directly from the technical and programmatic demands of the space in which it was located.(18) For example, the surface developed for the ceiling in the cafe, which was the new build aspect to the project, demonstrates environmental performance and consists of a sunscreen used to reduce heat loads in the building, with the patterning techniques employed being the most efficient means of solar shading (Figures 11 and 12). It is said that the qualitative effect of being under a canopy of trees is also created - a fusing of the design and environmental performance aspects of the project.

FIG. 12 FINAL PERFORATION PATTERN FOR CAFE CEILING DRIVEN BY CLOUD FORMATIONS

CONCEPTUALISATION 13

FIG. 13: AVIVA STADIUM

FIG. 14: AVIVA STADIUM DETAIL

A.3 Composition/Generation

Traditionally, intuition is a basis of many design theories, often referred to as black box theories. According to them, design, as well as its evaluation, tends to be highly subjective. While such a position relieves the designers from explaining, justifying, or rationalizing their decisions and actions, it also enables the designer and a circle of critics to exercise authoritative power. (19)

In contrast, another set of theories defines the design process as a problem-solving process. According to the latter, design can be conceived as a systematic, finite, and rational activity. As defined by researchers over the past 40 years, for every problem a solution space exists, that is, a domain that includes all the possible solutions to a problem. Problem-solving then can be characterized as a process of searching through alternative solutions in this space to discover one or several which meet certain goals and may, therefore, be considered solution states. (20)

It is the conflict between these two theories that seems to have undermined generative design as achieving complete legitimacy as a design process, with it being seen as falling with in the second category as a problem solving approach, with the tendency to quash intuition and, by extension, creativity. However, as generative design gains currency as an architectural approach, more literature is being written to analyse and contextualise generative design processes. For example, the article Creative Design Exploration by Parametric Systems in Architecture by pek Dino provides an overview of the role of parametric modelling as a generative tool in architecture, describing both its benefits and its limits. It argues that the benefits

14 CONCEPTUALISATION

exist in design exploration, performative design and parametric representation, whereas its limitations exist in architectural design, design flexibility and complexity. This is useful both in order to understand the debate about generative design, but also to demonstrate that it is too simplistic to see generative design as merely a problem-solving approach.

As argued by Dino, one of the key benefits of generative design is the ability to provide a greater focus on performative aspects of a design. The understanding that prioritizes how the design artefact looks like (form) over how it behaves (performance) eventually leads to forms that are unbuildable, uninhabitable and therefore trapped in the digital world. Indeed, even when form is a philosophical tenet for performance - the machine for living - the outcome can still be unsatisfactory, as demonstrated by the failures of the Modernist project.

A generative design approach was undertaken at Aviva Stadium in Dublin (2010), by Populous and Buro Happold, and is renowned to be the first building to be designed from start to finish using commercially available parametric modelling software.(22) (Figures 13 and 14) During the design process, the architects ultimately were driving the overall form and cladding of the building, and the engineers driving the structural member sizing / positioning.(23) The diagrams in Figure 15 show the development of the cladding form in response to the building geometry.(24) From an architectural perspective, explorations of form were made in response to criteria such as concourse width requirements, floor area ratios, as well as developing the architectural outcome of the shape. The engineering approach dealt with the structure of the roof trusses and

CONCEPTUALISATION 15

FIG. 15: ITERATIONS OF CLADDING DESIGN FOR AVIVA STADIUM

cladding system, which was a rain screen consisting of inter-locking louvres. The sharing of a parametric model between the architectural and engineering firms resulted in a closer integration of the design with the performance aspects of the building as parametric modelling allowed design iterations to be quickly assessed for their effectiveness from a performance perspective. (24) In some ways this could be seen as performance leading the design process, but ultimately, the success of the architectural outcome is greatly dependent on performance for this building typology.

Another example of the use of the generative design process is the Kurilpa Bridge, a tensegrity pedestrian bridge in Brisbane by Cox Rayner Architects (2009) (Figure 16). Tensegrity, formed from the words tensional integrity is a characteristic of structures that are able to stabilise their shape through continuous tension. (26) This project utilised compatible Bentley software to deal with a range of issues in parallel and then combination, namely the complex geometry of the site and that of the sculptural tensegrity superstructure. Issues were discovered late in the project concerning the steel

FIG. 16: KURILPA BRIDGE

FIG. 17: KURILPA BRIDGE PARAMETRIC MODEL ITERATIONS

16 CONCEPTUALISATION

connection geometry that resulted as an artefact of the superstructure geometry. The parametric model (Figure 17) was able to be further utilised to resolve the geometry to generate an aesthetically appropriate solution, involving the changing the orientation of 17 of the 20 masts, within a short period of time.(27) This demonstrates the close interplay between structural and architectural outcomes possible through generative design.

The Strange Attractor project by Mesne Studio (2008) illustrates a more complex merging of architectural and engineering processes than the two previous projects (Figure 18). The approach of the project was to re-purpose optimisation and analytic tools as generative tools for architectural form, abstracting the design intent into a set of geometric and force-based parameters and constraints.(28) Minor manipulations of the parametric model resulted in significant changes to form (Figure 20). The final form illustrates that it is possible to overcome the constraint of lack of design complexity identified by Dino where the designer has comprehensive knowledge of both design and digital computation processes, as was the case in this project.

FIG. 18: STRANGE ATTRACTOR

FIG. 19: STRANGE ATTRACTOR PARAMETRIC FORM FINDING

CONCEPTUALISATION 17

A.4 and A.5 Conclusion and Learning Outcomes

The exploration of architectural theory and practice in the computational space has provided a clear understanding that computational architecture is not simply about producing complex forms, although it obviously provides the capacity to achieve these ends, but performance, form finding and structural exploration and efficiency are also integral to the value of computational design. It has also demonstrated that this is space in which the profession is currently in the eye of the storm or, at best, it has barely just passed, and conclusions about the place of generative design have not yet been reached. Literature from within the last decade or even more recently which speaks to the lack of embrace of computational design by the profession already is out of date, with many leading firms now embracing this approach. The vexing question, however, still seems to be whether computation is an aid or a hindrance to the designers creativity. There is some acceptance that computational design has a role in form finding, but that then raises the question as to where the

line exists between form finding and design, which is still the subject of conjecture.

A key benefit of computational design is the capacity to develop performative outcomes and integrate these with the architectural solution performance and form finding in combination. While I have yet to formulate a clear design approach to the LAGI competition project brief, I anticipate that I would like to explore the idea of producing a pavilion where the form can seamlessly can integrate solar technology both for the purposes of serving the use of the pavilion (as, potentially, a public performance space) and feed the energy generated back into the grid to service the wider community. This is likely to involve a thorough understanding of the available technology and using the physical form of such technology as an input to drive the architectural outcome, rather than approach the technology as an add-on to the design.

MY FIRST SUCCESSFUL ITERATION OF A GRASSHOPPER ALGORITHM - ARC CONSTRUCTED FROM POINTS, POINTS DIVIDED ALONG A CURVE AND SURFACE LOFTED

18 CONCEPTUALISATION

CONTOURS DERIVED FROM A SURFACE, MOVED ALONG A TRANSLATION VECTOR AND LOFTED. THE DIRECTION OF THE TRANSLATION VECTOR WAS ADJUSTED TO ACHIEVE THE DIFFERENT ITERATIONS

SURFACE LOFTED, DIVIDED AND A SURFACE BOX APPLIED. THE SURFACE BOX AND A SEPARATELY CONSTRUCTED MESH COMPONENT WERE INPUT INTO A MORPH COMPONENT TO ACHIEVE THIS OUTCOME

CONCEPTUALISATION 19

A.6 Appendix - Algorithmic Sketches

(12) DesignAlmic, KREOD Pavilion/Chun Qing Li - Pavilion Architecture, [accessed 6 August 2014].

(13) Kostas Terzidis, Algorithmic Architecture [Electronic Resource], (Hoboken: Taylor & Francis, 2012), available from: University of Melbourne Catalogue, [accessed August 16, 2014], p. 57

(14) Terzidis, p. 57.

(15) Rivka Oxman and Robert Oxman, eds., Theories of the Digital in Architecture, (London; New York: Routledge, 2010), p. 1.

(16) Oxman, eds., p. 3

(17) Fernando Romero and Armando Ramos, Bridging a Culture: The Design of Museo Soumaya, Architectural Design, 83(2) (March 2013), Art Full Text (H.W. Wilson), EBSCOhost, [accessed August 21, 2014], p. 69.

(18) S. Marble and K. Fairbanks, Toni Stabile Student Center Columbia University Graduate School of Journalism New York, 2008, Architectural Design, (198) (n.d.), 106-109, available from: Arts & Humanities Citation Index, Ipswich, MA, [accessed August 6, 2014], p.109.

(19) Terzidis p. 42

(20) Terzidis p. 42

(21) . Dino, Creative Design Exploration by Parametric Generative Systems in Architecture, METU Journal of the

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Endnotes

(1) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008), p. 4.

(2) Fry, p. 6.

(3) Fry, p. 9

(4) Fry, p. 12.

(5) Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture, (Chichester: Wiley, 2001), p. 14.

(6) Olga Popovic Larsen, Reciprocal Frame (RF) Structures: Real and Exploratory, Nexus Network Journal, 16 (2014), 119 - 134, available from: Academic OneFile, Ipswich, MA, [accessed August 13, 2014], p. 119.

(7) Daniel Bosia, Long Form and Algorithm, Architectural Design, 81(4) (July 2011), 58-65, available from: Art Full Text (H.W. Wilson), Ipswich, MA, [accessed August 13, 2014], p. 63.

(8) Alvaro Siza Vieira, 2005 Serpentine Gallery, [accessed 13 August 2014].

(9) Jeremy Melvin, Serpentine Gallery Pavilion 2005, Architectural Design, 75(6) (November 2005), 102-106, Available from: Art Full Text (H.W. Wilson), Ipswich, MA, [accessed August 6, 2014], p. 106.

(10) Melvin , p. 106.

(11) Popovic Larsen, p. 126.

Bibliography

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Bosia, Daniel, Long Form and Algorithm, Architectural Design, 81(4) (July 2011), 58-65, Available from: Art Full Text (H.W. Wilson), Ipswich, MA, [accessed August 13, 2014].

Burry, Mark, Scripting Culture: Architectural Design and Programming, (Hoboken: John Wiley & Sons Inc. 2011)

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Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008)

Grobman, Y., A. Yezioro, and I. Capeluto, Computer-Based Form Generation in Architectural Design -- a Critical Review, International Journal of Architectural Computing, 7(4) (December 2009), 535-553, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 13, 2014]

Hudson, R., Parametric Development of Problem Descriptions, International Journal of Architectural Computing, 7(2) June 2009, 199-216, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014]

Faculty of Architecture, 29(1) (June 2012), 207-224, available from: Art & Architecture Complete, Ipswich, MA, [accessed August 13, 2014], p.212.

(22) R. Hudson, P. Shepherd, and D. Hines, Aviva Stadium: A case study in integrated parametric design, International Journal of Architectural Computing, 9(2) June 2011, 187-204, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014], p. 189.

(23) Dino, p. 213.

(24)R. Hudson, Parametric Development of Problem Descriptions, International Journal of Architectural Computing, 7(2) June 2009, 199-216, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014], pp. 204-204.

(25) Hudson et al.

(26) R. Reid, The Art of Science, Civil Engineering, 80(3) (March 2010), 68-71, available from: MasterFILE Premier, Ipswich, MA, [accessed August 19, 2014], p. 68.

(27) Rolvink, A., R. van de Straat, and J. Coenders, Parametric Structural Design and beyond, International Journal of Architectural Computing, 8(3) (September 2010), 319-336, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014], p. 329.

(28) Krauel, J., J. Noden, and W. George, Contemporary Digital Architecture: Design & Techniques, (Barcelona: Links, 2010), p. 200.

CONCEPTUALISATION 21

Hudson, R., P. Shepherd, and D. Hines, Aviva Stadium: A case study in integrated parametric design, International Journal of Architectural Computing, 9(2) June 2011, 187-204, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014]

Krauel, J., J. Noden, and W. George, Contemporary Digital Architecture: Design & Techniques, (Barcelona: Links, 2010)

Marble, S., and K. Fairbanks, Toni Stabile Student Center Columbia University Graduate School of Journalism New York, 2008, Architectural Design, (198) (n.d.), 106-109, available from: Arts & Humanities Citation Index, Ipswich, MA, [accessed August 6, 2014]

Melvin, Jeremy, Serpentine Gallery Pavilion 2005, Architectural Design, 75(6) (November 2005), 102-106, available from: Art Full Text (H.W. Wilson), Ipswich, MA, [accessed August 6, 2014]

Oxman, Rivka, and Robert Oxman, eds., Theories of the Digital in Architecture, (London; New York: Routledge, 2010)

Popovic Larsen, Olga, Reciprocal Frame (RF) Structures: Real and Exploratory, Nexus Network Journal, 16 (2014), 119134, [accessed 6 August 2014]

Reid, R., The Art of Science, Civil Engineering, 80(3) (March 2010), 68-71, available from: MasterFILE Premier, Ipswich, MA, [accessed August 19, 2014]

Rolvink, A., R. van de Straat, and J. Coenders, Parametric Structural Design and beyond, International Journal of Architectural Computing, 8(3) (September 2010), 319-336, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014]

Romero, Fernando, and Armando Ramos, Bridging a Culture: The Design of Museo Soumaya, Architectural Design, 83 (2)(March 2013), Art Full Text (H.W. Wilson), EBSCOhost, [accessed August 21, 2014]

Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture, (Chichester: Wiley, 2011)

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Terzidis, Kostas, Algorithmic Architecture [Electronic Resource], (Hoboken: Taylor & Francis, 2012), Available from: University of Melbourne Catalogue, [accessed August 16, 2014]

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Images

Figure 1: Jeremy Melvin, Serpentine Gallery Pavilion 2005, Architectural Design, 75(6) (November 2005), 102-106, Available from: Art Full Text (H.W. Wilson), Ipswich, MA, [Accessed August 6, 2014], p. 104.

Figure 2: Melvin, p. 105.

Figure 3: Melvin, p. 106

Figure 4: Melvin, p. 106

Figure 5: KREOD Pavilion [accessed 21 August 2014].

Figure 6: KREDO 3D Model [accessed 21 August 2014].

Figure 7: KREOD Structural Modelling [accessed 21 August 2014].

Figure 8: Chanel Pavilion [accessed 21 August 2014].

Figure 9: Chanel Pavilion Detail [accessed 21 August 2014].

Figure 10: Fernando Romero and Armando Ramos, Bridging a Culture: The Design of Museo Soumaya, Architectural Design, 83 (2)(March 2013), Art Full Text (H.W. Wilson), EBSCOhost, [accessed August 21, 2014], p. 69

Figure 11: Toni Stabile Student Center [accessed 21 August 2014].

Figure 12: Toni Stabile Student Center [accessed 21 August 2014].

Figure 13: Aviva Stadium [accessed 21 August 2014].

Figure 14: Aviva Stadium Detail [accessed 21 August 2014].

Figure 15: R. Hudson, Parametric Development of Problem Descriptions, International Journal of Architectural Computing, 7(2) June 2009, 199-216, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014], pp. 204-205.

Figure 16: Rolvink, A., R. van de Straat, and J. Coenders, Parametric Structural Design and beyond, International Journal of Architectural Computing, 8(3) (September 2010), 319-336, available from: Computers & Applied Sciences Complete, Ipswich, MA, [accessed August 19, 2014], p. 327.

Figure 17: Rolvink et al., p. 328.

Figure 18: J. Krauel, J. Noden, and W. George, Contemporary Digital Architecture: Design & Techniques, (Barcelona: Links, 2010), p. 202.

Figure 19: Krauel et al., p. 203.

CONCEPTUALISATION 23

24 CRITERIA DESIGN

Part B: Criteria Design

B.1. Research Field - Folding

Folding is the foundation of digital architecture. The founder of folding is widely acknowledged to be Greg Lynn, and the publication of the special issue of Architectural Design Folding in Architecture in 1993 was the watershed moment for the concepts explored by Lynn become a part of the wider architectural discourse.

Lynn posits that the era of folding followed Deconstructionism and began after 1988 (the date of the Deconstructivist exhibition at MOMA in New York). Folding represented the next shift in the search for architectural complexity in both composition and construction. Unlike preceding architectural movements, there are few formal rules to the folding approach, however, there are key conceptual ideas. In describing folding and comparing it to the preceding movements, Lynn wrote [W]here complexity and contradiction arose previously from inherent contextual conflicts, present attempts are being made to fold smoothly specific locations, materials and programmes into architecture while maintaining their individual identity.

This recent work may be described as being compliant: in a state of being plied by forces beyond control. The projects are formally folded, pliant and supple in order to incorporate their contexts with minimal resistance.(1) This description captures the key concepts of the folding approach.

FIG. 1: MOMA FABRICATIONS, OFFICE DA

CRITERIA DESIGN 25

These key ideas developed over the following decade, and in 2004, Greg Lynn wrote, in the reissued facsimile of Folding In Architecture, about the concept of intricacy as a further concept which had evolved from the original ideas around folding. He wrote [I]ntricacy connotes a new model of connectionism composed of extremely small-scale and incredibly diverse elements. Intricacy is the fusion of disparate elements into continuity, the becoming whole of components that retain their status as a prices in a larger composition. ... The term intricacy is intended to move away from this understanding of the architectural detail as an idealised fetishised instance within an otherwise minimal framework. Detail need not be the reduction or concentration of the architectural design into a discrete moment. In an intricate network, there are no details per se.(2)

Essentially the point being made by Lynn is that the form is the detail - the folding, or the suppleness or pliancy of the material in its structural form represents the detail of the architecture. Folding, therefore, represents one resolution to the question of the role or relevance of detail in architecture that has been the subject of much architectural discourse.

Lynns ideas attracted much criticism (particularly from Peter Eisenman) who disliked the blurring of the line between creature and creator that such generative

FIG. 2: ICD/ICKE RESEARCH PAVILION

26 CRITERIA DESIGN

methods represent. As discussed in Part A, these anxieties continue in the discourse today, and perhaps feel more pressing as the power and possibilities of generative programs increase. That said, the open access nature of programs such as Grasshopper mean that access to and understanding of these programs is not restricted to an elite few (although Fry may consider this too democratic).

Lynn was not outwardly concerned with the criticism he received and addressed it through his design process, showing that it evolves most decidedly by integrating external constraints, converting them into internal growth factors: folding them into its self-generative activity. The process is additive and affirmative. It is capable not only of multiplying versions of its formal results ad infinitum, but also of indefinitely increasing and varying the internal variables it eventfully combines towards each result. Welcoming of intrusion from outside, such a process is pliant. Which is not the same as compliant. It does not conform to external constraints. It folds them in to its own unfolding. It uses them to vary its results, to creatively diverge. Both in terms of its internal disposition and its outward responsiveness, the process more fundamentally involves a composition of relations than of forms or elements of form. The in-folding approach invites the desires and values of others, among other alien constraints, to feature as positive occasions for growth. This is a welcoming approach to design, constitutionally

FIG. 3: MOMA FABRICATIONS DETAIL

FIG. 4: ICD/ICKE RESEARCH PAVILION DETAIL

CRITERIA DESIGN 27

accepting of what lies outside its control, tending from the very beginning towards productive engagement. Folding-in architecture is as directly an ethics as a design endeavour: an ethics of engagement.(3)

Folding has continued operate as highly influential set of ideas. The benefits of folding as an approach from a design and fabrication perspective is that, first, it is sufficiently broad to not dictate the design outcomes. The examples of Figure 1 (MOMA Fabrications) and Figure 2 (ICD/ICKE Research Pavilion) show that the forms can be rigid or curvilinear, representing different interpretations of the concept of pliancy inherent in folding.

Secondly, the focus on the detail being the form provides opportunities to design the way that elements are joined as a fundamental aspect of the project itself, such as in the MOMA Fabrications and ICD/ICKE Research Pavilion in Figures 3 and 4. Folding encourages an holistic approach to the design outcome, rather than seeing jointing and fabrication as an afterthought, as it acts as an expression of the intricacy of a project, another fundamental concept in folding.

The Seroussi Biothing Pavilion is Case Study 1.0 project related to folding. A series of a iterations which change the parameters of the definition of the original project (Figure 5) follow in Part B.2.

FIG. 5: BIOTHING, SEROUSSI PAVILION

28 CRITERIA DESIGN

ITERATION 1: ORIGINAL ITERATION 2: DIVIDE CURVE INCREASED TO 75

ITERATION 3: AXB SLIDER REDUCED TO -10, DIVIDE CURVE INCREASED

ITERATION 1: VECTOR CHANGED FROM Z TO Y

ITERATION 2: VECTOR CHANGED FROM Z TO X

ITERATION 3: Y VECTOR RETAINED AND AXB SLIDER MANIPULATED

Species 1: Manipulate Sliders

Species 2: Change Translation Vectors

B.2. Case Study 1.0 - Biothing Pavilion

CRITERIA DESIGN 29

ITERATION 4: DIVIDE AND RANGE SLIDER, AND FIELD LINE NUMBER MANIPULATED

ITERATION 5: DIVIDE CIRCLES AND CURVE SLIDERS MANIPULATED

ITERATION 6: AXB SLIDER VALUE CHANGED TO +VE AND CIRCLE RADIUS INCREASED

ITERATION 4: X VECTOR RE-ENTERED TO DEFINITION, DIVIDE AND RANGE AND FIELD LINE SLIDERS MANIPULATED

ITERATION 5: POINT CHARGE DECAY MANIPULATED AND X VECTOR FACTOR TO

30 CRITERIA DESIGN

Species 4: Remove Geometry and Change Point Charge Value

Species 3: Add Geometry and Change Graph Type

Species 5: Extrude Surfaces and Apply Various Functions

ITERATION 1: ADD CURVE TO ORIGINAL GEOMETRY

ITERATION 2: MANIPULATE GRAPH ITERATION 3: CHANGE GRAPH TYPE TO PARABOLA AND MANIPULATE AXB SLIDER

ITERATION 1: POINT CHARGE CHANGED TO -VE VALUE, CIRCLE RADIUS AND AXB SLIDER MANIPULATED

ITERATION 2: ITERATION 1 + ADD CONIC GRAPH, ARC GEOMETRY AND MANIPULATE AXB SLIDER

ITERATION 2: POINT CHARGE CHANGED TO -VE VALUE, CIRCLE DIVIDE AND GRAPH MANIPULATED

ITERATION 3: ITERATION 2 + GEOMETRY CHANGED TO RECTANGLE, DIVIDE VALUE MANIPULATED

ITERATION 4: ITERATION 1 + CIRCLE CHANGED TO ARC AND MANIPULATE PARAMETER VALUE OF ARC

ITERATION 1: ORIGINAL CURVES REMOVED AND FORM EXTRUDED

ITERATION 3: ITERATION 2 + ADD Y VECTOR AND MANIPULATE GRAPH

ITERATION 4: ITERATION 2 + POPULATE GEOMETRY WITH POINT AND ADD HULL FUNCTION

CRITERIA DESIGN 31

ITERATION 4: CHANGE GRAPH TO SINE, TRANSLATION VECTOR TO Y AND MANIPULATE AXB SLIDER

ITERATION 5: ITERATION 4 + MANIPULATE DECAY AND FIELD LINE

ITERATION 6: ITERATION 5 + CHANGE GRAPH TO GAUSSIAN

ITERATION 4: ITERATION 1 + CIRCLE CHANGED TO ARC AND MANIPULATE PARAMETER VALUE OF ARC

ITERATION 5: ITERATION 4 + POINT CHARGE CHANGED TO -VE VALUE AND TRANSLATION VECTOR TO X. ARC RADIUS, GRAPH AND AXB SLIDER MANIPULATED

ITERATION 6: ITERATION 4 + POINT CHARGE CHANGED TO +VE VALUE, CONIC GRAPH ADDED, ARC RADIUS MANIPULATED

ITERATION 4: ITERATION 2 + POPULATE GEOMETRY WITH POINT AND ADD HULL FUNCTION

ITERATION 6: ITERATION 2 + EXTRUDED IN Y DIRECTION, TRANSLATION FACTOR AND GRAPH MANIPULATED

ITERATION 5: ITERATION 3 + REPLACE HULL WITH VORONOI

32 CRITERIA DESIGN

Outcomes and Selection Criteria

Results Analysis

The outcomes illustrated represent the most successful results of Case Study 1.0 on the basis of the following selection criteria, taking into consideration the LAGI brief to create a land art installation for a large site which incorporates solar technology:

Simplicity

Aesthetic quality

Suggestion of movement

Suggestion of height

Ability to incorporate solar technology

Ability to fabricate

Separate components and repetition that can be used to cover the expanse of the site

Iteration 2.6 is interesting for its qualities which suggest gentle movement, and also its distinct diversion from the original form of the project.

Iteration 3.6 also has the suggestion of movement, as well as height, which may be important to create a project suitable to the scale of the site. Its form may also be appropriate to incorporate the solar technology of polymer cells. It is simple and aesthetically appealing and likely to be able to be fabricated. This is the most preferred result of the process.

CRITERIA DESIGN 33

Application of the Geometry

The approach to the manipulation of the geometry was primarily to see how far the outcomes differed from the original form with only small changes, and to try to understand the application and effect of certain inputs. For example, the point charge has a very strong and dramatic effect on the geometry.

Obviously one of the important aspects of the process was to try to achieve geometry that was ultimately developable, which is why the four outcomes displayed here have been chosen.

These outcomes could have a number of architectural outcomes including pods as gathering or meeting spaces, or, alternatively, application as informing way-finding on the site. The less defined forms could be developed into screens differentiating a particular space or area on the site, and incorporate the solar technology.

These outcomes perhaps lend themselves to fabrication in wood to achieve both texture and detail in the final form. This relates back to the concepts behind folding, where the detail is in the form itself.

Iteration 5.2 has mostly been chosen for its aesthetic qualities, as well as an interesting result of interlinked pods which may be a useful approach to deal with the scale of the site.

Iteration 4.6 is, again, an approach using separate, repeated pods. This approach may be useful to deal with the scale of the site, and this outcome is likely to be easy to fabricate due to its simplicity. However, this outcome will not necessarily be adaptable to a broad range of possibilities for the program for the site, or accommodate the solar aspect of the brief.

34 CRITERIA DESIGN

Project and Process Basic Approach

For Case Study 2.0, the material system sectioning (contouring) was the approach chosen for exploration.

The project reverse engineered was the Banq Restaurant Project by Office dA. Figure 6 shows the elaborately contoured ceiling of the restaurant.

Four different versions were attempted to achieve a result similar to the Banq Restaurant ceiling. The first two steps outlined below were common across all approaches:

2. X and Y points created at 0,0, and surface evaluated and contoured in the X direction

FIG. 6: BANQ RESTAURANT

1. Surface referenced into Rhino (surface definition provided for Case Study 1.0 used)

B.3. Case Study 2.0 - Banq Restaurant

CRITERIA DESIGN 35

Version 1 Version 2

Contours were projected on to XY plane (not shown), then offset negative in the YZ plane (shown)

Contours were moved in the Z direction with a negative factor. This achieved a much more precise result than Version 1.

The contours were lofted, however, as can been seen from the result above, this process resulted in some lofted surfaces kicking out to the side.

The contours were lofted. This approach resolved the issues with the lofted surfaces kicking out to the side which occurred in Version 1.

36 CRITERIA DESIGN

Version 3 Version 4

The approach of moving the contours as used in Version 2 was continued in Version 3. After the surface was contoured and moved, the series component was used to create individual contours whose depth could each be controlled separately with the use of the gene pool component. This allowed more control of the individual lofted surfaces.

Again, the approach of moving the contours was retained, however, Version 4 uses a Bezier graph to control each contour more subtly but uniformly. A domain and a range needed to be specified as inputs into the Bezier graph.

CRITERIA DESIGN 37

Production of Version 3

Technique Development Approach

It seems probable that Version 3 is the approach used to achieve the outcome of the Banq Restaurant project, given the control over the individual lofted contours provided by that method. The contours will have been extruded to provide volume for fabrication purposes. The steps in the parametric process that are likely to have been followed are outlined below.

A further approach was explored to consider how to develop wide contoured strips across a surface given that such an approach could potentially provide a wider range of possibilities to address the project brief.

A method was developed which adopted a similar approach to initial elements of Version 2, but the input surface was deconstructed and divided, and the divisions fed into contour component. The list of curves resulting from the contour function were partitioned into sub-lists and lofted to achieve a contoured surface in the X direction. The resultant form is below.

Basic form of surface developed in Rhino and referenced into Grasshopper

X and Y points created at 0,0, and surface evaluated and contoured in the X direction

Contours were moved in the Z direction with a negative factor

Series component used to create separate contours

A gene pool component applied to control the depth of each contour individually

The lofted surfaces extruded in the X direction to give volume to the surfaces

The form below was the result

Alternative Method

Given the variety of techniques explored, the technique development uses each of the four Versions of the possible approach to achieve the outcome of the Banq Restaurant Project, as well as the Alternative Method developed to which also achieves a contoured result, but one with possible wider application to the site.

38 CRITERIA DESIGN

Reverse Engineer Version 1

Reverse Engineer Version 2

Reverse Engineer Version 3

ITERATION 1: POINTS ADDED TO SURFACE AND LINES EXTENDED FROM POINTS

ITERATION 2: ITERATION 1+ CONTOURS EXTRUDED IN +VE Z DIRECTION

ITERATION 3: CAMERA OBSCURA FUNCTION APPLIED TO LINES

ITERATION 1: POPULATE GEOMETRY WITH POINTS, VORONOI AND CULL PATTERN

ITERATION 2: ITERATION 1 + CULL PATTERN DEFINITION CHANGED AND RADIUS MANIPULATED

ITERATION 1: ROTATE AND MOVE CONTOURS

ITERATION 2: ITERATION 1 + OFFSET MOVED CONTOURS , REDUCE DISTANCE BETWEEN CONTOURS

B.4. Technique Development

CRITERIA DESIGN 39

ITERATION 3: CAMERA OBSCURA FUNCTION APPLIED TO LINES ITERATION 4: ITERATION 3

+ ROTATION AND LOFT

ITERATION 5: ITERATION 4 + OFFSET OF CONTOURS MANIPULATED

ITERATION 3: POPULATE GEOMETRY WITH POINTS AND HULL FUNCTION APPLIED

ITERATION 4: DELAUNAY EDGE FUNCTION APPLIED TO ORIGINAL GEOMETRY

ITERATION 5: DELAUNAY EDGE FUNCTION APPLIED, MOVE FACTOR REDUCED AND X AND Y VECTOR VERSIONS COMBINED

ITERATION 3: Z VECTOR CHANGED TO X VECTOR

ITERATION 4: ITERATION 3 + CHANGE OFFSET DISTANCE AND MANIPULATE INDIVIDUAL CONTOURS USING GENE POOL

ITERATION 5: ITERATION 4 + CHANGE ANGLE OF ROTATION AND MANIPULATE INDIVIDUAL CONTOURS USING GENE POOL

40 CRITERIA DESIGN

Reverse Engineer Version 4

ITERATION 1: CHANGE GRAPH TO GAUSSIAN

ITERATION 6: PARABOLA GRAPH MANIPULATION 2

ITERATION 2: GAUSSIAN GRAPH MANIPULATION 2

ITERATION 7: PARABOLA GRAPH EXTRUDED IN Y DIRECTION

ITERATION 8: ITERATION 7 + CHANGED TO PURLIN GRAPH

ITERATION 3: SINC GRAPH EXTRUDED IN Y DIRECTION

CRITERIA DESIGN 41

ITERATION 5: CHANGE GRAPH TO PARABOLA

ITERATION 8: ITERATION 7 + CHANGED TO PURLIN GRAPH

ITERATION 4: SINC GRAPH MANIPULATION 2

ITERATION 3: SINC GRAPH EXTRUDED IN Y DIRECTION

ITERATION 9: PURLIN GRAPH MANIPULATION 2

ITERATION 10: CHANGE GRAPH TO SINE, EXTRUDED IN X DIRECTION

42 CRITERIA DESIGN

Alternative Method Series 2: Use Point Charges and Evaluate Surface Using Expressions.

Alternative Method Series 1: Point Charge

Alternative Method Series 3: Use Vectors to Move Surfaces

ITERATION 1: INPUT NEW SURFACE INTO DEFINITION TO ACHIEVE CONTOURS

ITERATION 2: DIVIDE SURFACE, ADD CIRCLE GEOMETRY, MERGE FIELD AND INPUT POINT CHARGE INTO FIELD LINE

ITERATION 1: DIVIDE SURFACE, POINT CHARGE, EVALUATE FIELD, BOUNDARY CREATED AND REMAPPED, EVALUATE SURFACE USING EXPRESSIONS, ARC GEOMETRY

ITERATION 2: DIVIDE SURFACE, POINT CHARGE, EVALUATE FIELD, BOUNDARY CREATED AND REMAPPED, EVALUATE SURFACE USING EXPRESSIONS, CIRCLE GEOMETRY

ITERATION 1: USE VECTORS TO MOVE SURFACE ALONG ORIGINAL SURFACE

ITERATION 2: SURFACE EXTRUDED - CONSIDERATION OF HOW SURFACES MIGHT INTERSECT

CRITERIA DESIGN 43

ITERATION 3: CHANGE RADIUS AND DECAY OF POINT CHARGE

ITERATION 4: CHANGE VECTOR OF SURFACE TO Z DIRECTION

ITERATION 5: ITERATION 4 + CHANGE DECAY AND POINT CHARGE TO -VE VALUES

ITERATION 3: ITERATION 1 + GEOMETRY CHANGED TO RECTANGLE

ITERATION 4: ADDITIONAL POINT CHARGE ADDED TO ITERATION 2

ITERATION 5: MULTIPLE POINT CHARGES ADDED, GEOMETRY CHANGED TO HEXAGON

ITERATION 3: MOVED CONTOURS THROUGH EVALUATED SURFACE POINTS (APPROACH NOT RECORDED)

ITERATION 4: DECONSTRUCTED SURFACE MULTIPLIED RATHER THAN DIVIDED, THEN FED INTO CONTOURS

ITERATION 5: ITERATION 4 + NUMBER OF MULTIPLICATIONS MANIPULATED

44 CRITERIA DESIGN

Alternative Method Series 4: Use of Image Mapping and Voronoi for Textural Effects

Alternative Method Series 5: Extrusions, Rotations, Angles, Box Morph

ITERATION 1: NEW CONTOURED SURFACE MANIPULATED IN RHINO USING CONTROL POINTS AND REFERENCED INTO GRASSHOPPER

ITERATION 2: IMAGE MAPPING APPLIED USING CIRCLE COMPONENT

ITERATION 3: ITERATION 2 + CHANGE FILER OF IMAGE MAPPER AND INTERPOLATE

ITERATION 1: NEW SURFACE REFERENCED WITH NON-UNIFORM ENDS

ITERATION 2: SURFACE EXTRUDED AND ROTATED

ITERATION 3: ITERATION 2 + SURFACE MOVED, ROTATED AND MOVED AGAIN ON ANGLE

CRITERIA DESIGN 45

ITERATION 3: ITERATION 2 + CHANGE FILER OF IMAGE MAPPER AND INTERPOLATE

ITERATION 4: ITERATION 1 + USE OF VORONOI COMPONENT AND CULL PATTERN

ITERATION 5: ITERATION 4 + VORONOI OFFSET

ITERATION 3: ITERATION 2 + SURFACE MOVED, ROTATED AND MOVED AGAIN ON ANGLE

ITERATION 4: BOX MORPH APPLIED TO SURFACE

ITERATION 5: ITERATION 2 + MOVE MULTIPLE TIMES IN Z DIRECTION ON ANGLE USING GENE POOL

46 CRITERIA DESIGN

The selection criteria discussed in relation to Case Study 1.0 are also relevant to Case Study 2.0, however, a further idea explored in Case Study 2.0 was the idea of achieving some sort of texture to the geometry as an alternative to using materials to provide texture to the project. In particular, image mapping was explored as an option in this respect. With reference to Kalays search techniques, the process was more a search for solutions that could be used as candidate solutions for further consideration and then applying the selection criteria, rather than a rule-based approach where the rules were set and the outcome was pursued by applying those rules.

Again, the selection criteria were:

Simplicity

Aesthetic quality

Suggestion of movement

Suggestion of height

Ability to incorporate solar technology

Ability to fabricate

Separate components and repetition that can be used to cover the expanse of the site

Iteration 4.4 of the Alternative Method produced an interesting textural effect with the application of the Voronoi function. This method may also have possibilities for the incorporation of solar technology.

Iteration 5.5 of the Alternative Method has merit as it displays simplicity, the possibility of incorporating polymer cells as the solar technology, repetitive components that can be used for a variety of outcomes, and the suggestion of both height and movement.

Results Analysis

CRITERIA DESIGN 47

Results Analysis - Unsuccessful Results

Iteration 3.5 of the Reverse Engineer Version 3 meets the criteria of simplicity and appears to incorporate the ideas of pliancy and folding and would be simple to fabricate.

Iteration 4.8 of the Reverse Engineer Version 4 will probably have limited application as a developable form, however, it has an interesting flowing aethetic quality and an inspiration for the possible form.

A number of the techniques attempted in Case Study 2.0 were unsuccessful and abandoned as a result. In particular, the exploration with the point charges in the Alternative Method Series 1. The results did not have any aesthetic merit or possible application. The idea had been to try to achieve some sense of height and movement with the point charge (as had been successful in Case Study 1.0), however, in these instances the point charge had been difficult to manipulate.

In addition, Alternative Method Series 2, which again used the point charge but to evaluate surfaces, resulted in some attractive outcomes with respect to the patterns and texture created, but these did not lend themselves to possible fabrication and the technique was not pursued further.

48 CRITERIA DESIGN

B.5. Technique Prototypes

B.6. Technique Proposal

We were not required to complete Part B.5 as part of the assessment. Some preliminary thoughts about fabrication are discussed at the conclusion of B.6.

Proposal Summary

The proposal was inspired by a visit to Yoyogi Park in Tokyo, and the way that the space has evolved organically to accommodate various disparate groups and activities. In particular, I was struck by some teenagers performing an impromptu catwalk. I also considered the ideas behind land art and the fact that it is used often for memorials, and how memorials are often used in unconventional or unintended ways.

These observations led to an interest in combining the ideas of performance, fashion, dance and memorials, and my proposal is for a landscaped park for outdoor dance festivals and participatory performance activities, with a sub-program of being a memorial to fashion designer Alexander McQueen.

The name of the project is Shimmer + Shiver. The term Shiver came from the idea of a memorial and the myth that one shivers when someone walks over ones grave. This title seemed too morbid so it morphed into Shimmer, which captures the program and also the solar aspect of the project, which is intended to be the incorporation of polymer solar cells in the final built form.

Precedent Projects

Precedents were considered for both the form of the primary memorial and for the landscaping of the broader area - for the memorial form, the Brasilia Cathedral by Oscar Niemeyer provided inspiration for its height and long, flowing forms, and the landscaping form inspiration was provided by the work of Charles Jencks.

These precedents fit closely with the contouring technique explored.

FIG 7: ALEXANDER MCQUEEN COILED CORSET DETAIL

FIG 8: NIEMEYER, CATHEDRAL BRASILIA

FIG 9; JENCKS CONTOURED LANDSCAPE

CRITERIA DESIGN 49

Contoured Forms

Further algorithmic sequences were explored to achieve the contoured forms for the central memorial form and the contoured landscape.

The sequence for the central memorial form can be summarised as follows:

Create geometry of spheres and pipes

Intersect geometry with XY plane to get a plan curve

Offset and move the plan curve in the Z direction twice (giving 3 curves to loft between)

Divide curves (flipping data so that division points are grouped up the surface rather than along the divided curves)

Offset fin curves and loft between the offset curves and the original ones to create fin surfaces

The resultant form is displayed below

The sequence for the landscaping forms can be summarised as follows:

Create Geometry of sphere and scale non- uniform to achieve oblong shape

Apply perpendicular frame and use brep/plane Intersection to create curves

Make another set of curves by moving with a set amplitude and then loft and join

Partition the list of breps and place on separate branches to create a top and bottom version of the contours

Examples of the resultant forms are displayed below

50 CRITERIA DESIGN

Site Diagram

1

2

3

4

The diagram below illustrates how the contoured forms, variously extruded and recessed in the landscape, may be placed on the site.

1. Memorial Space

2. Smaller mounds for observation of the memorial space

3. Larger mounds to obscure the site from the water taxi stop proximate

4. Various extruded and recessed pods acting as both the catwalk space and way-finding to the central memorial space

FIG. 10: SITE LAYOUT DIAGRAM

CRITERIA DESIGN 51

Solar Proposal Fabrication Possibilities

It is proposed the polymer solar cells be incorporated into the final form of the project, due to their lightweight material, flexible substrates, and scalable fabrication. The have a power conversion efficiency of approximate 8%.

FIG. 11: POLYMER SOLAR CELL

It is intended that the final form be constructed from timber for the textural and weathering properties, possibly glued, laminated plywood as this may be effective in achieving the desired forms. It is intended to explore wooden ship building techniques and the type of jointing used as a possible fabrication approach.

FIG. 12 WOODEN SHIP CONNECTION DETAILS

52 CRITERIA DESIGN

On the basis of the feedback received during the interim presentation, I need to concentrate my efforts in two key areas. Firstly, resolving my scheme so that the program is more convincing. I think this may be achieved by characterising the space specifically as a landscaped park for outdoor dance festivals and participatory performance activities. If the sites purpose is more clearly specified, its use, and the proposed interaction between users and the landscape will be better understood, and encourage activity on the site. I think the characterisation as a park will open the possibility for day and night use, and the recessed and extruded mounds will act as discrete gathering, activity, relaxation or observational spaces for smaller groups to use within a larger space - similar to what Yoyogi park has achieved organically. The program, an aim of which is to provide public space for younger, sub-cultural and creative groups who do not generally have access to such spaces, remains. I will also consider the idea of creating a specific part of the site which mandates a type of performance (catwalk) to take place, and this may add to the coherency of the scheme.

Secondly, I need to resolve my form in a satisfactory way. Currently, it is a fairly simple, linear contoured form, and there are a couple of ways to work with that form - either more elaborate contouring inspired by the Jencks precedent, or a form where the individual members intersect. I am considering the idea of the form reflecting a pile of wooden ship building elements, which works with the site context and the historical precedents explored. Further development of Grasshopper skills will be required to achieve these ends.

With respect to the learning objectives of the studio, there is no doubt that this process has been difficult and challenging. Engagement with multiple pieces of software has been a steep learning curve and has added additional layers of difficulty to achieving the required output. However, the most difficult element has been the engagement with the Grasshopper program. A key challenge in learning a new, completely unfamiliar program is understanding its inherent logic. While it is simple enough to follow instructional videos and achieve the prescribed outcomes, it is a very slow process to understand the logic and functionality well enough to troubleshoot issues which arise when the skills learned are put to more extensive use. Once such understanding is achieved, obviously more control of outcomes, and sophistication of outcomes, can be achieved. This process of skill development remains on-going.

The randomness of outcomes resulting from manipulating various elements of a definition (as were the results of process in the case study explorations) are interesting and create some exciting forms. However, undertaking these exercises raises the question discussed in much of the discourse on computational design, namely, is this process really design or is it form finding? At a stage in the learning process when there is limited understanding of the logic of the program, it is certainly better characterised as form finding, with the ability to design using the software relatively limited. The task now is to move on to the next stage of the learning process.

B.7. Learning Objectives and Outcomes

CRITERIA DESIGN 53

EVALUATION OF THE SURFACE USING THE POINT CHARGE AND MATHEMATICAL EXPRESSIONS

NURBS CURVES CONSTRUCTED FROM POINTS TO FORM A HELIX

IMAGE SAMPLING USING CIRCLE COMPONENT

PLANES CONSTRUCTED FROM SECTIONED AA DRIFTWOOD PAVILION

B.8. Algorithmic Sketchbook

54 CRITERIA DESIGN

VORONOI CULL PATTERN EXPERIMENTS VORONOI CULL PATTERN EXPERIMENTS USING GRAPH MAPPER

CRITERIA DESIGN 55

Endnotes

(1) Greg Lynn, Folding in architecture, edited by Greg Lynn with new introductions by Greg Lynn and Mario Carpo, Available from: Wiley-Academy, Chichester, West Sussex; Hoboken, NJ, 2004), [accessed 14 September 2014], p. 26.

(2) Lynn, p. 9.

(3) Brian Massumi, Becoming Architectural: Affirmative Critique, Creative Incompletion, Architectural Design, 83(1) (January 2013) 50-55, Available from Art Full Text (H.W. Wilson), Ipswitch, MA [accessed 14 September 2014] p. 51-52.

Bibliography

Kalay, Yehuda E., Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004)

Lynn, G. Folding in architecture, edited by Greg Lynn with new introductions by Greg Lynn and Mario Carpo, available from: Wiley-Academy, Chichester, West Sussex; Hoboken, NJ, 2004), [accessed 14 September 2014]

Massumi, B., Becoming Architectural: Affirmative Critique, Creative Incompletion, Architectural Design, 83(1), Architectural Design, 83(1) (January 2013) 50-55, available from Art Full Text (H.W. Wilson), Ipswitch, MA, [accessed 14 September 2014]

Images

Figures 1 and 3: Office dA, MOMA Fabrications, http://www.nadaaa.com/#/projects/fabrications/ [accessed 14 September 2014]

Figure 2 and 4: Office dA, ICD/ICKE Research Pavilion http://icd.uni-stuttgart.de/?p=4458 [accessed 14 September 2014]

Figure 5: Alisa Andrasek, Seroussi Biothing Pavilion, http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/ [accessed 20 September 2014]

Figure 6: Office dA, Banq Restaurant, http://www.archdaily.com/42581/banq-office-da/ [accessed 20 September 2014]

Figure 7: Alexander McQueen Coiled Corset, http://blog.metmuseum.org/alexandermcqueen/objects/ [accessed 20 September 2014]

Figure 8: Niemeyer, Catherdral, Brasilia, http://www.panoramio.com/photo/100319037 [accessed 20 September 2014]

Figure 9: Charles Jencks Landscape, http://galleryofgardens.wordpress.com/2013/09/07/jupiter-artland/ [accessed 20 September 2014]

56 PROJECT PROPOSAL

Part C: Detailed Design

C.1. Design Concept

The issues with the original design proposal were that there were three separate, distinct elements, and this would be likely to result in an incoherent design outcome, with a lack of a clear relationship between the elements. Further, the actual layout of the site had not been resolved and was lacking a strong design driver or approach.

As such, the final design proposal narrows the design down to a single form, namely, a horizontally contoured oblong shape (Fig. 1). The idea of a separate, vertical memorial element was eliminated.

The horizontally contoured shape was settled on for a number of reasons including:

- it was a simple, repeatable element that could be constructed in different sizes and therefore perform different functions on the site, deal effectively with the entire site, and be built at a human scale

- it could act as a structure that people could sit on, climb on or inhabit and therefore, provide a space for the exploration of creative ideas and performance projects, or a viewing platform for such activities

- it reflects the precedent ideas, including the Jencks contoured landscape and the shape of buried ships and burial mounds from the Viking era in Denmark

- if the structure were inverted, it could act as an amphitheatre structure

- a horizontal structure could easily incorporate polymer solar cells

- it s anticipated that it could be constructed relatively easily using vertical supports intersecting with the horizontal geometry

Given the proposed physical memorial element to this project was eliminated, it was important to express this idea in another way. It was determined that the site layout would reflect an abstracted version of the letters McQ, to represent Alexander McQueen. The abstracted letters and the layout of the site following this form can be seen in the diagram in Figure 2.

This approach allowed the memorial element to remain but subtlety, reflecting the project name, Shimmer + Shiver (which morphed from the idea of experiencing shivers when someone walks on your grave) and acting as the determinant of paths through the site, including catwalks at the extremities of the site (where the forms have been laid out in parallel lines), defining the entry points to the site.

Also, the diagram illustrates the three different sizes of the form laid out on the site, and where these have been grouped together in order to form smaller defined spaces or areas within the larger space, providing scope for a variety of activities to take place under a greater or lesser degree of public scrutiny or view.

Design Proposal Concept

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FIG. 1: FINAL BASIC DESIGN OF FORM TO BE PLACED ON THE SITE

FIG 2: SITE LAYOUT DIAGRAM USING THE LETTERS MCQ AND SHOWING THREE DIFFERENT SIZES OF THE FORM

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Technique

The technique used to create the final form was relatively similar to that used to create the horizontal contours in Part B, the key difference being that the individual contours were programmed to be broader to create a more stepped effect than the original definition, which was more ring like in its form. The stepped effect would allow for easier human interaction with the objects in the real world.

The technique adopted can be summarised as follows:

Perpendicular XY frames used to create contours

Sphere geometry created in Grasshopper

Sphere scaled non uniform to create oblong

Brep/Plane section component used to contour surface

Contours used to create surfaces, moved in Z direction and from

edges to create solid object

To create the openings in the contours, the breps were again

scaled, trimmed and joined

Possible Construction Process

In order to achieve an outcome similar to the Jencks precedent, such as contoured mounds with plywood bleachers sitting on the horizontal parts of the contours, it would be necessary to use plywood treated to the appropriate hazard level in order to deal with the in-ground contact.

However, as a viable construction technique needs to be demonstrated (and would not be able to be done so using the initial idea described above), this would best done through creating individual, separate steps of the contours, with an integrated, repeatable construction element. As it is anticipated the proposed structure would be made with a material such as plywood, a vertical notched jointing technique may be appropriate, where the pieces slot in together and can be reinforced with further with bolts if necessary. The benefit of this approach from a construction perspective is that the number of vertical support required would reflect the size of the form (which is intended to fluctuate), and also the number of horizontal material lengths needed to create the horizontal step elements.

In addition, it may be the case that some of the actual fabrication could take place off-site and larger elements created with final assembly and construction taking place on site. From a design cohesion perspective, both the form and its construction element could be created using the same material, giving a overall cohesion to the form.

The development of such vertical supports from a computational design perspective is likely to require the creation of planar surfaces between multiple points on curves located in the upper interior and around the lower exterior of the form.

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Solar Integration

FIG. 3: SOLAR ANALYSIS JUNE

FIG. 4: SOLAR ANALYSIS DECEMBER

Solar analysis was conducted for both June and December on the form to determine the best placement of the polymer solar cells. As can be seen, a significant proportion of the form attracts a substantial number of sunlight hours, and the polymer cells would be best placed in these locations, but only on the largest version of the form located in the top corner of the site, as this is not intended to be accessed by the public.

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C.2. Tectonic Elements

The core construction element for the form is proposed to be a series of vertical joints with notch connections, with additional interior horizontal supports notched into the vertical elements. This will provide both greater stability to the support elements, locking them in place more effectively, as well as providing a reflective, cohesive design element.

The algorithmic process followed to achieve this outcome can be described as follows:

- Brep edges used to ensure supports in correct position

- Vertical points found and curve interpolated

- Curves moved outward and also perpendicular to structure, to create material thickness

- Curves lofted into fins

- Internal curve of fin evaluated at three points to create bracing rings

- Made planar by creating a three point plane

- Curves offset and extruded

- Notches created by trimming the developed surfaces/breps using existing geometry

- Larger rings were used to trim the vertical supports

- Smaller set of rings trimmed with the vertical supports

Tectonic Element Proposal

Fabrication

FIG. 5: FABRICATION DRAWINGS FOR THE PARTS OF EACH OF THE EIGHT HORIZONTAL CONTOUR RINGS (IN ORDER TOP TO BOTTOM)

After the core construction components of the form were designed, a smaller part of the final form was fabricated at a scale of 1:20 to test the effectiveness of the construction technique. The fabrication drawings and the elements of the form they reflect are shown in Figures 5, 6 and 7 below. It should be noted that each element was fabricated five times with the intention that they be glued together to represent the use of plywood as the proposed material for the form on the site.

PROJECT PROPOSAL 61

After the core construction components of the form were designed, a smaller part of the final form was fabricated at a scale of 1:20 to test the effectiveness of the construction technique. The fabrication drawings and the elements of the form they reflect are shown in Figures 5, 6 and 7 below. It should be noted that each element was fabricated five times with the intention that they be glued together to represent the use of plywood as the proposed material for the form on the site.

FIG. 6: FABRICATION DRAWINGS FOR THE PARTS OF EACH OF THE THREE INTERNAL SUPPORT RINGS

FIG. 7: FABRICATION DRAWING FOR THE VERTICAL SUPPORT ELEMENT AT THE NARROW POINT OF THE ELLIPSE SHAPE

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The key thing to consider from a fabrication perspective was ensuring that each element was intersecting the appropriate brep sufficiently to trim each away from the other and create a notch.

The order of the trimming was also important - the main vertical supports needed to be trimmed with the internal support rings. The internal support ring curves were offset and lofted to create a slightly larger internal support ring, which allowed it to be trimmed with the vertical supports, resulting in a notched surface.

The same occurred for the outer rings - a larger trim set was used to trim the vertical supports, then a smaller final set was trimmed with the vertical supports creating notches. In addition, it was important to make sure sufficient tolerances were catered for in the horizontal elements to allow them to intersect cleanly and easily with the vertical supports.

The initial test of the fabrication process was successful, both from the perspective of it being sufficient to provide rigidity and stability to the structure, and the production of accurate and effective fabrication documents at the first attempt. Given the simplicity of the design and the small number of elements that were part of the construction solution, the fabrication process was cost and time effective, also meaning that the prototype was easy to build.

The model was fabricated from 3mm MDF using the laser cutter.

Model Construction

FIG. 8: SEPARATE PIECES FOR ONE COMPONENT OF THE MODEL, LASER CUT FROM MDF

The following photos detail the construction of the tectonic model:

FIG. 9: SEPARATE PIECES OF VARIOUS COMPONENTS OF THE MODEL, LASER CUT FROM MDF

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FIG. 10: SEPARATE COMPONENTS GLUED TOGETHERFIG. 12: CONNECTION DETAIL SHOWING CLEANLY FITTING NOTCHING

FIG. 11: COMPONENTS IN THE PROCESS OF BEING FITTED TOGETHER

FIG. 12: FORM IN THE PROCESS OF CONSTRUCTION

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FIG. 13: DETAIL OF CONSTRUCTED FORM

FIG. 14: CLOSE DETAIL OF CONSTRUCTED FORM

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C.3. Final Model

The final form, incorporating the construction elements resulted in a simple yet elegant outcome.

Final Form

FIG. 15: TECTONIC ELEMENTS OF FINAL FORM

FIG. 16: FINAL FORM

FIG. 17: FINAL FORM INVERTED

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The success of the tectonic element allowed for the production of a final model of the entire form at the scale of 1:100. The fabrication drawings and the elements of the form they reflect are shown in Figures 18, 19 and 20 below. The model was fabricated from 3mm MDF using a laser cutter.

Final Form Fabrication

FIG. 18: EIGHT HORIZONTAL RINGS OF DIFFERENT SIZES TO MAKE HORIZONTAL CONTOURS, ORDERED FROM LARGEST TO SMALLEST (CONSTRUCTED BOTTOM TO TOP)

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FIG. 19: FOUR VERTICAL SUPPORT ELEMENTS OF TWO DIFFERENT SHAPESFIG. 20: THREE INTERNAL HORIZONTAL SUPPORT RINGS

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Model Construction

FIG. 21: VERTICAL SUPPORT ELEMENTS

FIG. 22: HORIZONTAL SUPPORT ELEMENTS

FIG. 23: CONNECTION DETAIL HORIZONTAL AND VERTICAL SUPPORT ELEMENTS JOINED

FIG. 24: CONNECTION DETAIL HORIZONTAL AND VERTICAL SUPPORT ELEMENTS JOINED

The following series of photos illustrate the construction process for the final model:

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FIG. 25: LARGEST OUTER HORIZONTAL RING JOINED TO SUPPORT ELEMENTS

FIG. 26: FURTHER OUTER HORIZONTAL RINGS ADDED FIG. 27: FURTHER OUTER HORIZONTAL RINGS ADDED

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FIG. 28: DETAIL OF FINAL MODEL FIG. 29: DETAIL OF INTERIOR OF FINAL MODEL

FIG. 30: FINAL MODEL

and frustrate the creative process, and the user needs to be content with some simple form finding outcomes at using basic inputs for the creation and manipulation of the algorithm.

However, the precision of the computational process certainly assisted with the design and fabrication of the tectonic assembly components. My project was always going to lend itself to a planar frame-type approach to the tectonic elements which was welcome from both a fabrication perspective (providing planar surfaces) and from a design perspective, as it was a relatively simple, successful and achievable approach.

This process was also an interesting example of the limitations of the computational process in one sense as it is up to the designer to consider the practicalities of the fabrication, in particular, ensuring that tolerances are accounted for the in the design to allow the fabrication and assembly of the model to be achieved successfully. I was fortunate that this was able to be achieved successfully in the first instance.

While I feel I have achieved some understanding of the basic fundamentals of computational design, I have, at this point, not yet accepted the proposition that computational methods are more of an aid than a hindrance to the designers creativity.

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C.4. Learning Objectives and Outcomes

The key issue with my project concept was whether it would, in fact, operate as I had intended it to as I am aware that it is difficult to dictate how a park will be used. However, I think that the concept of landscaping the area to include smaller gathering and/or viewing spaces within a large space which offer the opportunity for different groups of people to colonise discrete, cordoned-off or obscured parts of the space and make it their own (as is the case in Yoyogi Park) has merit. It offers some freedom and space (literally and figuratively) to explore particular cultural or sub-cultural ideas, but within a larger public space. Further, I think the repeating of a particular form can be a successful approach to a landscape project, and I believe the fundamental idea behind my form could be developed further to achieve a successful outcome for the landscaping of the site.

These issues are difficult to address without redesigning the whole scheme, and the prospect of redesigning the scheme goes squarely to the learning objectives and outcomes of this course. While I was able to achieve some basic outcomes with the computational process, even to reach this level of skill required considerable effort and limited the scope to take my design as far as I may have liked. As such, and as I have commented previously, comprehensive understanding and precise control of the computational tools is required before they can be an effective tool for design. Before this level of understanding is reached, I think that computational tools can stymie