AIRSTUDIO

Victor Eric Goh | 2013

ARCHITECTURE DESIGN STUDIO AIR

JOURNAL

Victor Eric Goh 2013

Highly appreciated the great support given by my tutors, Daniel & Kirilly.

CONTENT

Introduction

Part A. Case for Innovation

A.1. Architecture as a Discourse

A.2. Computational Architecture

A.3. Parametric Modelling

A.4. Algorithmic Explorations

A.5. Conclusion

A.6. Learning outcomes

Notes

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Part B. Design Approach

B.1. Design Focus

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique Proposal

B.7. Algorithmic Sketches

B.8. Learning Objectives and Outcomes

Notes

Part C. Project Proposal

C.1. Gateway Project: Design Concept

C.2. Gateway Project: Tectonic Elements

C.3. Gateway Project: Final Model

C.4. Algorithmic Sketches

C.5. Learning Objectives and Outcomes

Notes

I N T R O D U C T I O N

I N T R O D U C T I O N

Introduction

Hi,

My name is Victor Eric Goh and I am currently 21 years old, do-ing Bachelor of Environments degree major in Architecture in Melbourne University. I came from Malaysia and I would think it is relatively useful for me to have knowledge about various types of design scheme, and hence applying them in my future contri-bution to this developing country.

All along my journey in this course, I have experienced working with programs such as Rhino, AutoCAD and Sketchup. They all have different approach in designing procedures as well as design outcomes. I would say AutoCAD and Sketchup provide differ-ent methods as compared to Rhino that has more functions on developing organic shapes. However, the most outstanding ad-vantage for Rhino, as experienced personally in Virtual Environ-ments subject, is that it enables digital model unfolding which I think is a very useful method to produce a physical model in reality.

Grasshopper is known as an add-on parametric design program for Rhino. Hence by combining all the functions together, I am pretty sure that this design studio air will be a good opportunity for me to broaden my digital designing skill, as well as paramet-ric architectural design experiences.

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This is the design of my first experience in utilizing Rhino tools. Having an initial concept of ‘rusting object’ in mind, and its desirable shape, Rhino helps me to generate different ideas for presenting the ‘rusting’ characteristics. I personally feel that rust is unwanted substance and it might bring danger to humans. So at the final stage, with the aid of Rhino tools, I have chosen a series of pointy thorns to engage with my audience regarding the awareness of rusting harm.

Previous Work

7Image 1: 2011 S2 Virtual Environments Project

CASE FOR INNOVATION

P A R T A

CASE FOR INNOVATION

A.1. Architecture as a Discourse

From my personal understanding, architecture is somewhat a type of art that is exposed through construction of building. It is unable to tell when exactly did architecture start, probably it is present when the first time humans built anything to live in. Hence, I will suggest that a wickiup or grass hut can be architecture. A clearer definition of it merely came out after the old Greek and Roman architec-ture appeared in the world society.

In order for us to have a thorough discussion on architecture, the first and most essential thing is to understand its basic definition. Nikolaus Pevsner said, ‘nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aes-thetic appeal’.1 Yet, according to the Australian Institute of Architects, architecture in a way influences how the built environment is arranged, designed, construct-ed, utilized and maintained. It brings together the stimuli of arts, environmental knowledge, sciences and technology.2

In addition, apart from having an exceptional emergence, I think the surround-ing factors, desirable functions as well as social and political issues are inevitable consideration to be assimilated with architecture in order to ensure the building to appear distinctively compared to the others.

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FEDERATION SQUARELab & Bates Smart | 2002 | Australia

This magnificent building, the Federation Square of Mel-bourne, Australia is built in year 2002 in conjunction with the centenary celebration of Australian federation. Apart from being a whole new outstanding landmark for the city, Federation Square is also a symbol to represent the variety of diverse population present on the continent.3

In this project, Lab Architecture Studio in collaboration with Bates Smart decided to incorporate the concept of pluralism in their design. This can effectively exhibit the traits of diversity through a prominent statement of Robert Venturi, the “complexity and contradiction”.4 To be frank, it is also the conflicting surface geometries and oppositional aesthetics that attracted my interest to have it as one of my favorite structure. Also, this building further develops the impressions of American Postmodernism towards extreme frag-mentation.5

The operating purpose of this building is also plural as it includes the new Museum of Australian Art, digital cinemas, tourist offices, as well as some book and music stores. In current situation, the huge enclosed atrium majorly utilized as a civic piazza that provides the society a public space to congre-gate.

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Image 2: Federation Square, Melbourne

Image 3: Structure framework of Federation Square, Melbourne

For an instance, the architecture of this building is not only based on the artistic appearance but also the social, cultural and political issues. The incorporation of these factors will ensure the building to be continuously practical and not being left out by the community.

In order to provide a place that re-ally serves their purpose, the big varying range of temperatures in Melbourne has been taken into consideration for the design plan-ning. Subsequently, there are differ-ent components from the structure framework that provides different functions. Cavity is present be-tween inner hollow structure and outer skin in which serving as a so-lar chimney that enables insulation for atrium.

Image 4: Federation Square, Melbourne

Image 5: Enclosed atrium of Federation Square, Melbourne

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THE GRAND LOUVRE II. M. Pei | 1989 | France

An issue of congested traffic has been raised for the Louvre Museum in early 1980s. Apparently, the world famous architect, I.M. Pei has been approached personally by Mitterrand, the president, for the remodeling project and the main purpose for this is to accomplish a well-organized practical relation between the different buildings of the museum.

Pei initially felt a bit reluctant to accept the job because it is really tough to make any altering decision on this heritage site that is said to be important urban spaces not only of France, but also of the world. Later on, he came out with an idea of joining the different wings through an underground intervention.6 In order to succeed this, the Cour Napoleon, which is at that time serving as a public square, needs to be excavated and used as the main underground entrance built in the form of transparent glass pyra-mid.

However, this issue has raised the opposition of about 90% of the popula-tion of Paris as they claimed such architecture would greatly affect their initial culture and the expression of Museum.7 The community could not accept some modernist structures interrupting the heritage-looking mu-seum. They criticized Pei for destroying the Cour Napoleon but in fact Pei solved a severe social problem as that area was being used as a refuge for drug addicts at night.8

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14 Image 6: The Grand Louvre I, France

In this project, every particular part including the choice of shape and material does matter to the final result. Moving beyond the past architectural theory, Pei has chosen a pyramid to ensure maxi-mum transparency when glazing is applied. Although these are categorized as modernist materials, the final result does show a well-blended design between the modern and the heritage. Since then, transparency has been theorized as a good method to combine traditional architecture with the mod-ern ones and this has been adopted in other examples such as the extension of German historical Museum in Berlin as well as the General Post Office of Melbourne.

Without worrying about the international disagreement and accusations, Mitterrand and Pei commenced the construction work almost secretly. Surprisingly, upon accom-plishment, the project was glorified for his clarity, severity and functionality as well as creating a new symbol for Paris.

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Image 7: Spiral stair and interior of Lourvre pyramid

Image 8: The Grand Louvre I, France

A.2. Computational Architecture

From previous chapter, taking Greek and Roman art as the forefront, architecture has obviously gone through a series of advancement like Renaissance, Baroque, Classicism and Art Nouveau architecture before achieving the contemporary architecture in today’s society. Such advancement is interdepend-ing on various factors such as type of materials and improvement of technologies, as they play an important role in widening the potentials of architecture. Logically, I will think that the introduction of computers in design process is a major aspect that determines the design outcome of modern-day architects, here forth this chapter will particularly demonstrate the possibilities computers offer in architecture.

Computers are superb analytical engines that will never tire and never make any trivial arithmeti-cal mistakes.9 These would be the main troughs of humans that withhold them from accomplishing higher efficiency in design process. However, for the involvement of computer, it is the coded pro-grams within it that determine in what way architects can utilize computer. Consequently, it leads down to two main functions, which is computational-aided design (CAD) and computational design. The significant distinct between both is:

• Computational-aided design (CAD) – the result CAD produces will never exceeds the information that has been initially provided, it is just a well-established computerized methods of geometric representations.10

Computational design – a repeatable mathematically defined process that utilizes some quantitative set of rules to allow variations to be created and assessed based on known and unknown constraints.

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Hence, as I personally realized, computational design can somehow become what an architect could do when he/she does not know what to proceed in design process. This can be the tool of inspiration and a way to broaden up his/her design possibilities.

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Image 9: CAD production

Image 10: Computational design outcome

way, computers are able to keep track of all the constraints the design solution must achieve and hence grouping them into relevant issues, analyze and search for precedents, and lastly come out with pro-posal of sensible solutions.11 It brings huge enhancement to the convenience of precedents searching process and to a further step, computers can even help constructing the final building in designated form.

Apart from these, computers also contribute a major role in any case- or rule-based design. As we know, such design is developed based on some references that have previously known as rational achievement in that particular design field. In some

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GUANGZHOU OPERA HOUSEZaha hadid | 2010 | China

It is a clear observation that the architectural practice in society today quite depending on computational programs. However, designing is not an issue that only requires computation skills. Taking into discussion a precedent of Zaha Hadid, the Guangzhou Opera House built in 2010, this is the largest and most complex computer-generated designs among her projects.

The overall shape of the building is seen to be so complicated and organic, this is the case where architect will need to utilize computational programs. Without its precise calculations and analysis, I would think that this design is unachievable as architects can hardly figure out the meticulous angle be-tween joints, especially for the steel-framed inner structure, and curvature of individual constructing geometries which in all providing the building with a smooth-flowing organic design.

In the design progress, this building was not created planimetrically, with ideas of front, back, and sides, instead it was modeled animatedly in 3D.12 This is the new technological based design that allows implementation doc-uments, detailed and criteria design to be carried out once the concept of design is formed.13 A major advantage in this situation is the possible dis-crepancies and errors can be notified in an earlier stage rather than after the construction has commenced. This might affect the completion date of a project significantly.

Computational programs can never ever take over the role of an architect because such programs are unable to fulfill both the rational and creative abilities in designing.14 Therefore, here comes the importance of communica-tion between humans and computers. In this project, Zaha Hadid has con-tributed her concepts of the fascinating interaction between architecture and nature; engaging with the principles of erosion, geology and topography.15 This resulting in a design form of what appear to be two enormous pebbles that might have been washed up on the shores of the Pearl river, on which Guangzhou stands.16

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Image 11: Guangzhou Opera House, China

If architects can make use of the ap-titudes of computers to the fullest while input great effort of their own inventiveness, it is not doubtful that an effective reciprocal design out-come is achievable.

Image 12: Guangzhou Opera House, China

Image 13: Guangzhou Opera House, China

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ZAYED NATIONAL MUSEUMNorman Foster | 2010 | United Arab Emirates

Due to serious pollution and lack of natural resources issue, there is a new trend in present-day soci-ety that tries to move everything towards green and environmental friendly. Consequently, the recent architectural design has also been affected by such influence and whole lot of sustainability designs would be needed to incorporate into contemporary architecture.

The matters regarding to sustainability in a green building normally cover the efficiency of energy and water usage as well as the reduction of waste and environmental degradation. Thus, different components such as solar panels, integrated sunshades or proper planning of storm water collection are demanded. Generally seen from buildings such as the RMIT Swanston Academic Building designed by Lyons Architects and the Singapore Esplanade – Theatres on the Bay designed by DP Architects, these integrated mechanisms would appear in delegated form in which architects can hardly work out the application without the aid of computational design programs.

Image 14: Zayed National Museum, UAE

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22 Image 15: Zayed National Museum, UAE

Taking the Zayed National Museum designed by Norman Foster as a specimen, it is a sustainable con-temporary building designed in the form of tradi-tional Arabic design.17

With a man-made, landscaped knoll as the base, there are five solar thermal towers on top that are designed in lightweight steel structures and sculpted aerodynamically like feathers of bird’s wing.18 The air vents on top of the wing-shaped towers act as thermal chimneys that direct cooling air currents naturally through the museum in which enabling the building to consume less energy in controlling the inner thermal condition.19

We can obviously notice the complexity of assembly for these individual panels, so it also demon-strates to what extent does computation contributes to balance the shortfalls of humans. Therefore, it is logical to say that computational design is the core to succeed sustainability innovation and hence leading architecture ahead into another milestone.

Image 17: Zayed National Museum, UAE

Image 16: Initial idea sketches of Zayed National Museum

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A.3. Parametric Modelling

Parametric modelling is a very famous designing method among the circle of architects especially the younger generation because everyone thinks that is the direction our current architectural trend moving towards. However, what is actually defined by parametric modelling?

Apparently, parametric was initially founded in 1963 by Ivan Sutherland in his Sketchpad system.20 Parametric is initially defined as a mathematical formula that produces various outcomes when it is substituted by different values.21 Hence, applying the same theory in architecture, combined with the function of computer-aided design software, we can say parametric as an effective tool to easily perform alterations to the production because the final is modified gradually where relationship is formed between elements.

Every design method definitely comes with pros and cons. As parametric modelling is a bottom-up approach, which is assessing the potential issues of the design, and later on forming a set of resolu-tions to start the design. Comparatively, this might be more time consuming than the conventional method but consequently, this might lead to a more efficient construction that scheduled completion date could be achieved. Once the system is formed, unlimited possibilities of design outcomes can be rendered within a short period of time. Despite the enormous cost that is usually needed, parametric design could never be secondary in producing ‘blobby’, flowy or any other organic form structure.

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Image 18: Parametric Modelling Result

However, does parametricism really provide a good basis for architecture and designs to be perfectly practical and effective? The outcomes can be proven through some parametric projects discussed in the later part of chapter.

A very famous person in the field of parametric, Patrik Schumacher, has formed parametricism ex-pression to describe the characteristics of parametric design. He wished this could be acknowledged as the final conclusion that sums up modernist ideas in the past 25 years, and this style would con-tinue its contribution in improving the world through architecture and design. Schumacher explains:

“Parametricism aims to organize and articulate the increasing diversity and complexity of social institutions and life processes within the most advanced centre of post-Fordist network society.” 22

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TAICHUNG METROPOLITAN OPERA HOUSEToyo Ito | 2013 | Taiwan

The world-famous architect, Toyo Ito, who has recently been announced as the recipient of 2013 Pritzker Architecture Prize, produces this project. In a whole, it has a very sight-catching design, with very complicated structural system that causes the project to merely get a suitable tender after the fifth bid. Due to long construction period needed for such complex structure, the building takes over 4 years to complete and scheduled to have its ribbon-cutting by the end of 2013. As a result, this build-ing would contribute in making Taichung to be one of the most cultural cities in Taiwan, extricate itself from the other metropolises.23

Regarding to its parameters that makes it to be a parametric design, consideration has been made based on various constraints such as performance style, artistic expression, in-terior and exterior condition as well as the stage and auditorium which take up most of the space of the building.24 As Toyo Ito said,

“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity.”

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Image 19: Taichung Metropolitan Opera House model

Image 20: Taichung Metropolitan Opera House model

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Image 21: Taichung Metropolitan Opera House perspective

Nonetheless, there is nothing perfect on earth that is without criticism. As men-tioned previously, the building struc-ture is very complex that the curved wall structure will be constructed with 58 curved wall units, creating many difficulties in building steel bar rein-forcements as well as steel trusses.26 Subsequently, in this case, two layers of shotcrete (spray concrete) construction method would be utilized in order to ensure a robust structure while display-ing a smooth-finished façade. Hence, this has greatly risen up the construc-tion cost.

He has exhibited this in his design by incorporating a horizontally and vertically incessant network to connect the internal workshops, restaurants and Art Plaza.25 By considering the surrounding high-rise development, the design correspondingly links flawlessly with the out-side and form a place of interaction for the community. Patches adjoining network of water and greenery will further enhance the fusion of the building with its ur-ban surroundings. Apparently, this project has achieved its parameter of site, parameter of culture and param-eter of environment. Similarly, this is a good reference for the gateway project since it is situated at a very prime location, the concept needs to take into consideration its surrounding interaction so the built object could be well blended with the local community.

Is it worth to have a parametric project like this? This is actually a query to the cli-ents themselves. I would say, for wealthy investors who want to amaze the public with an extraordinary building, it is defi-nitely a ‘yes’.

Image 22: Taichung Metropolitan Opera House plan

Image 23: Construction of wall

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FUTUROPOLISDaniel Libeskind | 2005 | St.Gallen

Apart from large scale building construction, parametric modeling is also a well-known tool for pro-ducing sculpture or any kind of small pavilions. To be frank, there are actually more built works of parametric in this kind of artistic objects because the growth of parametricism took place during economies were flush with credit, so there is limited budget for most of the construction.27 Conse-quently, parametric buildings are only appearing vastly in a few Middle East countries and progres-sively increasing in China.

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Image 24: Futuropolis, St. Gallen

In this part of the chapter, I have chosen the Futuropolis, designed by Daniel Libeskind, in St. Gallen, Switzerland, as the parametric precedent to discuss. This is a sculpture designed to conceptualize the situation of a ‘future city’, in which making the model to be complicated by having 98 towers with 2164 different birch plates. We can see how much work is needed to prepare 2000 plus wooden poly-gons that are designed to intersect the sculpture at a fixed angle of 25 degree.28 Due to fixed time frame and limited budget, this work is only achievable through parametric modeling which provides algo-rithm to digitize the manufacturing process. Excessive cost would normally be a major issue in most of the parametric modeling but apparently, VectorWorks, being the digital method of this project, has successfully cut down the manufacturing cost by 320,000 Swiss Francs and the time by two weeks.29

Being personally experienced in this project, Scheurer, a digital assistant in caad.designtoproduction, says, “The parametric ap-proach with VectorWorks allows us to integrate design changes, even in a late project stage, by automatically reconstructing the whole geometry…”.30 The thickness of materials, height of tow-ers, angles of connection can all be altered at the very last sec-ond and a new outcome can be produced overnight. I think this factor plays a very important role in our gateway project be-cause a well-scheduled construction period is needed to cause less obstruction to its surrounding traffic.

Image 25: Details of Futuropolis

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For what I have mentioned above does sound very beneficial for a de-signer, but this would only happens when the designer have all the algo-rithm skill on his/her fingertips. In order to master them, designers need to be part of themselves who generate the main concept, part computer scientist who work with the software and part mathematician to figure out the output algorithm. It is difficult enough to be a specialist in one of these areas, yet alone all.31

Hence, can a designer really make full use of parametric modeling in-stead of restricting their running creativity due do limitation of para-metric tools knowledge? I would say it does for some parametricism professionals, but for a lot of architects and designers, there is still rooms for improvement before they can achieve this.

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Image 26: Futuropolis, St. Gallen

As mentioned in the previous chapters, computational architecture is very effective for the younger generation architects to generate ideas. Scripting is just like a programmed sketching tool that designers can utilize, especially when they are out of directions or ideas, to develop any random concept from a basic geometry, surface or volume. For ex-ample, turning a smooth round sphere into thorny geometry or a solid surface into strips, within just few minutes or few clicks in the program.

Throughout this course, I have explored quite a few algorithmic sketch-es with Rhino and Grasshopper programs. Thus, I would include a few interesting examples which I think might be useful for me to develop the future design approach.

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A.4. Algorithmic Explorations

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A.4.1. ‘AA Driftwood Surfaces’ definition

In the process of producing a masterpiece, its manufacturing method is somehow as signifi-cant as the generation of ideas. This directly determines how much the project could be achieved and in the meanwhile it will also af-fect the production cost. As shown in image 27 on right, initially I have a very irregular shaped object that might be complex to build since it needs a lot of internal supporting elements to hold the object in shape.

In addition, I also realized that each individual piece could be deleted manually, in which providing a more flexible way to make slight changes to the overall shape. This is unachievable if the object ap-pears as a continuous surface.

However, the ‘AA driftwood surfaces’ definition allows me to transform any kind of complicated three-dimensional object into layers of two-dimensional pieces that stick together forming a same overall appearance. I found that this is extremely useful and interesting in parametric design because it can solve the difficulty of pro-duction.

Image 27: Original object

Image 28: Grasshopper definition

Image 29: Transformed object

This definition enables me to transform straight solid surfac-es into more curvaceous and relax appearance. I found this is quite interesting because the current architectural trend is a lot moving towards organic and irregular shapes. However, it is quite difficult to develop a presentable shape, or in other words, designers can produce interesting figures but not all of them could be practical especially if it is used for a building project.

A.4.2. ‘Kangaroo - Mesh Relaxation’ definition

In this algorithmic exploration, I firstly created a basic shape to plan the general layout, which is mostly quadrilateral as seen from the images on (right left). It is then further de-veloped using this definition to produce a more curvilinear appearance but the internal layout should remain unchanged as initially planned. I personally suggest that this can make an organic shape be more usable and practical instead of only beneficial for its appearance.

Although the current architecture movement is not much celebrating ornamentations as compared to the previous Art Nouveau or Beaux-Arts architecture, it could still be appli-cable for a certain purpose in some of the designs today. After experimenting this definition, I think it can contribute a ma-jor part if ornaments are to be included on designs.

Image 30: Original Object

Image 31: Transformed ObjectA.4.3. ‘Kangaroo - Spring Forces’ definition

As shown in image 32 on right, the definition allows me to determine precisely how far I would like sep-arate objects to stay apart or to join together regard-less how I move and change the objects later. Hence, I would suggest that this is an efficient way I can attach ornaments onto a particular design either exactly hanging on it or partially submerge into it.

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Image 32: Transformed Object

Image 33: Grasshopper Definition

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A.4.4. ‘Nesting’ definition

After the design of Beijing Olympic Stadium appeared in the world, nest appearance becomes a well-known feature and I am totally in-terested to it. Thus, by researching an additional ‘nesting’ definition in Grasshopper, I have developed an object as shown in the bottom images. There are quite a few examples applying the ‘nest’ merely as a ‘skin’ for a particular substance, like what I have tried in image 32.

However, I think is it achievable for me to create some functions other than focusing only on its design feature? In my experiment, I have the concept of creating a core such as the lift core in a building with functional surrounding space. The ‘nesting’ elements are quite saturated at the centre core, which I would suggest the ‘nest’ to act

Image 33: Transformed Object

partially as structural system rather than only an artistic feature. I could not ensure if this is doable for a structural consultant at this stage but through various experiments done in Grasshopper, I would propose that algorithmic explorations would definitely provide opportunities for designers to solve the potential problems.

Image 34: Transformed Object Image 35: Transformed Object

Image 36: Transformed Object Image 37: Grasshopper Definition

A.5. Conclusion

After looking at both computational-approached and non-parametric projects in this section, I realized architecture is not as simple as a wick-iup or a grass hut, or being just a simple appearing artistic expression. Instead, it is something that interacts immediately with the surround-ing and various factors like social, cultural or even political issues of a society. Thorough investigation is definitely needed for every project in order to ensure less negative potentials emerge in the future. Especially in this era we living in, everything, including architecture and buildings, is moving towards sustainability and connection with technology. Thus, I would say parametric modeling and algorithmic approaches in design are literally effective way for designers to keep track with the current tendency and also to handle the enormous amount of constraints in a modern design proposal.

In the case of Western Gateway Design Project, I think there is nothing more suitable than paramet-ric design to be applied, due to the fewer amount of formal limitations present in the project. This is exactly a good opportunity for architects to maximize their innovations and creativities to produce an eye-catching masterpiece. Apart from the designing field, the construction budget and period can also be better monitored. Since the site is located adjacent to a heavy-traffic major road, the Princess Freeway, I would suggest the construction time period is extremely essential in order to not obstruct any ongoing traffic.

Therefore, by incorporating the innovation of computational tools in this Western Gateway proposal, I sturdily believe that a whole new modern landmark could be achieved and consequently leading Wyndham City to become a locally and globally well-known municipal.

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A.6. Learning Outcomes

Since the beginning of this course until now, I have been in-troduced to a lot of digital theory as well as scripting experi-ments. No doubt, it is a kind of new technique that we need to learn and of course it is very time and effort consuming. After experienced personally in the function of algorith-mic explorations, I think this method is very encouraging for designers to go beyond the presence. Compared to the previous way of sketching or idea generation, designers, or at least for me personally, would think twice before making any alterations to drawings in front of me because I would think it is difficult to undo if I make any mistake.

By only imagining the ideas in mind, it is certainly more abstract compared to something that is drawn and that can be seen. Consequently, we may lose a very brilliant idea if we could not picture it clear enough in our mind. Hence, I would say the efficiency of design process plays a very im-portant role in determining its design outcome, and this is definitely something that could be solved by using computa-tional technique. In addition, from the previous precedents that I have explored in this section, I realized that not only an interesting shape, but also the functionality and its con-nection with surrounding situation, are very essential to produce a magnificent landmark that will not be left out by the society.

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Notes:

Richard Williams (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh: Edinburgh University Press), p. 103

Australian Institute of Architects (2013), ‘What is Architecture?’, in Becoming an architect, (Australia), p. 1

Federation Square (2011), ‘Federation Square - Design and Architecture: The Square’, p. 2

Charles Jencks (2003), ‘The undulating Federation Square, designed by Lab Architecture, mirrors the city and country through dissonance and harmony’, Architectural Record 06.03, (New York: McGraw-Hill Construction), p. 109

Charles Jencks (2003), ‘The undulating Federation Square, designed by Lab Architecture, mirrors the city and country through dissonance and harmony’, Architectural Record 06.03, p. 109

Paul Goldberger (1989), ‘Pei Pyramid and New Louvre Open Today’, (New York Times), <http://www.nytimes.com/1989/03/29/arts/pei-pyramid-and-new-louvre-open-today.html?pagewanted=all&src=pm>, [accessed 20 March 2013]

Carlos Zeballos (2012), ‘I. M. Pei and the Louvre Museum: Background’, My Architectural Moleskine notes on a journey through landscape and architecture, <http://architecturalmoleskine.blogspot.com.au/2012/10/i-m-pei-and-louvre-museum.html>, [accessed 22 March 2013]

Carlos Zeballos (2012), ‘I. M. Pei and the Louvre Museum: Background’, My Architectural Moleskine notes on a journey through landscape and architecture,<http://architecturalmoleskine.blogspot.com.au/2012/10/i-m-pei-and-louvre-museum.html>, [accessed 22 March 2013]

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, (Cam-bridge, MA: MIT Press), p. 2

Kostas Terzidis (2006), ‘Algorithmic Architecture - A Brief History of Algotecture’, (Boston, MA: Elsevier), p. 41

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, p. 3

Joseph Giovannini (2011), ‘Guangzhou Opera House’, Architect - the magazine of the Amercian instutute of architects, <http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx>, [accessed 23 March 2013]

Melbourne University (2013), ‘Introduction to Computing in Architecture’, Lecture 02 slide

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, p. 2

Zaha Hadid’s Architects (2010), ‘Guangzhou Opera House’, p. 1

Jonathan Glancey (2011), ‘Move over, Sydney: Zaha Hadid’s Guangzhou Opera House’, The Gurdian, <http://www.guardian.co.uk/artanddesign/2011/feb/28/guangzhou-opera-house-zaha-hadid>, [accessed 26 March 2013]

Kelly Minner (2010), ‘Zayed National Museum / Foster + Partners’, Archdaily, <http://www.archdaily.com/92372/zayed-national-museum-foster-partners/>, [accessed 26 March 2013]

ArcH2o (2013), ‘Zayed National Museum | Norman Foster’, <http://www.arch2o.com/zayed-national-museum-norman-foster/>, [accessed 26 March 2013]

Kelly Minner (2010), ‘Zayed National Museum / Foster + Partners’, Archdaily, <http://www.archdaily.com/92372/zayed-national-museum-foster-partners/>, [accessed 26 March 2013]

Robert Woodbury (2010), ‘Elements of Parametric Design’, (London: Routledge), p. 7

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Melbourne University (2013), ‘Introduction to Parametric Modelling’, Lecture 03 slide by Daniel Davis

Adam N. Mayer (2010), ‘Style and the Pretense of ‘Parametric’ Architecture’, p. 3

DesignBoom (2010), ‘Toyo Ito: Taichung Metropolitan Opera’, <http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/>, [accessed 28 March 2013]

Arcspace (2006), ‘Taichung Metropolitan Opera House Toyo Ito & Associates’, <http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/>, [accessed 29 March 2013]

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Adam N. Mayer (2010), ‘Style and the Pretense of ‘Parametric’ Architecture’, p. 5

Archgraphics (n.d.), ‘Futuropolis | Daniel Libeskind’, p. 1

Vectorworks Case Study (2005), ‘Vectorscript and Parametric Modelling Technology bring Daniel Libeskind’s Futuropolis to life’, p. 3

Vectorworks Case Study (2005), ‘Vectorscript and Parametric Modelling Technology bring Daniel Libeskind’s Futuropolis to life’, p. 3

Robert Woodbury (2010), ‘Elements of Parametric Design’, (London: Routledge), p. 8

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Images

1 2011 S2 Final Lantern Parade Photography; 2 http://www.forbesaust.com.au/images/Federation-Square.jpg; 3 Architectural Record 06.03, p. 114; 4 http://www.fedsquare.com/wp-content/gallery/information-history-design/pin-wheel-facade-federation-square.jpg; 5 http://2.bp.blogspot.com/-xQJnnxe-7xg/Tu-1qbWV1LI/AAAAAAAAA74/xUH2w_dII3Y/s1600/Federation+Square2.jpg; 6 http://fleurenfant.files.wordpress.com/2013/03/france-the-louvre-museumcity-1920x2560.jpg; 7 http://4.bp.blogspot.com/_vElxmbsr2vo/S_NYsqPQZEI/AAAAAAAAAaw/JkMs5qahhlM/s1600/pyramide_louvre_3_spirit_of_paris.jpg; 8 http://img.wallpaperstock.net:81/paris-louvre-pyramid-wallpapers_35074_1920x1200.jpg; 9 http://25.media.tumblr.com/tumblr_m3vxdrDN9b1qitzeoo1_500.jpg; 10 http://www.core.form-ula.com/wp-content/uploads/2009/08/kms_08.jpg; 11 http://www.archiworldacademy.org/Images/jury/AWA%20portrait%2012%20photo%204%20Guangzhou.jpg; 12 http://homeklondike.com/wp-content/uploads/2011/04/7-china-guangzhou-opera-house-by-zaha-hadid-architects.jpg; 13 http://www.arch2o.com/wp-content/uploads/2012/10/Arch2o-Guangzhou-Opera-House-Zaha-Hadid-Architects-14.jpg; 14 http://www.lustnation.com/wp-content/uploads/2013/03/LN-FOSTER-PARTNERS-1.jpg; 15 http://tinypic.com/view.php?pic=25sqwzc&s=7; 16 http://www.fosterandpartners.com/m/projects/zayed-national-museum/draw-ings.php?id=1550; 17 http://static.dezeen.com/uploads/2010/11/dzn_Zayed-National-Museum-by-Foster-+-Partners-3.jpg; 18 http://www.siat.sfu.ca/images/267.png; 19 http://www.arcspace.com/CropUp/-/media/57091/5taichung.jpg; 20 http://www.designboom.com/cms/images/anita03/toyoito09.jpg; 21 http://c1038.r38.cf3.rackcdn.com/group1/building2039/media/060110_birds%20eye%20view_w25cm_U_adj.jpg; 22 http://www.arcspace.com/CropUp/-/media/57135/9taichung.jpg; 23 http://media-cache-lt0.pinterest.com/550x/d4/7d/48/d47d48fff746e4d26700450ebb2ed906.jpg; 24 http://www.vectorworks.net/edispatch/Vol46/futuropolis_lg.jpg; 25 http://www.vectorworks.net/edispatch/Vol46/futuropolisdetail_lg.jpg; 26 http://3.bp.blogspot.com/_KyYkvmXleNU/S9m3p86AmqI/AAAAAAAAAkM/wyqFdgaz8-c/s1600/fpol+2.JPG; 27 28 29 30 31 32 33 34 35 36 37 Rhinoceros 5.0 and Grasshopper Screen Grab.