A R C H I T E C T U R A L

A I R2 0 1 4

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Aout Me

Past Project

A1:RANDOM NATURE NOT SO RANDOMLAGI SITE, BRIEF & DEFUTRISATIONLOUIS KAHN - SALK INSTITUTEKINETIC ENERGYPAVEGEN SYSTEMS PAVERLAGI PRECEDENT 1SOLAR WATER PONDLAGI PRECEDENT 2

A2:REFELECTION & RESPONSEFRANK GEHRY - FONDATION LOUIS VUITTONZAHA HADID - GALAXY SOHO

A3:ITKE PAVILIONDRAGON SKIN PAVILIONREFLECTION & RESPONSE

A4 & A5:REFLECTION & RESPONSE

A6:TIME TO GET LOGICAL. TIME TO GET ALGORITHMIC

REFERENCES

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Born in melbourne.Third year architecture student. Travelling from a young age and hav-ing a family within the building indus-try enabled me to grow a profound fascination and respect for architec-ture from a young age. Design is my passion: it’s the one thing that keeps me sane and drives me crazy.

Stereotypical Melbournian: I wear a lot of black and drink a lot coffee.Stereotypical architecture student: I wear a lot of black and drink a lot of coffee.

The little money I have is predomi-inately spent on fineliners and model-making materials.

I spend too much time in Frank Tate computer rooms and underneath the Tsubu tree.

“The mother art is architecture. without an architecture of our own we have no soul of our own civilization”- Frank Lloyd Wright “I refuse to work unless i get paid. so i don’t get a lot of work sometimes.” - Frank Ghery

“I prefer drawing to talkng. Drawing is faster, and leaves less room for lies.”- Le Corbusier

a bit about audrey

In the subject Virtual Environments the connection between nature and compu-tional and computerised design was ex-plored. Nature appears somewhat acci-dental and unplanned yet is in fact the result of underlying pattern and logic. In the same sense, abtract, unique forms created through 3D modelling programs are the result of definitions, parameters and rules. What may appear as random is in fact the result of intricate thought and process.

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VIRTUAL ENVIRONMENTSP A S T P R O J E C T :

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DESIGN FUTURING

“ J Ü R G E N MAYER H.'S SCULPTURE IN AN UN-BUILT CITY”

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Thirty metre sculpture completed in 2012 by Jürgen Mayer H. in Lazika, the site of a proposed city within the republic of Georgia. Located at the end of a pier, and visible from a distance along the coast of the black sea this sculpture stands tall and proud of contemporary volumetric & cur-vature design. Made from interlacing steel sheets, this piece represents the infinite and intricate possibilities of form generation and development through computational design. The curves of this sculpture are further accentuated at night through the use of spotlights, which also would create a connection to the stars in the night sky. despite its bold and distinct form, this sculpture, by day and by night, is intertwinned in a homogeneous relationship with the infinite and dynamic lines, curves and forms of nature, this especially being the sea, sky and coast (Cochran, 2014). Architecture has the ability to teach and inspire, and through the LAGI 2014 final design the aim is to do so to benefit both the ecological and human environment, in particularly, urban society. Contemporary design in harmony with ageless nature.

Photograph by Marcus Buck.

LAGI SITE 2014: REFSHALEØEN COPENHAGEN DENMARK

The 2014 Land Art and Generator Initiative (Lagi) is being held in the European green capital of 2014, Copenhagen. the site , Refshaleøen, was once an industrial area, which is now pre-dicted to be an area for new development within the city, including resi-dential projects.

LAGI 2014 requires a thre--dimesional sculptural form to be incorporated into the selected site. This form must encompass natural energy of some form to be converted into electricity. The final design must re-spect its natural environ-ment and not cause pollu-tion and create any Green House Gas emissions.

The design is to be:INNOVATIVEPARAMETRICUNIQUEUNDERSTANDINGCONSTRUCTABLE&HUMBLEThe brief is rather open leaving many possibilites. (Land Art Generator Initi-atve, 2014)

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D E S I G NF U T U R I N G :Sustainability, ethics & practice.

Humanity is now facing a critical point in its existence on planet earth. Through our unsustainable habits throughout history our place within this world seems more finite now than ever. The amount of time we have left on earth is determined by how we choose to go on existing from this point onwards. Design and technol-ogy can be used as a solution for this problematic dilemma.

They expand future possibilities by using new means of exploration, de-sign and construction based on logi-cal data which can be used in an efficient manner, such as produc-ing power through natural resources such as wind and water. Contempo-rary design has the potential to both connect and inform humans with na-ture through new design possibilities, making it an informative approach as well. Due to it’s informative and infinite nature, design futuring will continually be used and developed, for the sake of humanity as well as for the sake of nature. Let’s take back the future we have been taking from (Fry, 2008).

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SALK INSTITUTEA R C H I T E C T: L O U I S K A H N

P R E C E D E N T

Salk Institute is a place where cures begin. just like designing, architecture and LAGI, it is a hu-man’s act of problem solving. salk institute is essentially a place for biological studies as well as an architectural gem. The Salk Institute was commissioned in 1959 by Dr. Jonas Salk, the inven-tor of polio vaccine. salk worked with arhitect louis kahn to create a place that is ‘monumental and spiritually inspiring’ (Perez, 2010). Located in La Jolla, California, Salk Institute has a strong connection with its surrounding environment through its function as a facility and its architectural design intent and construction,. Kahn created a symmetrical plan with the one structure mir-roring itself across from an open plaza. Both structures consist of six stories, with the first three floors containing laboritories and the last three containing utitlities/servies.laboratory spaces are connected to protruding towers which contain spaces for indiviual work through bridges. The seperation of spaces was designed by kahn to provide ‘warm and tranquil settings for concen-tration’ (Perez, 2010).The design embraces nature through the axis of symmetry created by the water fountain which runs perpendicular to the pacific ocean and deposists water into a lower basin as though it is aopening up to the sea. The structures themselves created a type of arhitectural typology, seem-ing as though they are built mountains, shaping the coast and becoming one with the natural landscape (Perez, 2010).Salk Institute has provided significant research, treatments and therapies for many diseases such as cancer, cardiovascular disorders, aids, alzymers disease, cardiovascular disorders , anamolies of th e brain and birth defects. (Salk Institute for Biological Studies, 2014). Salk Institute is the epitome of humans connecting to nature and taking care of our finite lives and society through design and problem solving. It’s function is inspirational and motivational to create a design that aims to benefit all of nature and its creatures.Image source (left): Salk Institute for Biological Studies (2014)

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K I N E T I C

E N E R G Y

PRODUCED BY VERTICAL OR HORIZONTAL MOVEMENT/MO-TION IS KINETIC ENERGY. FORMS OF KINETIC ENERGY INCLUDE VI-BRATIONAL, ROTATIONAL AND TRANSITIONAL (LAGI, 2014).

KINETIC ENERGY: PAVE-GEN SYSTEMS PAVERImage above: Pavegen Systems Ltd., 2014. Kinetic energy created through peo-ple movement. The image above dis-plays a pavegen tile, which produces renewable energy everytime a person steps onto the tile surface. This tech-nology converts the kinetic energy made from a human’s footstep into electricity which can be stored and also used for various purposes (Pave-gen Systems Ltd., 2014).

These pavegen tiles are able to send wireless data which can be used for electronic communication charging of electrical resources and lighting.

The flooring unit of the tile itself is made from 100% recycled rubber, as well as the base of the slab consisting of 80% recycled materials. (Pavegen Systems Ltd. 2014).

This technology enables people to both engage and contribute to sus-tainable energy solutions.

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Why would kinetic human energy be appropriate for the lagi site/design:

HUMANS HAVE BEEN THE PROBLEM. NOW, WE SHOULD MAKE HU-MANS THE SOLUTION.

As the site is predicted to become a zone for new development, popula-tion increase within the area is innev-itbale (LAGI, 2014). The diesign can function/produce en-ergy in relation to people at the site. It is noted that there are indeed other forms of Kinetic Energy which could be incorporated in relation to the site such as wind and wind loads. Also, people energy is not as reliable if it’s the only source. This could contribute to a humble, environmentally effective and efficient design.

“Scene-Sensor situates itself at the intersec-tion of flows joining and separating opposing land forms: as a channel screen, harnessing the flows of wind through tidal artery and as van-tage points, staging crosswise pedestrian flows through the park, the two acting in combina-tion as a mirror-window, reflecting and reveal-ing the scene of Freshkills' fluctuating landscape back to itself” (Murray, Vashakmadze, 2012). The winning LAGI 2012 competition entry, Scene-Sensor, by James Murray and Shota Vashak-madze is an elegant, socially, environmentally and contextually aware design that successfully sits and interacts within Freshkills Park (LAGI, 2014). The design consists of wind channels bridged over Freshkills' waterway, yet still allowing access for canoes and kayaks, creating a harmonious fluidity between the space and the site. Through kinetic energy, the project expresses the relationship be-tween humans and the environment by mapping and displaying piezoelectric currents (Murray, Vashakmadze, 2012).

BEWILLING TO SURRENDER TO THE LANDSCAPE. BE HUM-BLE. BE THIOUTFUL. BE IN-FORMATIVE. BE SUSTAINABLE.

The correlation and collaboration between human and ecological kinetic energies is displayed through designing a series of pixels that make up the two screen walls. Within this space follows a series of ramped walkways proving a unique view of the site that is constantly altering due to changing of the screen surfaces as it's determinate of the amount of energy being produced and a product of wind load and flow. The wall is constructed of collecting panels which bend and alter as wind passes through, therefore, constantly changing the screen. Each panel contains reflective metallic mesh which collects piezoelectric currents, which can produce enough power for twelve-thousand homes when energy is conversed on a day of high wind load. (Murray, Vashakmadze, 2012). Through kinetic wind energy, Scene-Sensor appears to have a life within the structure, as movement of the screens is constant. This makes the design light, floating within the site, thus contextually aware and surrendering to the landscape through its humble and delicate appearance.Images source: Murray, Vashakmadze (2012)

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L A G I 2 0 1 2

SCENE-SENSOR

A highly saline body of water divides itself into three layers of salinity. The top layer is of low salinity whilst the bottom layer is of high salinity, whilst the middle layer is naturally an intermediate insulating layer that prevents the formation of a heat exchange convec-tion cycle. However, when exposed to so-lar radiation, heat is trapped within the bot-tom layer of the pond where temperatures can reach close to 100 degrees celsius while water at the top surface is thirty degrees.Heat trapped at the bottom of a solar salt wa-ter pond are generally harnessed to power an organic rankine cycle turbine or a stirling

engine. Both the cycle turbine and the stirling engine may be used to convert heat into electric-ity eliminating the need for steam. Water is piped to an evaporator coil via the organic rankine cycle. this heats a low-boiling-point fluiid to pressurised va-por, thus fueling the turbine. the vapour is then passed through to a condersor from which water from the top layer of the saltwater pond is used to cool th fluid back into a liquid form. The liquid is then pumped back to the evaporatpor with energy from a pv-panel located on-site .

SOLAR SALT WATER POND

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SOLAR SALT WATER POND The solar pond is able to produce electricity for twenty-four hours per day, Regardless of climatic conditions, due to salt water’s strong ability to act as a thermal heat sink (LAGI, 2014).

Why a solar salt water pond?Seeing that the current LAGI competition site is sur-rounded by water it seems almost necessary to use it as an efficient and sustainable energy source. A sloar pond of some sort may be created to not only produce energy but to also stimulate and create an exciting and technologic contemporary design.Image source:

RMIT Solar Pond Project, 2000. < http://www.rmit.edu.au/>

“STEW IN THE HEAT OF YOUR OWN TRASH”

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S O L A R B A T H S LAGI 2012 Loctated at freshkills landfill/park, these solar paths make both an en-viornmental and design statement through their function and executu-ion. The salt water ponds located at the southern end of the site capture and storage heat radiated directly from the sun and the surrounding landfill area itself. each solar pond is linked to a solar chimney that extracts the heat from the ponds converting it into electricity. This therefore controls the temperature of the solar baths.

“STEW IN THE HEAT OF YOUR OWN TRASH”

This project makes a strong environ-mental statement by inviting newy-orkers to come and bath in the stew of their own trash. this is sustain-able, innovative and also somewhat a mockery of urban society. The design itself has a strong con-nection to the landscape through its form creating a new kind of topogra-phy within the site, opening up to the landscape through the use of water baths connected to the saltwater pond (Mackay, Muza 2012). Images source: Mackay, Muza (2012)

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DESIGN COMPUTATION

DESIGN: COMPUTATION

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DESIGN: COMPUTATIONWith the rapid progression of technological influence on contempo-rary society and the way in which the world is perceived, interacted with and designed is ever transforming (Oxman & Oxman, 2014). Ac-companying this advancement of technology we as beings are simul-taneously creating and solving dynamic and problematic occurrences within our environmental sphere (Kalay, 2004). As a consequence of any change, it is natural to question whether it be of greater benefit or of greater detriment to ourselves and the world as we know it. Thus, with the furtherance of technology and its impact on design and the global designing community, it's natural and essential to delve deeper into its impact on creative minds and process, the results of such and it's influence on all creatures and mother nature. These inquisitions include: How does computing affect the design process? What are the ongoing and incoming changes within design and construction industries? How does computation impact on the range of conceiv-able and achievable geometries? What does computation contribute to evidence and performance oriented design? What unique opportu-nities and innovations does computation represent and how do these concepts relate to preceding architectural theory?

Through computing designing has evolved dra-matically and continues to do so on somewhat of an infinite scale. Architectural design is a form of problem solving (Kalay, 2004). That is, design-ers use a problem to create a design solution through framing restrictions and restraints in an approachable and unraveling manner. Comput-ers are therefore an indispensable resource to have as they are a means of logical resources and endless possibilities (Kalay, 2004). Creative processing has become largely driven by digital means characterised by dynamic, open ended, reliant yet unpredictable possibilities (Kalay, 2004). Three-dimensional exploration within computational design has opened perpetual op-portunities through the ability to now, more than ever, experiment with geometry within architec-tural design. Therefore, a significant shift has been made from traditional monolithic objects to new endless scaled components as well as from compositional and representational theo-ries, meaning new generations of learning archi-tects are relying upon algorithmic and research based experimental designs and processes (Oxman & Oxman, 2014). Parametric curves and surfaces have introduced a new world of form and form complexity through program-ming such as CAD. With computational design constantly changing and developing so rapidly architects are constantly pushed to indefinite limits causing an ongoing process of trial and error. (Oxman & Oxman, 2014) Therefore, now more than ever, architects are continually learn-ing and re-learning new design approaches.

Technology has merged a multidisciplinary ap-proach to design more so than ever before. There is now a profound overlap of design, sci-ence, maths, technology and architectural cul-ture. (Oxman & Oxman, 2014) This has pushed a more logical approach to design practise and architectural form, based on intuitive research of data. A multidisciplinary and computational approach towards architectural processing and design has inevitably changed construction methodology, capabilities and the industry over-all. (Oxman & Oxman, 2014) Technology is ac-companied by an increase in speed in whatever it is used for, making the design and construction of architecture a faster process. In many ways computational design has created a renewal of the historical role of the architect as the “mas-ter builder” (Oxman & Oxman, 2014) through knowledge gained with the ability to design with-in a digital and material domain. By doing so, a strengthening of multidisciplinary relationships and collaborative design is evident, such as the interconnection between the structural engineer and the architect (Oxman & Oxman, 2014).

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Indeed such technologic advances are ever ex-panding our knowledge of design and our society in general. However, it's important to note that there is a certain quality, or soul produced by hand. As realistic and clear a computational approach, in terms of processing, design and communication is, it can lack a certain warmth that a hand draw-ing can provide. Yes, it would of course be foolish to not continue to expand and develop technology and the opportunities it provides, however, it would be even more foolish to forget how to use our own hands to create. Computers themselves as a de-vice, just as any technologic device, lack creativity and intuition without the input of a natural source (Kalay, 2004), whether it be humans or nature it-self. There is also a sense of irony in the contem-porary attempt to defuturise society, and invest in a sustainable approach to human life and design through technology, as historically speaking, it's through humans technologic advancement that we have disconnected ourselves from the environment and caused harm to the natural world (Fry, 2008). On the other hand, in the same way that abstract and what may appear as fortuitous form created by computational design is in fact the result of a mathematical and logical process (Oxman & Ox-man, 2014), nature too is a product of such glori-ous and deceitful process. Nature, which appears disordered, for example, the branches of a tree, is in fact the result of underlying patterns and rules, just like a Grasshopper definition in relation to what at first glance may seem to be a nonsensical form. Furthermore, it's also quite innovative and clever to put a spin on what is damaging the environment to help mend it, in regards to the advance of technol-ogy and the pollution and detriment it places on the planet: the problem becomes the solution.

Computational design and the technologic world provide infinite possibilities and are continually enabling designers to explore, communicate and expand their knowledge and approach to processing and final form and constructed buildings (Oxman & Oxman, 2014). The grow-ing multidisciplinary approach to design is key to a progressive and efficient way of producing architecture and also to sustain the world itself (Oxman & Oxman, 2014). It seems to be that an infinite amount of design possibilities have been created within a finite society (Fry, 2008).

The growth of digital architecture consequently boosted the development of softwares for design, energy and structural research and solutions. Ar-chitecture started to further explore the possibili-ties of space and geometry, kinetic and dynamic systems as well as genetic algorithms (Oxman & Oxman, 2014). Computational design allows for contemporary architecture to reject tradition as well as urban and structural typography but only being a product of and generated from the digi-tal world of the Information Age. “What unites digital architects, designers and thinkers is not a desire to “bloblify” all and around everything, but the use of digital technology as an enabling apparatus that directly integrates conception and production in ways that are unprecedented since the medieval times of master builders” (Kolarevic, 2003). Thus, challenging the histori-cal tradition of the building industry being one of the last to adapt in accordance to technological advances (Oxman & Oxman, 2014). Architects began to generate computer programs them-selves, changing the role of the architect to a more technological role which requires a further span in knowledge and skills forever adapt-ing and developing (Oxman & Oxman, 2014).

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The last decade has bought about compelling changes to the appear-ance and progression of the digital in the architectural realm. Towards the end of the twentieth century structures such as Frank Gehry's Guggenheim Bilbao, 1997, captures the “transforma-tion of the modernist ethos” (Kolarevic, 2003). Such bold shifts in design and construction triggered what is to be considered on parr with the industrial revolution for the world of architecture : The Information Age (Kolarevic, 2003). This revolution challenged the process of design, manufacturing and con-struction. Gehry's Guggenheim encap-sulates the dominate characteristics of experimental architecture at the begin-ning of this monumental shift through its curvilinear surface and volume. Thus, the Information Age bought a "drift from monolithic objects to infinitesimal-ly scaled components" (Lynn, 2004). This revolution streamed a growth of publications and exhibitions about the theoretical foundations of what we con-sidered to be architecture (Kolarevic, 2003). This also bought about a high level of importance on theoretical writ-ings about computational design, and it becoming the preferred design tech-nique methodology for process, gener-ation, communication, documentation and execution.

F O N D A T I O N LOUIS VUITTON

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F O N D A T I O N LOUIS VUITTON ARCHITECT: FRANK GEHRY

P R E C E D E N T

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Frank Gehry Partner's Louis Vuitton Fondation museum of contemporary art, located in Paris, exemplifies the possibilities of computerised design and construction through its distinct break from traditional and convention-al geometric form and material principles. This is evident through the structures mass-customised folded glass and curvilinear concrete panels (Nolte, Tobias & Witt, 2014). Smooth, curvature surfaces and abstract form are not only succeeded through computational algorithmic sketches and parametric models but are ingeniously used in order to construct a physical form. In the same way that such parametric designs cannot be explored with such detail without the use of technology, so does this apply to the construction of such products. Computerisation enhances design possibilities and structural integrity.

“Digital models become reposito-ries not merely of geometry, but of conceptual and material rules for building simulation that interact immediately with the designer’s intent. The laws of material itself can reciprocally inform design gestures, creating a truly synthet-ic process in which the architect orchestrates all aspects of the project with computational accu-racy. ” (Nolte, Tobias & Witt, 2014).

Furthermore, in order for simulated rules of design to be executed for such a project, the collaboration of various professions is es-sential. Each profession involved within the process of design and execution contains their own technical and consequential geomet-ric approach, rules and form of logic (Nolte, Tobias & Witt, 2014). This design and construction of Fondation Louis Vuitton involved a sparse amount of people on a global scale, from Gehry Partner’s architects located in Los Angeles, to design teams in Paris, whilst also working with professionals from the UK, Germany, Belgium, Spain and Italy. All in all, over a dozen companies were involved in this project, all of which needed a certain level of access to three-dimensional information and some of which needed to work on the same parametric model. As a three-dimensional concurrent design system used by hundreds of people did not exist, Gehry Technologies had to build one (Nolte, Tobias & Witt, 2014). The tool was first built on Subversion (SVN), which is an open-source versioning and locking system used mainly for source codes in large software projects (Nolte, Tobias & Witt, 2014). This was related and adapted to the Fondation project as the software development too consisted of a large number of contributors commonly globally spread and on tight schedules. “SVN enabled movement of the model to the cloud, and combining the poly-glot model base”, this including programs such as Digital Project, Xsteel, Sketchup, Rhino and more (Nolte, Tobias & Witt, 2014). This therefore created a common resource for over four-hundred designers, engineers and builders.

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Images source: drawings (above and previous page), and all photographs of Fondation Louis Vuitton: <http://www.fondationlouisvuitton.fr/>

Gehry Technologies created what was the most advanced multi-platform building information model (BIM) navigator used for the Web and mobile, named GTeam. Gehry Technologies collaborat-ed with engineering companies, notably RFR/TESS, to create over two-hundred reusable detail components for “design validation and quantities control of hundreds of custom conditions” (Nolte, Tobias & Witt, 2014). These modules were stored on a server where engineers could work and adjust their details with complete tech-nical knowledge whilst simultaneously other participants could progress with spatial and design details. These details were then distributed across numerous machines through the cloud model surfer. “This simultaneous digital definition of distinct dimensions” into a “self-documenting model” allowed for a high precision and accuracy of design as all members involved in this heavy multi-disciplinary project to not only receive extreme detailed in-formation, but also to provide such (Nolte, Tobias & Witt, 2014).

Computerisation allows Gehry to take his abstract ideas and sketches and turn it into a structural form and physical reality.

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G A L A X Y S O H OA R C H I T E C T : Z A H A H A D I D

P R E C E D E N T

Galaxy Soho, located in Beijing, China, by Zaha Hadid Architects 2009-2012 is a repetitive, flu-idity of volumes combined through a sequence of elongated bridges to form one whole struc-ture consisting of continual open spaces. The complex accommodates offices, a retail en-tertainment complex and a “classical chinese courtyard” (Zaha Hadid Architects, 2014), generating an unimpeded structure that signi-fies free-form computational design through its smooth corners and surfaces that create a seamless transition between spaces within (Zaha Hadid Architects, 2014). Through computerised design, architecture aims to further interconnect the process of conceptual ideas into digitally controlled man-ufacturing and evolving technologies of the contemporary construction industry and its methodology. It allows architects to “codify” their designs through the use of algorithms (Ce-ccato, 2012). By doing so, geometric and math-ematical logic is able to be defined, challenged and expressed in form generation in a manner

and speed that was previously unimaginable.

Post-rationalisation is a design approach which aims to provide structural solutions to a formal design which has been initially developed for its expression of form more so than a preset solution based on structrual logic (Ceccato, 2012). Zaha Hadid Architects (ZHA) uses this design approach to compliment the digital free-form design process based on computational tools including subdivision surface modelling in programs such as Maya (Ceccato, 2012). By doing so, fluidity of a dynamic design lan-guage is formed which explores rationalisa-tion of original form into constructibility. For the Galaxy Soho project, ZHA architects used Maya to create a subdivision surface model which was used a a driver for geometric explo-ration and experimentation through a series of overlaid models in the 3D modelling program CATIA (Ceccato, 2012). Each of these series of models created a higher level of geometric definition and constructibility for both the fabri-cation and assembly than the previous model.

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ZHA architects created a “developable surface definition” (Ceccato, 2012) into the parametric models used to define the details of the form, meaning that they were able to modify the de-sign simultaneously with working on its con-struction methodology. It was from this that the surface model was overlaid with another para-metric model which simplified the process by implementing “self-similar families of identical panels that implement conical geometry across different levels” (Ceccato, 2012). As seen in the diagrams, the unfolding and arrangement of panels was completely automated which enabled the design to be reiterated in a effi-cient and effective manner. The setting out of these panels was done by floor level, using one A0 sheet per floor and tower. From this scripts were created to select, rearrange and unfold each of the floor’s facade panels which con-tributed to the fluidity of form in the selected outcome (Ceccato, 2012). These panels were named and set out and a workflow was devel-oped and automated enabling 144 drawings to be produced within the

span of 35 minutes (Ceccato, 2012). The fi-nal design was a result of figuring out how to develop the surface into a manner that was achievable both structurally and financially achieved through parameters set within the computational design.

I m a g e s s o u r c e ( a l l Z a h a G a l -a x y S o h o p h o t o g r a p h s ) : Z a h a H a d i d A r c h i t e c t s , ( 2 0 1 4 )I m a g e s s o u r c e ( d r a w i n g a b o v e ) : Z a h a A r c h i t e c t s , C e c c a t o ( 2 0 1 2 ) .

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COMPOSITION/GENERATION

I D C / I T K E RESEARCH PAVILION U N I V E R S I T Y O F S T U T T G A R T

P R E C E D E N T

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I D C / I T K E RESEARCH PAVILION U N I V E R S I T Y O F S T U T T G A R T

P R E C E D E N T

P A R A M E T R I C D E S I G N :ITKE Research Pavilion, constructed at the university of Stuttgart in 2010 investi-gated how material behaviour can com-pute form as opposed to geometric shape (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). The ITKE Research Pavil-ion was defined and constrained by the pa-rameters of the material behaviour of elastic bending and the possibilities of such data to form modulations through variations in the production and fabrication stages. The be-haviour of the elastic bending was used to define a number of behavioural components that arbitrate a detailed network of forces through the use of space (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012. This research project presents a multi-disci-plinary approach and how through a compu-tational design, engineering simulation and robotic manufacturing new means of data, such as elastic bending, can create “versa-tile, complex and structurally effective” ar-chitectural designs (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

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The prototype design began through the the de-velopment of a computational design tool. Within this tool data based on the material behavioural characteristics were combined into paramet-ric dependencies based on a large number of physical and computational experimentation (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012. Computational design was used by embedding data of precise system physical properties and behaviour, that is the testing of measuring the deflections of the elasti-cally bent plywood strips within set parameters and calculating these with finite element meth-ods (FEMs) for simulation (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012. From the developed integrative computational tool created, the design team was able to iden-tify and explore potential system morphologies in collaboration with necessary geometric data col-lected. All of the data and information was out-putted for FEM simulations and its manufactur-ing (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012. A six-axis industrial robot was used for the fabrication of the pavilion and mate-rial behaviour was used to trigger a unique form and on-site construction technique initially using only planar plywood as the structural and aes-thetic material component. (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012

Plywood was used as the only material in order to successfully encompass the bending-active system and to combine skin and structure in a singular ma-terial without the need for other constructional ele-ments (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). Plywood has a high load bearing capacity and rather flexible, enabling the pavilion to encompass the theme of bending deformation within an elastic range. The plywood strips were robotically manufactured by the six-axis industrial robot, as pla-nar components which connected so that when they were elastically bent and tensioned regions of the ma-terial, and thus structure, would alternate along their length (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

The six-axis robot used for fabrication developed a shear-resistant joint in order to connect adjacent ply-wood strips, the tension puzzle joint which connected strip segments of specified sizes and the joint between the base of the structure and the elastic strips (Fleis-chmann, Knippers, Lienhard,Menges, & Schleicher, 2012). This created an intricate bending-active struc-ture, a detailed network of joint points and also force vectors which were spatially mediated due to the elas-ticity of the thin plywood lamellas used (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). By integrating computation into the fabrication and man-ufacturing stage around five-hundred unique geomet-ric components were created.

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Due to computational design and fabrication, the planar strips only needed to be connected to form the specific designed shape of the pavilion, therefore, the construction process was time ef-ficient and straightforward with no need for scaf-folding and additional equipment (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

Through the use of computation the ITKE project was able to focus on material as opposed to geometric form by using data to create the shape of the pavil-ion (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). The material behaviour itself not only triggered design explorations through the means of technology, but also computed the shape of the pavil-ion on site (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). Through a computational pro-cess data of elastic bending as well as external fac-tors such as wind loads on the site were able to be collaborated and used to design, fabricate and man-ufacture the pavilion. Processes which were usually more separated are unified through technological ad-vancement. It's evident through the ITKE Pavilion as to why a multi-disciplinary approach towards architec-ture design and building is rapidly growing and de-veloping (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). All in all, computational design, fabrication and manufacturing opens up a world of what seems to be infinite possibilities. Images source : Al l ITKE Pavi l ion Images ( including previous paged) sourced from Fleischmann, Knip-pers, L ienhard,Menges, & Schleicher, (2012)

P R E C E D E N T

D R A G O N S K I N PAVILION

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The dragon skin Pavilion explores the use of post-form-able plywood, which can be heated and compressed to create forms. Designed by Architects Emmi Kes-kisarja, Pekka Tynkkyen, Kristof Crolla and Sebastien Delagrange, this pavilion is made using tessellation. Through the use of 3D master modelling and a CNC-router the traditional means of drawing , communica-tion and overall technique is replaced to both design and construct this project (Keskisarja, Tynkkynen, & LEAD 2012). To produce the Dragon Skin Pavilion al-gorithmic sketches were scripted to provide neces-sary information for every component, including the precise measurements and calculations for the sliding joints. (Keskisarja, Tynkkynen, & LEAD 2012)

These sliding joints were aletered gradually through the change if positions and angles thus producing the final sculptural form. All the components for the pavilion were specified through number and labelling assisting in the construction process, creating a more time effi-cient means for physically putting together the form (Keskisarja, Tynkkynen, & LEAD 2012). This design encapsulates the effectiveness of parametric design through the unique form created, the contemporary and experimen-tal use of materials and the overall simplified process of construction. Images source: Pekka Tynkkynen, ArchDaily

D R A G O N S K I N PAVILION

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TION:It would be interesting to explore tessellation and material properties to create a design, as seen in the last two precedents. However, chal-lenges would consist of the structures durabili-ty, as these two examples show more temporary than permanent examples. However, perhaps looking at materials such as steel of concrete and somehow using information about their characterstics, how they’re made and their overall method of resisting loads, such as com-pression and tension, to create data which can trigger algorithmic sketches and parametric design processes. Using timber would be interesting though due to itbeing an Earth material, this could contrib-ute to a humble, ecologically thoughtful project. The ability of being able to label each structural component and to construct it on time in a time efficient and effective manner should also be explored in my own design.

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CONCLUSION & OUTCOMES

R E F L E C T I O NR E F L E C T I O N

Rapid progression of contemporary soci-ety through technological influence is ever changing the way in which the world is perceived and interacted with. The realm of architecture is thus a profession con-tinually altering and developing through computing and what seems to be its infi-nite possibilities. These new means of ex-ploration and execution enable architects to solve dynamic and problematic occur-rences within the environmental sphere through the means of defuturing design. Fundamentally, design has become, now more than ever, a means of problem solv-ing. Through computational and comput-erised design approaches the fabrication and construction of buildings may now be done in a more efficient manner. Therefore, designers must constantly be pushing the boundaries and seeking new and differ-ent ways to approach issues given the in-credible amount of options now available. This broad spectrum of design possibili-ties also denotes the need for a multidis-ciplinary approach now more than ever, as three-dimensional modelling can be used as a problem solver as well as a means of communication. The architect therefore is intertwined with scientific, mathemati-cal and engineering logic and process.

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Learning about the theory and practice of ar-chitectural computing is dense and dynamic. It provides a whole new method of approaching design which enables logic and rule to trigger process as opposed to an initial conceptual hand-drawing. Computing allows for curvilin-ear and unique forms to be created in a manner that is structurally integral, possible, simplified and sustainable. This means that as a designer it can be somewhat overwhelming and simulta-neously empowering in relation to the freedom of creativity and innovation of process that can now be produced. Through learning three-di-mensional programs such as Rhino and Grass-hopper, whilst reading the theory of computing, an understanding and appreciation for why this method of design is so effective and how its rapid change means that architects too need to constantly be updated with knowledge in new programs and possibilities. Architects now must have more skills than previously before, enhanc-ing its purpose and requiring constant learning.

Through computing limitations are drastically lowered as opposed to the ability of creating form otherwise. In past studios where forms and pro-cesses seemed limited, unrealistic or structurally unreliable, computing design would've enabled freedom of expression whilst maintaining a logi-cal manner. For example, the use of natural energy may have been able to be incorporated into a curvilinear de-sign with structural detailing that was both precise and logical. This means that past final projects could've over-all been more innovative, dynamic, structurally integral and environmen-tally beneficial. With knowledge in computing, architecture is opened up to a whole new realm of infinite pos-sibilities within a finite society.

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Based on the LAGI 2014 brief and research through means such as precedents and algorith-mic sketches, the design approach is to be based on a logical set of parametric rules and data. By doing so, the final design can be interconnected to the site and its environment in an intricate and innovate manner. Exploration of energy sources such as Kinetic and solar power has triggered the idea to somehow use the ripple currents and wind loads of the site to produce a dynamic form which connects to nature and humans whilst also pro-ducing some sort of energy power itself. It would also be interesting to incorporated human energy into the project design. The sculptural form is to be humble and sit within nature as opposed to planked on top of it. This can be achieved through using data connected to the natural environment of the site to simulate a design. By designing in a manner that consists of logic and data form which may appear abstract, it can be constructed into a reality, shifting design ideas into a reality. It's significant to design in such a manner as society has now reached a critical point in its existence, where environment issues are becoming increas-ingly problematic and constantly reminding us that our time on Earth is limited, so essentially we need to make that time count. By designing in an environmentally driven manner, society can be defuturised, connecting and informing hu-mans to the natural world in a peaceful manner. Architecture has the ability to teach and inspire, and through the LAGI 2014 final design the aim is to do so to benefit both the ecological and hu-man environment, in particularly, urban society.

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ALGORITHMIC SKETCHES

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A L G O R I T H M SR E F L E C T I O N

Inspired by the winning 2012 LAGI Com-petition project, Scene-Sensor, and my research on kinetic energy it was decid-ed to explore wind loads and pressures of the 2014 LAGI city- Coppenhagem. Based on knowledge gained from on-line tutorials and theoretical research on logical, parametric, data-based designs, wind diagrams were used to create points based on month, wind speed and wind calm. Stretch factors were added to help spread the points, which were then multiplied, constructed and baked to create a curvilinear, unique form. Points were then adjusted to continually adjust the form and work with its shape. This could be interesting to further explore in the design phase.

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WIND DATA TO PRODUCE ALGORITHMIC FORM. RELATION TO KINETIC ENERGY & LAGI SITE

Adelyn Perez 2010, ArchDaily, viewed March 10 <http://www.archdaily.com/61288/ad-clas-sics-salk-institute-louis-kahn/> Ceccato, Cristiano 2012, 'Material Articulation: Computing and Constructing Continuous Dif-ferentiation', Architectural Design, vol. 82, no. 2, pp. 96-103 Cochran, Samuel 2014, Architectural Digest, viewed March 18 <http://www.architectural-digest.com/blogs/daily/2014/02/jurgen-mayer-h-lazika-sculpture> Fleischmann, M, Knippers, J, Lienhard, J, Menges, A & Schleicher, S 2012, Material Be-haviour: Embedding Physical Properties in Computational Design Processes, Architectural Design, vol. 82, no. 2, pp. 44-51 Fry, Tony 2008, Design Futuring: Sustainability, Ethics and New Practice, Berg, Oxford Ian Mackay, Steve Muza 2012, Land Art Generator Initiative, U.S.A viewed March 11, <http://landartgenerator.org/competition2014.html> Kalay, Yehuda E. 2004, Architecture’s New Media:Principles, Theories, and Methods of Com-puter-Aided Design, MIT Press, Cambridge

R E F E R E N C E S

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Keskisarja, E, Tynkkynen, P & LEAD 2012, ArchDaily, viewed March 20 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead/> Kolarevic, Branko 2003, Architecture in the Digital Age: Design and Manufacturing, Spon Press, New York & London Land Art Generator Initiative 2014, Land Art Generator Initiative, U.S.A viewed March 15, <http://landartgenerator.org/competition2014.html> Lynn, Greg 2004, Introduction to Lynn, Greg, '”Folding in Architecture, Revised Edition” cited in Oxman, Rivka & Oxman, Robert 2014 , Theories of the Digital in Architecture, Routledge, London Murray, James & Vashakmadze, Shota 2012, Land Art Generator Initiative, U.S.A viewed March 16, <http://landartgenerator.org/competition2014.html> Nolte, Tobias & Witt, 2014, 'Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embed-ded Intelligence', Architectural Design, vol. 84, no.1, pp. 82-89 Oxman, Rivka & Oxman, Robert 2014 , Theories of the Digital in Architecture, Routledge, Lon-don Pavegen Systems Ltd. Technology 2014, Pavegen Systems Ltd., viewed March 12 <http://www.pavegen.com/technology> Salk Institute for Biological Studies 2014, Salk Institute for Biological Studies, U.S.A viewed March 10 <http://www.salk.edu/> Zaha Hadid Architects 2014, Zaha Hadid Architects, viewed March 20 <http://www.zaha-had-