01

Introduction

Part A: Expression of InterestCase for InnovationA.1. Architecture as a DiclosureA.2. Computational ArchitectureA.3. Parametric ModellingA.4. Algorithmic ExplorationsA.5. ConclusionA.6. Learning Outcomes

Part B: Expression of InterestDesign ApproachB.1. Design FocusB.2. Case Study 1.0B.3. Case Study 2.0B.4. Technique - DevelopmentB.5. Technique - PrototypesB.6. Technique ProposalB.7. Algorithmic SketchesB.8. Learning Objectives & Outcomes

Part C:Project ProposalC.1. Gateway Project - Design ConceptC.2. Gateway Project - Tectonic ElementsC.3. Gateway Project - Final ModelC.4. Algorithmic SketchesC.5. Learning Objectives and Outcomes

References

02

CONTENTS

04

00

ADD PICTURE

00

00

02

I am the type of person who never knew what career to persue. I have always been creative and organised though was unware

of how to turn this into an occupation. Up until about four years ago, in my 11th year of secondary school, I discovered my passion for architecture. I suppose sometimes I feel disadvantaged as my knowldge of building design may not be at the level of others who have wanted to be an architect most of their life. However, focus-

sing on the point ‘quality not quantiy’ tends to reassure these insecurites and remind me that no-one person is the same, were

design is a form of art, not a measurment of experience.

INTRODUCTION

My understanding of Digital Design within architecture is a new age tool that aids the formation of concepts into a form. It is malluable and far more ad-

vanced then any previous methodology.

Digital Architecture has allowed design to become a reactive process as op-pose to a process of evolution. It has been implied that if chosen to incorpo-

rate digital design throughout your development, you are allowing the comput-er to do the work for you. I strongly disagree with this statement.

While the computer may assist the process in which you produce the design, without the architect, how would the design be created? Design stems from an idea and the designer controls the computer much like a person controls a car. The vechile is a tool that aids a person’s transportation just like digital design software is a tool that aids the designer. This forms the basis of my under-

standing regarding the purpose of digital design software.

TALIA STELLA FILECCIA

03

The Technical Knowledge I have obtained in terms of digital design was during my first semester of university, 2011, when I studied the subject, Virtual Environments. The basis of this revolved around the modelling software Rhino where it was required

to produce a paper latern that can be worn on the body and included a panellised surface with cuvrelinear geometries. The design had to link to a natural process of which, mine was honeycombs and the way bees formed this hexagonal structure.

Due to this being the first time I was exposed to digital design, I struggled with the concepts and functions required to produce a digital model. With the assistance

from my tutor, David Lister, I succeeded in completing a latern that wrapped around the arm and reached to the neck. The concept behind this positioning on the body was drawn to points were a person’s pulse resided, the neck and wrist. At these

areas, the lights of the latern would remain, symbolising life and the beating of the human heart.

Included on below are images of the Rhino design, demonstrating the basic outline of the structure and how it developed into the final model, with the inclusion of the

panelled hexagonal surface.

04

CASE FOR INNOVATION

PART AEXPRESSION OF INTEREST

05

A.1.ARCHITECTURE AS A DISCOURSE

Architecture as a Discourse can be similarly thought of as communication through architecture. Thinking of building design as a form that speaks to you rather than a structure for protection from the elements allows an alternative

perspective to be considered.

I believe architecture can deliver a Philosophical, Social, Professional & Material

message, as mentioned by Williams, 2005. However, I don’t agree that design is limited to communicating those messages alone.

Architecture not only contains aesthetic appeal, it also works to both enclose and open spaces. Additionally, it can draw attention to spaces that would oth-

erwise be overlooked or ignored, much like public art. Although the two de-signs can be considered as incrediably different, they can also be seen as serv-

ing similar purposes, even though architecture is capable or serving many.

This is better understood when thinking of an empty piece of land, rarely will you get someone stopping and taking notice of empty space. However, plac-

ing a building or sculpture on the empty space draws attention to the area and acts as a form of discourse.

I believe Architecture to be Influential.

While it is also space, form, surface, shelter and art, all these concepts al-low the formation of inspiration. This is why the U-House and the Walt Disney

Concert Hall are later explored. Personally, they grasp this idea of architecture. I see these buildings and feel motivated - I become influenced.

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

06

07

Influencial Architectual Project #01

The U-House by Jeorge Costa is a residential project that meets energy efficient design prin-ciples as well as look aesthetically compelling. The compacted box effect it embodies sets

this building aside from other ‘typical’ housing designs.

The house sits upon a hill overlooking the surrounding landscape and includes the social spaces on the first level, associating with the pool, and the private sections on the top floor.

I find the spatial organization compelling in the sense that the design is thought out and organized in a logical format, which only adds to the appeal in my opinion.

Prior to the implementation of the U-House, the site was a boring, empty hill. Costa has not only given the space a house, but also an intriguing and interesting building that draws at-

tention and compels you to explore and understand it. He uses plain, sharp forms as well as a unique composition to individualize what a generic house would look like.

The U-House shows what it is like to push the boundaries by thinking ‘inside the box’ in an unexpected way. Instead of continuing with the known and creating historically influenced

architectural design, Costa becomes innovative and lets his imagination produce an exquisite and simple building - one which inspires me to be different in my designs and be confident

when choosing to stray from the norm and not follow what is expected or safe.

U-HOUSEJORGE COSTA

08

WALT DISNEY CONCERT HALL

FRANK GEHRY

Influencial Architectual Project #02

The Walt Disney Concert Hall by Frank Gehry was designed to be one of the most sophisti-cated melodic spaces that provides an unparalleled musical experience, as well as a visual one. The building contains a sharp, angled, swooping facade that completely fits with the

environment, yet stands out from its surroundings.

Gehry is an incredibly influential architect, as his building ideas mostly stem from simple yet composed scribble on a page. He turns the shape of this scribble into a form and eventu-

ally develops buildings so aesthetically pleasing that they cast shade onto anything around them. This design process, workflow and way of thinking is unique when compared to other

patterns and techniques.

This approach to modern architecture through sculptural design and reflective surfaces is a defining factor that separates Gehry from your typical architect. Gehry’s style instills appre-

ciation for the bravery he shows when producing buildings that are completely left of center. His work inflicts a positive change in the world, one that is difficult to forget.

09

010

A.2.COMPUTATIONAL ARCHITECTURE

Computational Architecture is a topic a lot of people feel strongly about. From my understanding, you are either for or against the evolution of digital design. Simply put, using computers in the design process is not only faster, but also more accurate and adaptable. The opposing groups who see digital architec-ture as an ‘excuse’, due to their belief that the computer formulates the de-

sign rather than the architect, are naive. In my opinion, they don’t understand, so they judge. They neglect change.

If people can adapt to the changes in design, they can adapt to the changes in design technique.

Computational Architecture has a significant affect on the process of design. Simply put, it alters architectural design from the “making of form” to the

“finding of form” (Kolarevic, 2003). This relates to the capabilities computer-aided architecture allows - capabilities that may not have been considered if left to the old mechanical process. For example, testing the compatibility of certain materials for a design normally would require extensive research, with digital design, the time required to do this is almost halved by the efficiency provided by computational architecture. Hence, this also highlights how tech-

nology impacts design and construction industries - it improves them.

The range of conceivable and achievable geometries is severely impacted by computation. Digital modeling alone opens up an entire concept to design that was previously neglected or unimagined. The way in which surfaces and curves can move, link, collide and exchange with one another in itself is influential. The

opportunities these concepts provide bring design to a whole new level. One that is far more advanced then anyone may have predicted.

Furthermore, Computational Architecture establishes unique opportunities and innovations that were previously inconceivable. Buildings of the past were mostly generic, repetitive and of uncomplicated forms. The most advanced de-signs revolved around height - how tall a building could be as well as integrate stability. Now, it has changed, we see a new ideology forming. Gradually, the

entire idea of design will shift further to include forms, which are individualized, complicated and distinctive.

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

011

A.3.PARAMETRIC MODELLING

RESEARCH:- Communication of parametric modelling and scripting cultures in architecture

CRITIQUE:- use of parametric modelling in the architectural design process- investigate advantages and shortcommings of technique*can reference specific projects, images & diagrams(e.g. reference something parametric modelling created not being possible to be completed by hand-drawing)

ANALYSE:- 2 parametric projects (at least one should be a built work)- consider their context within architecture discourse on parametric architec-ture

1. Burnham Pavillion - UNSTUDIO2. Snowflake Tower - LAVA