AIRDESIGN JOURNAL | ABPL 30048 | DANIEL KELLETT 635876 | SEM 1 2015

DESIGN JOURNAL | ABPL 30048 ARCHITECTURE DESIGN STUDIO: AIR SEMESTER 1 2015 | DANIEL KELLETT 635876 | TUTORS: CHEN CANHUI & ROSIE

DESIGN JOURNAL | ABPL 30048 ARCHITECTURE DESIGN STUDIO: AIR SEMESTER 1 2015 | DANIEL KELLETT 635876 | TUTORS: CHEN CANHUI & ROSIE

AIR

Contents

1 Introduction 8 - 9 Part A: Conceptualisation

10 - 11 A1.0 Design Futuring: Overview12 - 13 A1.1 Precedent Project: Renzo Piano, Pathe Foundation Headquarters14 - 15 A1.2 Precedent Project: Zaha Hadid, Dongdaemun Design Plaza

16 - 17 A2.0 Design Computation: Overview18 - 19 A2.1 Precedent Project: SHoP Architects, The Porter House20 - 21 A2.2 Precedent Project: University of Stuttgart Research Pavilion 2013/14

22 - 23 A3.0 Generation/Composition: Overview24 - 25 A3.1 Precedent Project: IAAC, Endesa Pavilion26 - 27 A3.2 Precedent Project: NBBJ Architects, Hangzhou Olympic Sports Centre

28 - 29 Summary

30 A4.0 Conclusion31 A5.0 Learning Outcomes32 - 33 A6.0 Algorithmic Exploration

34 - 35 References

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EASTERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

WESTERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

NORTHERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

STUDLEY PARK BOATHOUSE | MASTER ARCHITECTUREARCHITECTURE DESIGN STUDIO: WATER FINAL PRESENTATION ABPL20028 SEM 2 2014S: DANIEL KELLETT 635876T: NAFISEH HAMIDI

IntroductionDaniel Mark Kellett

Current Position: Undergraduate Student

Institution: The University of Melbourne

Degree: Bachelor of Environments

Major: Architecture

My earliest appreciation for the built en-vironment was when my parents bought me my first tub of LEGO blocks on my 8th birthday. I remember ripping off the plastic lid and instantly realising the pos-sibilities that lie in those 300 coloured bricks. This passion for building and de-signing continued to grow as I shifted to the Lego Technic range in my early teens. The freedom to build whatever my mind could come up with sent my into a frenzy of design. At the age of 12 I enrolled in a technology and design program with my school in a state forum that lasted 3 days. This experience further opened my eyes to the possibilities of design in the real world. My shift to high school saw the saddened loss of my “childhood toys”, but the pas-sion remained. Taking on design subjects

from the earliest opportunity and attending conferences such as AGIdeas gave me a background knowledge of the basics of design from an early age. Eventually completing VCE Visual communication and Design, I knew this was the path I wanted to pursue as a career. Throughout my design life I have never really attached my preferences to a certain style. While aspects of minimalism and neo-modernism are especially interesting to me, I have never turned down the opportunity to ex-plore other styles and time periods. Grow-ing up I had a lot of hands on experience with the things I was designing, however I attempted to make a partial shift to the computation side through the later years of high school. Beginning with SketchUp I got a grasp of the tools and capabilities

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02

EASTERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

WESTERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

NORTHERN ELEVATION - STUDLEY PARK BOATHOUSE

SCALE 1:100

STUDLEY PARK BOATHOUSE | MASTER ARCHITECTUREARCHITECTURE DESIGN STUDIO: WATER FINAL PRESENTATION ABPL20028 SEM 2 2014S: DANIEL KELLETT 635876T: NAFISEH HAMIDI

Current Position: Undergraduate Student

Institution: The University of Melbourne

Degree: Bachelor of Environments

Major: Architecture

of digital modelling. While my understand-ing and skills at Sketchup are now of a high standard, I realised that this level of program would not sustain into the future. Experimentation with AutoCAD and Rhino through the first two years of my course gave me a broadened and more sophis-ticated understanding of Computational tools and are now common practice for me. Coming into Air I still know that there is much to learn about these programs and this project is providing the opportunity to expand on the potentials of both the pro-grams themselves and the development of algorithmic design and thinking.

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PART A.

CONCEPTUALISATION

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PART A.

CONCEPTUALISATION

10 Figures A1.0.1 - Conceptual representation of design futuring

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As we move further into the 21st Century the idea of future thinking and how actions can affect this future are becoming ever more prominent in societal and professional thinking. Architecture as a field of practice is forever changing and the need for continued develop-ment is crucial. This is not only key in discovering new innovations and techniques but is it a determinant for the idea of design being considered pivotal in our expression of identity and difference.1

Architecture reflects the ideals and lifestyles of cultures over periods of time. As time and society progress so does its values and character. This reflection in design has been seen throughout history and as we continue to push through the 21st century it is becoming appar-ent that a shift in thinking is needed.

We are in a period where sustainable design and future understanding is needed in order to secure the continued existence of our society. There is a need for designers to now re-think conventional processes and undertake a shift towards innovative and sustainable ways of design practice.

Anthony Vidler stated that a shift in forward thinking from the 20th into the 21st Century can-not occur without disrupting the structure and practice of traditional typologies.2 If continued growth in sustainable practice is to occur, then a shift in thinking and attitude is required. The following precedents are examples that attempt to consider this idea of design futuring and basis for continued innovation.

1 Lian Hurst Mann, Reconstructing Architecture: Critical Discourses and Social Practices, ed. by Thomas A. Dutton, Illustrated edn (Minnesota: U of Minnesota Press, 1996), p. 1.2 Anthony Vidler, Review of Rethinking Architecture and the Anaesthetics of Architecture (United States: Harvard Design Magazine, 2000), p. 3 - 11.

DESIGN FUTURING

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The Pathé Foundation Headquarters in Paris, France is a legacy project to the regions historical Film industry, showcasing the preserved cinema-tography and industrial records. Located within a city block, the centre is an “Unexpected Pres-ence” that emerges from the interior and rises up above the roof line.1

Completed in 2014, this facility pushed the boundaries of confined construction, being situ-ated at the heart of a small residential block. Confined projects like this have been done in the past, however Piano has managed to integrate the building seamlessly into the site and while the original building flats were dilapidated and under appreciated, he has created a space that form an “open and physical dialogue” with the residents (Renzo Piano). Now incorporating ground floor walkthroughs and garden spaces, the design has allowed inhabitants to return back to the site and enjoy the natural open plan environment.

Substantially altering the skyline, the foundations’ glass form has been described as reflecting that of an armadillo, floating above the ground. While the building itself is a dramatic change to the area, it has also brought change to the block through historical renovation works and upgrades, revital-ising the century old buildings.2

1 Renzo Piano Building Workshop, Pathe Foundation (2014) <http://www.rpbw.com/project/81/pathe-foundation/> [ac-cessed 10 March 2015].2 Dan Howarth, Renzo Piano Design Glass “Organic Creature” to house Pathe Foundation (2014) <http://www.dezeen.com/2014/06/04/renzo-piano-pathe-foundation-paris/> [accessed 11 March 2015].

While the building does not necessary revolutio-nise architecture, the use of modern wood tech-niques and glass facade design has meant that a substantial floor space could be constructed on a highly constricted site. The design has also brought light and air flow back into the interior, enhancing the amount of natural light and ventila-tion through the area.

The Headquarters have set a new precedent in the continuing utilisation and reclaiming of land within both cities and rural areas. The design of the spaces is an important example of the in-creasing need for concise design as cities be-come more compact. Projects such as this reflect the continuing advance in design technology and practice, setting an example of site inclusion, en-vironmental utilisation and sustainability for future projects around the world.

PRECEDENT #1

PathEé Foundation Headquarters

Architect: Renzo Piano Building Workshop

Location: Paris, France

Year: 2014

Figure A1.1.2 - Exterior ground floor entrance

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Figure A1.1.1 - Ground level entrance through internal void of city block

Figure A1.1.3 - Night perspective of 5th floor transparent office space Figure A1.1.4 - Interior view of office space

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1. Zaha Hadid Architects, Dongdaemun Design Plaza (2015) <http://www.zaha-hadid.com/architecture/dongdae-mun-design-park-plaza/?doing_wp_cron> [accessed 12 March 2015].2. Seoul Design Foundation, Introduction of Dongdaemun Design Plaza & Park (2012) <http://www.seouldesign.or.kr/eng/plaza/concept.jsp> [accessed 11 March 2015].

Figure A1.2.1 - Interior hallway seating

Figure A1.2.2 - Exterior view of Facility

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PRECEDENT #2

Dongdaemun design plaza

Architect: Zaha HadiD | Samoo

Location: Seoul, South Korea

Year: 2014

Dongdaemun Design Plaza is an iconic reflection of the enduring and inspirational work of renowned architect, Zaha Hadid. Unveiled in early 2014 and located in the Dongdaemun district in Seoul, the DDP is a public exhibition Centre hosting design-related conferences and events.

This space is the conglomeration of old and new, sitting at the heart of the regions historical and cultural history. Uncovered cultural relics and structures seamlessly integrate themselves in the new landscape, reflecting the many faces of Seoul over the centuries. This attachment to the land is preserved in the gardens of the site and these historical remnants are reflected in the buildings architecture, forming an integral linkage to its surrounding environ-ment. The idea of old and new is translated into relationships between built and natural, through the fusion of the exhibition spaces and surrounding garden precincts. Paths and garden spaces weave through and above the main structure, returning a part of the natural landscape to the centre of the region. Zaha stated that the site is a result of how context and culture can fuse archi-tecture and landscape, ultimately creating a “new civic space for the city.”1

Observation reveals the striking, yet invis-ible nature of the site. Unlike anything else in the area, the DDP appears to grow out of the landscape, generating a newfound opportunity for public interaction and devel-oping social culture. With it being widely accepted as a design capital of the world, Seoul boasts both modern and historical examples of architecture, however the DDP still succeeds in pushing the boundar-ies of Neo-Modernism. It became the first building in Seoul to utilise BIM technology, with parametric modelling contributing extensively to the overall form. Segmented facade spaces shroud the luminous nature of the exterior wall during the day, bringing the site to life after dark, while stone-ap-pearing LED tiles provide vibrant stepping stones in the evening. This idea of living architecture both draws the public in and sets a milestone for the continuing evolution of architectural design and practice; setting a benchmark for future design possibili-ties.2

While techniques such as concrete mass-ing, the use of steel and implementation of varying exterior surfaces are not ground-breaking, the techniques that Zaha’s team employed here result in a project that will become an icon for future design inspira-tion.

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DESIGN COMPUTATION

Descriptions of any aspect of life often result at one point or another in the use of the term “it is just the same as usual”. While many fac-ets of life may appear to be like this, architec-ture has never held this notion. The progres-sion of architectural ideas and practice have been evolving for centuries and more so in the last 50, we have seen a rapid transforma-tion of the way we deal with and share archi-tecture. The advent of the computer nearly half a century ago changed the way in which we interact with the world and has become both an integral part of our lives and a tool in which we employ.

As systems have advanced, so too has the regularity of observing Computer aided design techniques in practices around the world. Today CAD systems are able to pro-duce some of the most amazing designs we have seen with little or no errors. This seam-less ability to integrate technology into the design process is why it has become such a common tool.

Technology is widely accepted to always being one step ahead, as technology is ac-quired something new is already on the mar-ket and this is true in our understanding and learning of technology. While computer aided

design began as a tool in assisting precon-ceived ideas it has now able to become part of the process.

As the complexity of these systems have in-creased so to have the notions of what these systems are and how they are used. Com-puterisation is the use of systems for works that are processing “already conceptualised” ideas and designs.1 These programs are purely used to manipulate and store data for projects. Computerisation can be viewed as sitting beside the design process, rather than integrated into it.

Increasingly accepted however, is the con-cept of Computation, which has generally been confused with the theories of Computer-isation. In contrast to this, Computation takes the programs we use and treats them as a part of the design process. Peter Brady per-ceives computation as a “method of captur-ing and communicating ideas”.2 While many still perceive technological programs as tools, these techniques are allowing designers to produce far more precise and complex work. This ability also stretches further, allowing manufacturing and tracking to be undertaken from these technologies.

1 Kostas Terzidis, Algorithmic Architecture (Great Britain: Elsevier, 2006), p. 11.2 Brady Peters, Computation Works: The Building of Algorithmic Thought from Architectural Design ([n.p.]: , 2013), p. 10.

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PRECEDENT #3

The Porter House

Architect: SHOP ARCHITECTS

Location: MANHATTAN, NEW YORK

Year: 2003

Figure A2.1.1 - Street View of Porter House

Figure A2.1.2 - Main Foyer Entrance

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The Porter House is a Project by international firm, SHoP Architects. The site is located in the Meat-packing district of Manhattan, of which the name is derived. Acquisition of the previous building saw the addition of a further 4 storeys, however challenges were faced with the air rights to the area. The neigh-bouring air space was bought, and this allowed for design submission to be won and approved, moving the tower project into the construction phase.

This project is a perfect example of the integration of modern programs in the design process. This exten-sion saw not a single mechanical drawing produced as much of the building utilised Solidworks. SHoP are renowned for pushing the boundaries of their processes and this building is a good reflection of that abstract journey, yet it works so well. Rather than developing multiple concepts in response to a brief, the company first looked at the “properties of the ma-terials and the parameters that defined them.” Gregg Pasquerelli Deans lecture. From there, the firm worked closely with the manufacturers and contrac-tors in order to produce the sections of the building.1

In reflecting on the process that SHoP employed, it can be seen that a lot of the discussion between various sectors was avoided. All relevant informa-tion was first gathered and analysis over potential designs was then carried out using CAD systems.

This ability to then create on these programs gave the firm an opportunity to explore a large range of design options. The use of these systems allows for an exponential level of complexity to be added to designs, making the level of detail and accuracy far greater than conventional techniques.

The direct relationship with the construction teams was a game-changer for the industry. Not only was collaboration possible and welcomed, but it allowed for a more seamless transition from the design phase to fabrication. The software, along with the help of third party programs, allowed the firm to designate all produced materials with a coding system embed-ded with construction requirements and techniques. This meant that tracking of each individual item was possible and progress tracking could be undertaken. Having this kind of knowledge for the construction stage meant less discussion with the architects regarding issues and the ability to locate any missing features of the building.

While the Porter House is an example of the con-tinued integration of design software into the field, conventional means of design creation and process-es will still remain, as many designers still enjoy the freedom of simply drawing out thoughts and ideas. As these systems continue to develop the integration into more businesses is sure to follow.

1 SHoP Architects, The Porter House (2015) <http://www.shoparc.com/project/The-Porter-House> [accessed 10 March 2015].

Figure A2.1.3 - View of Facade

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Figure A2.2.1 - External Roof Structure (Weight bearing)

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PRECEDENT #4

StuttGart University Research Project

Architect: Institute for computational design

Location: Germany

Year: 2013/14

Innovation stems from discovery and ultimately dis-covery derives itself from exploration. Universities and institutions are ceaselessly pushing the boundaries of new technology and design techniques. In recent years, members from the University of Stuttgart have produced a variety of pavilion installations for fabrica-tion and display. More recently the team produced their 2013/14 edition located on the campus grounds in Germany. This piece was the collaborative work of architects, engineers and scientists utilising multidis-ciplinary approaches to the brief.1

The team employed digital design and fabrication techniques to construct the final form and this particu-lar project studied the science of biomimicry from na-ture. Working with scientists, the group observed the structures found in the shells of flying beetles. Many of the worlds discoveries, technologies and cures have originated from the natural world and teams such as this are at the forefront of uncovering the advance-ments that nature can offer.

Through the use of high resolution cameras and modelling programs, the teams were able to observe the structures that form these beetles shells. In doing so they understood how it functioned and could begin

with generating design options. By utilising 3d model-ling techniques the group was able to create multiple iterations of the design according to the inputs from the shell observations, allowing them to explore more options and broaden the possibilities for a final de-sign.

Pavilions such as this reflect the advance that 3D modelling is offering architects and designers. In the past a project such as this one would have taken longer periods to design due to the nature of draw-ings. Not only can designers now create the required information for fabrication through these programs but they can incorporate the construction phase into the design. This pavilion for example is segmented into smaller units that as a whole form the structure. Through programs such as Solidworks and Rhinoc-eros these smaller units can be classified and prefab-ricated, allowing quicker build times.2

Ultimately projects such as this one reflect the ever in-creasing speed of architecture. With the ability to now model and construct projects in a fraction of the time, factors such as cost, labour, time frame and countless meetings can be avoided and therefore improve the overall design process.

1 Universitat Stuttgart, ICD/ITKE Research Pavilion 2013-14 (2015) <http://icd.uni-stuttgart.de/?p=11187> [accessed 11 March 2015].2 Amy Frearson, Carbon-Fibre Pavilion (2014) <http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-univer-sity-of-stuttgart/> [accessed 12 March 2015].

Figure A2.2.2 - Construction phase of pavilion

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COMPOSITION | GENERATION

There have been many periods in history where events have shifted the direction in which ar-chitecture takes, both in style and process. The advent of advanced computational technology and its continued development over the last 20 years is potentially producing one of these periods. Although specific design styles are not changing, the methods by which we design are evolving.

Conventional hand techniques have in more re-cent times seen the addition of computer aided systems that have been merely a manipulation tool. These digital technologies were based on receiving a preconceived idea from designers that allowed the manipulation and editing of projects, leaving the design outcomes a deci-sion of the designers themselves. This idea of design composition has been utilised increas-ingly in industry because of its ease of use and precision. As Engineering and construction sectors have also advanced, prefabrication and complex construction techniques are now pos-sible. Through collaboration these programs are then able to optimise these processes and both designers and constructors are able to be more efficient and precise, cutting down on costs and completion time frames.

However in more recent times the computational abilities of these systems have reached a far more advanced stage, with the ability for them to undertake more complex and precise tasks that have not previously been possible. Algorith-mic programs such as Grasshopper allow the input of certain features/requirements into their systems that can generate design options in ac-cordance with the parameters. This generation

design has therefore created a new way of per-ceiving the design process. Rather than utilising these systems for manipulation, the programs are in essence generating the design. While the possibilities for large numbers of iterations can now occur, much of the personal connection between designer and design may be lost. In al-lowing generative design to be primarily utilised, much of the design choices are then resolved through these programs, potentially losing some features of a design that might otherwise have been included.

The size of cities and rural areas are increasing more rapidly and there is now more demand for buildings and constructions. There is the poten-tial then for a large volume of future projects to be created in this way because of their value to designers.

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PRECEDENT #5

Endesa Pavilion

Architect: IAAC | Margen Lab

Location: Barcelona, Spain

Year: 2011

The Endesa Pavilion in Barcelona is a joint project com-pleted in 2011 for the Smart City Congress. The building utilises computational systems to produce the overall form and provides reflection on the capabilities and drawbacks of algorithmic generation within the design process.

This project aimed to provide a space that was both practical and sustainable. Looking at the sun as a source of energy, this feature formed the basis for the overall design. Observing the path of the sun through the sky, the designers documented these details and employed algorithmic computation to produce the optimum form to which this could be fully utilised. The units within the buildings structure acted in two ways, providing the basis for solar technology on the exterior and generating usable space for inhabitants on the interior. This process also allowed the form to be broken down into smaller units and allow prefabrication and installation to become more cost effective and time saving.1

The buildings overall form is generated from the out-comes of the computations done through software and

while personal choice as to which iteration would ulti-mately form the final concept, much of the interaction be-tween designer and form are lost. The individual features that a designer may want to include to improve aesthetics for example, may not eventuate in these computational designs because they would hinder the maximum output of the input information.

In looking particularly at this project it is interesting to note that the sun and its movement were the only fea-tures that determined the form of the structure. While this building is perfect for the purpose of solar capture, there are other potential aspects of the environments that hold as much importance, such as regional wind, exterior temperatures, building material locations as long-distant sourcing and hinder cost savings in form, etc.

While generative approaches to design can produce many iterations and practical forms, the human aspect of design needs to be first considered in its full extent. Lock-ing into a single idea can still produce good designs but may lack the practical application in real life.2

1 Institute For Advanced Architecture, Endesa Pavilion & Research Projects (2009) <http://www.iaac.net/projects/endesa-pavilion-25> [accessed 17 March 2015].2 Fast Co Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays (2012) <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays> [accessed 16 March 2015].

Figure A3.1.1 to 4 - External Views of Facade

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PRECEDENT #6

Hangzhou Olympic Sports Centre

Architect: NBBJ | CCDI

Location: Hangzhou, China

Year: 2014/15

Hangzhou Olympic Sports Centre is a recent project by NBBJ in collaboration with CCDI. Their design is the sites competition winning entry and is due to be finished shortly. This building represents the positive outcomes of utilising the generative styles of com-putational tools. The team began by understanding that they were designing a stadium within a sports complex and that certain environmental, structural and personal goals had to be met.

Rather than developing iterations of the form of the building and then systematically making those features integrate practically, the team stripped back conventional techniques and begun by look-ing at the requirements that a stadium must achieve. Features such as seating angle and spatial linkage were researched, allowing the designers to first understand aspects such as how facets interacted, their structural requirements and their potential design forms. This meant that before any computa-tional programming occurred, they understood what the building needed

With this knowledge, they then applied their own design intent and concepts in form and layout, later carrying all this information over to Rhino and Grasshopper programs to facilitate the generation of design options. Key drivers such as steel costs and manufacturing ease were all aspects that were plugged into the software.

Rather than allowing the system to then decide the complete form of the structure the teams influenced aspects to reflect their desired outcomes, but also so that the best outcomes structurally could be produced.

Firstly allowing Grasshopper to solve the structural needs of the building meant that a resulting frame could then be manipulated to the overall aesthetic. The Petal exterior was further altered to the desired pattern and because of its link to the computational software, the structure then updated to compensate for the exterior changes. By working in tandem a final design was produced with ease and collabora-tion with construction teams meant that the build-ings build time frame was shortened as they too had access to these systems.

Projects such as these reflect the incredible poten-tial that software can offer. While it is easy to allow these to ‘answer’ a design problem, the identity in the design and the development of personal at-tributes can simply be lost. NNBJ and CCDI have succeeded in utilising Rhino and Grasshopper for the structural and optimising capabilities but they have worked in unison with this process to guide the programs in the direction they preferred. This way of thinking will most likely continue into the future and result in more sustainable and functional spaces.1

1 NBBJ, A City Blossoms (2015) <http://www.nbbj.com/work/hangzhou-stadium/> [accessed 15 March 2015].

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Summary

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Part A has explored the ways in which architectural design approaches projects both conventionally and more recently through the advent of the technological age. It therefore stands to look at designing into the future and for a future. Architecture is a reference for the styles of an age and in our understanding of the world and its progress, change can occur to better design in general.

Discussion over the techniques of modern design practice have allowed an under-standing of the processes that are currently occurring the in architectural field. By understanding this and experimenting with these systems a valuable knowledge is gained and can be carried over the process of designing for the Merri Creek Brief. This research has shown the ways in which algorithmic and computational methods can both be beneficial and harmful to the design intent and personal reflection of the designer. By harnessing the capabilities of programs such as Rhino and Grasshop-per, design iterations can be produced both in volume and potential. The ability to then manipulate and add to these designs truly realises the potential for the integra-tion of design computation technology to be integrated into common practice.

In knowing that computational means will be utilised at some point along the design process, a shift in the initial stages of design are required. The Merri Creek brief remains an open palette for potential outcomes however the site features many vary-ing aspects and these can all affect and influence the desired result. Research into the site will allow the potential design locations to become more evident rather than simply choosing and area and designing a form that merely is located there. By first understanding the needs, constraints and potentials of the site, a more well rounded and precise response can be achieved.

In utilising the techniques and styles of design generation, knowledge of the site will allow the creation of a final project that will enhance the chosen location both in form/environment and human interaction and passing. Due to the large human presence in the area, a design that potentially responds to both nature and human usage is ideal in fully realising the sites attributes.

By using a bottom up approach to first understand the site and design according to this, better management of the form can be achieved. This will then mean that in-teraction with spatial elements will be optimal and fabrication and construction can benefit, meaning build time and material requirements will be improved.

Conclusion Learning OUtcomes

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Conclusion Learning OUtcomes

The design process is heavily generalised and simplified when explained to a wider audience and this perceived understanding creates a notion of the interaction with teams and their designs. In only participating in this subject for 3 weeks now it is in-teresting to note that, while computational design has been used for many years now within this relationship, the extent and varying approaches to this are far greater than previously considered.

By both researching the approaches to design in various locations around the world and physically completing tasks using the same methods, the widespread popular-ity of these methods can be understood. It is easy to see how certain designs are allowed to be fully realised through computational software, however in order to produce more practical, well rounded and researched projects a human-technology relationship must be established in order to both utilise the intent of the designer and the capabilities of the software. This tandem effort means that forms have the poten-tial to be more sustainable but also respond to a brief in a more comprehensive man-ner, regardless of the outcome, realised or not.

Understanding the more complex methods that practices employ to design also has provided the basis for a change in personal design progression and the ways in which future tasks will be approached. These programs can be utilised to varying degrees and this flexibility makes them both useful tools and aspects of the design process.

In looking back over the last few weeks, the knowledge gained would have been both a useful tool for use in past projects but also in understanding the more com-plex and intertwined processes that occur in design. In fabricating design tasks, this software would have allow cost savings as well as more practical construction tech-niques and less need of materials. Approaches to design would also have been al-tered as these techniques provided a more detailed analysis of what is both required and desired in a design task.

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Programs can produce varying iterations of a design and manipulation can then occur to re-flect the design intent or preference. Also, prod-ucts of these programs can often produce forms that are reflective of objects that may below to a different field of intent entirely such as a roof resulting in a wall, etc.

Disjoint between design and construc-tion has often lead to longer build times and higher cost, however these programs have the ability to design forms that also allow the easy fabrication and assembly of structures in short periods of time. They also allow the collaboration with designers during the design process.

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Algorithmic exploration

For me, the sketchbook reflects the progression of skills obtained throughout the semester in Rhino and Grasshopper, allowing us to both gain knowledge but also provide the opportunity to expand on basic tasks and explore the potentials of this software. While previous work over the last few weeks has been basic replication of certain tasks, I took the opportunity, as with the wire frame form below, to experiment with the possibilities of certain activi-ties. The chosen sketches represent both the best of these tasks and their potential to be further expanded on in the coming weeks leading up to the major design project. While stipulated that these do not necessarily have to link to our progression of major design ideas, it is providing the platform to begin considering potential pathways and options in the coming weeks. While previously discussed in precedents, these programs can provide a de-sign solution very quickly, and gained knowledge through completing these tasks has shown that, however they have proven to me that personal input is key in reflecting the intent of the designer and more aesthetic features.

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References

TEXTS:

Amy Frearson, Carbon-Fibre Pavilion (2014) <http://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [accessed 12 March 2015].

Anthony Vidler, Review of Rethinking Architecture and the Anaesthetics of Architecture (United States: Harvard Design Magazine, 2000), p. 3 - 11.

Brady Peters, Computation Works: The Building of Algorithmic Thought from Architectural Design ([n.p.]: , 2013), p. 10.

Dan Howarth, Renzo Piano Design Glass “Organic Creature” to house Pathe Foundation (2014) <http://www.dezeen.com/2014/06/04/renzo-piano-pathe-foundation-paris/> [accessed 11 March 2015].

Fast Co Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays (2012) <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maxi-mum-rays> [accessed 16 March 2015].

Institute For Advanced Architecture, Endesa Pavilion & Research Projects (2009) <http://www.iaac.net/projects/endesa-pavilion-25> [accessed 17 March 2015].

Kostas Terzidis, Algorithmic Architecture (Great Britain: Elsevier, 2006), p. 11.

Lian Hurst Mann, Reconstructing Architecture: Critical Discourses and Social Practices, ed. by Thomas A. Dut-ton, Illustrated edn (Minnesota: U of Minnesota Press, 1996), p. 1.

NBBJ, A City Blossoms (2015) <http://www.nbbj.com/work/hangzhou-stadium/> [accessed 15 March 2015].

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