air studio: journal

NATHALIE DUMONT STUDIO : AIR / JOURNAL

ARCHITECTURAL DESIGN STUDIO : AIR

JOURNAL

SEMESTER ONE 2012STUDENT NO : 390940

STUDIO GROUP C : PAUL

JOURNALCONTENTS

05 /

09 /

13 /

17 /

20 /

ARCHITECTURE AS DISCOURSE

[KINETIC + INTERACTIVE ARCHI-

TECTURE]

COMPUTING + TECHNOLOGY

[INTEGRATED MEDIA AS PART OF

ARCHITECTURE]

PARAMETRIC MODELLING

[KINETICISM THROUGH ENVI-

RONMENTAL FACTORS]

02 /

32 /

35 /

ARTICULATED CLOUD

[CASE STUDY]

ARTICULATED CLOUD

[RE-ENGINEERING

MATRIX OF DEFINITIONS

[GRASSHOPPER]

EXPRESSION OF INTEREST

[WYNDHAM GATEWAY PROJECT]


[MATERIALITY]

[LIGHT]

[KINETIC MOTION]

[STRUCTURAL RESOLUTION]

23 /

25 /

27 /

29 /

37 /

39 /

PANEL DESIGN

REFLECTIONS

ARCHITECTURE AS DISCOURSEWEEK ONE

ARCHITECTURE AS DISCOURSE / WEEK ONE

KINETIC + INTERACTIVE ARCHITECTURE

KINETIC ARCHITECTURE FORMS THE BASIS FOR MOVEMENT AND INTERACTIVENESS THAT IS NOT AVAIL-

ABLE TO CONVENTIONAL STATIC STRUCTURES. IN MOST INSTANCES IT ENTAILS PARTS OF A BUILDING

TO MOVE WHILST STILL MAINTAINING IT’S STRUCTURAL INTEGRITY, SEEN IN PIECES OF ARCHITECTURE

SUCH DYNAMIC TOWER; HOWEVER IT CAN ALSO BE VIEWED AS A REPRESENTATION OF MOVEMENT OVER

TIME, IN THE CASE OF THE DANDELION PAVILION.

05 /

I 01 I 02

WEEK ONE / ARCHITECTURE AS DISCOURSE

06 /

I 01

DANDELION PAVILION, EX-

HIBITED AT WORLD EXPO IN

CHINA, 2010. PHOTOGRAPH

BY DANIELE MATTIOLI.

I 02

60,000 TRANSPARENT

FIBREOPTIC RODS EACH

HOLD ONE OF MORE OF THE

WORLD’S SEED SPECIES.

PHOTOGRAPH BY DANIELE

MATTIOLI.

I 03

REALISATION OF THE DIFFER-

ENT MOVEMENT CAPABILI-

TIES OF THE DYNAMIC TOWER

BY ARCHITECT DAVID FISHER.

I 04

DETAILED REALISATION OF

THE PLACEMENT OF EACH

POD AROUND A CENTRAL

AXIS WHICH CREATES EACH

FLOOR.

The Dandelion Pavilion is an example of how kinetic

movement is possible over time. The end of each rod

holds a seed or two which is preserved and can be uti-

lised in years to come; this is an excellent case of move-

ment over time, and would be fantastic to see incorpo-

rated in the Wyndham project, through the use of some

sort of material which slowly corrodes as a reaction to

the passing car’s exhaust pollution. This is also a piece of

architecture which moves when wind forces are put upon

it; kineticism.

Unlike the Dandelion Pavilion, the Dynamic Tower is

kinetic through motorisation. Each level is mechani-

cally roatated around a central axis, causing a variation

��ƪ��dynamic structure in itself.

These two innovative structures have made an impact

within the architectural discourse, as they demonstrate

the possibilities of mechanical and non-mechanical ki-

neticism. In relation to the EOI, this apporach of creating

a dynamic and changing, whether be physically or over

time, would incorporate well within the site’s location

and the values of Wyndham as a growing city.

I 03

I 04

COMPUTING + TECHNOLOGYWEEK TWO

ARCHITECTURE IS EVER EVOLVING AND PUSHING THE BOUNDARIES OF WHAT IS POSSIBLE,

ESPECIALLY IN TERMS OF THE USE OF TECHNOLOGY TO GENERATE FORMS WHICH INTEGRATE

MEDIA; INCORPORATED INTO THE STRUCTURE LIKE KUNSTHAUS GRAZ, OR ACTING AS A SEPER-

ATE ENTITY ON THE EXTERIOR OF A BUILDING AS SEEN IN THE CHANEL STORE IN TOKYO. THIS

EVOLUTION IN TECHNOLOGY HAS BECOME HIGHLY EVIDENT IN THE WAY DESIGNERS TODAY

ARE APPROACHING THEI PROECTS.

09 /

I 02

COMPUTING + TECHNOLOGY / WEEK TWO

INTEGRATED MEDIA AS PART OF ARCHITECTURE

I 01

The Kunsthaus Graz Museum in Austria

is an example of media lighting which

has been incorporated into this para-

metrically designed building facade. It

utilises BIX technology, translating to

‘big pixels’, which allows lighting ele-

ments to act individually from the next

��Ǥ��ơ��resolution greyscale computer screen.

The skin which is wrapped around the

entire building acts as a communicative

device to the public, which is particularly

useful for building types such as this

BIX technology would be very interesting

to use on the Gateway project as it could

��ơ��-Ƥ��Ǥ�Images, messages or other information

could be relayed to the audience, mak-

ing the sculpture more than just a piece

of art but a useful tool for broadcasting,

relaying and presenting information.

WEEK TWO / COMPUTING + TECHNOLOGY

10 /

I 03 I 04

I 01

KUNSTHAUS GRAZ MUSEUM

IN AUSTRIA. ARCHITECT:

SPACELAB COOK-FOURNIER.

I 02

BIX TECHNOLOGY WHICH

CREATES THE SKIN OF THE

KUNSTHAUS GRAZ BUILD-

ING.

I 03

HUGE TELEVISION-LIKE

SCREENS WHICH CREATE A

SKIN ON ONE SURFACE OF

THE CHANEL BUILDING.

I 04

CHANEL STORE IN GINZA,

JAPAN. ARCHITECT: PAUL

MARIONI.

In comparison to the Kunsthaus Graz Mu-

seum, the Chanel Store in Ginza uses media

screens which are completely seperate to the

structure and are much more detailed in their

resolution. They are attached to a complex

data stream and computer which can be seen

in the illustration below.

The Chanel Store acts a huge wall of television

screen which has the capability of transmitting

complex and moving imagery. Dissimilar to

Kunsthaus Graz, these screens are attached to

the external facade as a completely seperate

entity. It is a fascia on one side of the building,

not a skin which envelopes the entire structure.

For this reason it is very one-dimensional in it’s

appearance.

These two building have giving way to a new

generation of architects who are wanting to in-

tegrate media with the purpose of either provid-

ing something visually encaptulating or informa-

tive in it’s messages. It provides the opportunity

to become interactive with it’s audience. In

terms of the Gateway project in Wyndham, the

use of media technology either integrated with

the structure or it’s own property which is simply

attached, could be very unique to the area and

cause much attention to this municipality.

PARAMETRIC MODELLINGWEEK THREE

ARCHITECTURE IS DESIGNED IN RELATION TO MANY FACTORS WHICH ALTER IT’S FINAL OUT-

COME AND HOW IT OPERATES AFTER BEING CONSTRUCTED. ONE FACTOR WHICH IS HIGHLY

INFLUENTIAL IN THE WAY THAT BUILDINGS REACT WITHIN IT’S LOCATION IS THAT OF ENVI-

RONMENTAL. BUILDINGS NEED TO WITHSTAND CERTAIN PARAMETERS CAUSE BY NATURE,

SUCH AS WIND, SUN, SNOW, RAIN ETC. AND IN SOME CASES NEED TO REACT. AN EXAMPLE

OF THE WAY A BUILDING CAN BE KINETIC AND REACT TO AN ENVIRONMENTAL FACTOR IS

THE RMIT DESIGN HUB.

13 /

PARAMETRIC MODELLING / WEEK THREE

KINETICISMTHROUGH

ENVIRONMENTAL

FACTORS

I 01

The RMIT Design Hub has a very

prominant outer skin which simply

looks aesthetic and has no func-

tional value. However this outer

shell has a large role in the way

that this building’s internal envi-

ronment is controlled. Each circu-

lar panel is automatically moved

to respond to the placement of the

sun and acts as sunshading for the

internal spaces within. The possi-

bility of encorporating this idea of

kinetic movement in response to

sun exposure into the EOI may be

��ơ��-

ing cars which create wind forces

on the structure.

I 02

WEEK THREE / PARAMETRIC MODELLING

14 /

I 01

RMIT DESIGN HUB, CORNER

SWANSTON STREET AND

VICTORIA STREET.

I 02

DETAILED VIEW OF THE IN-

TERNAL STRUCTURE OF THE

OUTER SKIN.

I 03

BEAUTIFULLY SIMPLE CIRCU-

LAR SKIN WHICH COVERS ALL

4 SIDES OF THE BUILDING.

I 04

TRANSPARENT CIRCULAR

PANELS WHICH ARE VERTI-

CALLY HINGED WITHIN A

SIMPLE FRAME.

Each transparent circular panel

pivots on a central vertical axis

with 45 degrees of motion. These

��Ƥ��-

lar frame which is positioned in a

huge grid-like fashion that covers

the whole exterior of the building.

This structural system is very

�ƥ��parts which detracts from what is

truly being highlighted; the pivot-

ing panels. In relation to the EOI

this type of very stripped back and

��Ƥ��such a location beside a freeway,

where cars are only going to see

the sculpture for a limited time

and need to absorb as much as

possible very quickly. Having the

panels hinged to the frame in this

way may allow them to pivot in a

360 degree motion, which could

��ơ��Ǥ

I 03

I 03

MATRIX OF DEFINITIONS

math functionmultiple math

function image sampler rotation

SUR

FAC

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RID

SUR

FAC

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OR

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LSB

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LEA

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EXPL

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GR

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ASSOCIATION OUTPUT

17 /

MATRIX OF DEFINITIONS / GRASSHOPPER + RHINO

matrix

extrusion

AFTER EXPERIMENTING WITH VARIOUS

COMBINATIONS OF INPUTS, ASSOCIATIONS

AND OUTPUTS, AND APPLYING THEM TO

OUR INITIAL DESIGN IDEAS, THE FOLLOW-

ING RESULTS WERE THE MOST USEFUL

AND APPLICABLE TO OUR INTENTIONS. WE

FOCUSED OUR ATTENTION TO THE DEFINI-

TIONS WHICH COULD BE APPLIED TO A GRID-

LIKE PATTERN, AND CREATED THE MOST

INTRIGUING AFFECTS. MATH FUNCTION

AND MULTIPLE MATH FUNCTION RESULTED

IN A MORE UNIFORM AND LINEAR AFFECT,

WHEREAS IMAGE SAMPLER AND ROTATION

CREATED MORE MANIPULATED, MANUAL

AND UNREGULATED RESULTS. WE LOOKED

AT EXTRUSION TO FUNCTION AS OUR IDEA

OF CREATING LIGHT WELLS, WHICH TURNED

OUT EXACTLY WHAT WE WERE INTENDING.

18 /

GRASSHOPPER + RHINO / MATRIX OF DEFINITIONS

21 /

EXPRESSION OF INTEREST / WYNDHAM GATEWAY

I 03I 01

GOOGLE EARTH VIEW OF THE AREA OF WYNDHAM, SHOWING IT’S CLOSE

PROXIMITY TO THE BAY.

Google, (2012), Google Maps [ONLINE]. Available at: http://www.maps.google.com.au

[Accessed 17 April 12].

I 02

THE SPECIFIC LOCATION OF THE SITE, SITUATED BETWEEN 2 MAJOR

ROADS, AND IN CLOSE RANGE TO A SERVICE STATION.

Google, (2012), Google Maps [ONLINE]. Available at: http://www.maps.google.com.au

[Accessed 17 April 12].

I 03

DEVELOPMENT OF THE WYNDHAM MARINA - AREA FOR RESIDENTIAL

HOUSING, COMMERCIAL FACILITIES, HARBOUR BIRTHS AND PUBLIC FACILI-

TIES. A $400 MILLION PROJECT.

Wyndham City Council, (2012), The Development [ONLINE]. Available at: http://www.wynd-

hamharbour.com.au/wyndham_marina/ [Accessed 17 April 12].

I 04

THIS ALREADY EXISTING WYNDHAM CITY SCULPTURE REPRESENTS THE

HOME OF THE RESIDENTS AND THE WELCOMING OF TOURISTS. ACCORD-

ING TO THE COUNCIL IT IS A SYMBOL OF THE COMMUNITY’S ASPRIATIONS

FOR THE FUTURE.

Wyndham City Council. 2011. Seeds of Change. [ONLINE] Available at: http://www.experi-

encewyndham.com.au/artsculture/art/seedsofchange. [Accessed 03 May 12].

I 01

I 02

expressionof

interestWYNDHAM GATEWAY PROJECT

Selection of Site A was to make the most use of creating a sculpture

which suggests elevating sections across the wide road, but not actu-

ally making that connection. It is also the space in which cars have

equal viewing capacity whether travelling from Melbourne to Gee-

long, or vise-versa. The plot of land is also an incredibly large, unin-

��ǡ�ƪ��Ǥ

The Western Gateway Project is an opportunity to present an image

of Wyndham City as an innovative and developing municipality. The

Western Gateway will pick up where the ‘Seeds of Change’ Gateway

�� ơ� �� edge design that demands attention be paid to Wyndham as a hub of

rapid urban development.1

The Gateway will not only be a literal Gateway into Wyndham but

also an introduction into the future urban developments occurring

within the city. In particular, inspiration will be drawn from the $440

1 Experience Wyndham. 2012. Seeds of Change. [ONLINE] Available at: http://www.experiencewynd-

ham.com.au/artsculture/art/seedsofchange. [Accessed 03 May 12].

22 /

million Wyndham Marina project planned for completion in 2015.1

This marina project will attract boating enthusiasts, as well as those

seeking an exciting waterfront lifestyle. Even though the gateway will

be exposed to all those driving along the Princess Freeway, its con-

nection to the boating harbour will attract more of attention from

those engaging with the boating culture, and those interested in the

residential developments. By capitalizing on this new expansion, the

gateway will be an emblematic representation of this forthcoming

tourist attraction. The design will serve as an icon of modernity, a

sample of cutting edge design that can be expected from the state of

the art marina facilities.

In applying concepts relating to light, materiality, kinetic interaction

and structural resolution, it will drive an innovative and experiential

design solution that Wyndham desires. Our design goal is to create

an architectural response that is unique in that the user can interact

with it on a somewhat personal level, causing a manipulation of for-

�� ơ�� Ȁ��characteristics. This highly experiential design will react and display

�ơ�� ƪ�� ǡ��variation in size.

1 Wyndham Harbour. 2011. The Development. [ONLINE] Available at: http://www.wyndhamharbour.

com.au/wyndham_marina/. [Accessed 03 May 12].

WYNDHAM GATEWAY / EXPRESSION OF INTEREST

I 04

piece of art, is perfect for the Wyndham Gateway as it relates

strongly to this city’s rapidly changing and evolving urban and

cultural fabric. The aim of encorporating these aspects of inter-

��ơ��time the user connects with the structure.

STRUCTURAL RESOLUTION

Structural resolution of the design refers to purifying struc-

�� ơ��ƥ��manner. Through the development of form, its complexity can

be optimized to a level that best suits cost and constructability

considerations. In applying this to the Wyndham Gateway proj-

ect, structural resolution will be implemented to purify the form

to a level that sees the original design intent retained, whilst im-

proving and simplifying form down to it necessities. This design

element will also enable the integration of the Motion/Kinetic

��ǡ��Ƥ��and is seen as the core connector that brings all other elements

into the one amalgamated form and structure.

LIGHT

�� Ƥ�� interacts with structural forms. The spotlight of the sun will en-

��ƪ��onto the surface and the appeal in distortion and manipulation

when direction becomes involved. With the addition of perfo-

rations and apertures, this will allow for maximum exposure

��ǡ��ƪ��greater aesthetic appeal.

SUMMARY

The culmination of these elements will equate to a Gateway that

is truly representative of Wyndham. The design will be an inter-

active, architectural sculpture that provides an opportunity for

personal engagement. Through the use of light and kinetics, the

experiential qualities of the design will be heightened, engaging

the audience in a profound manner. Enabled through parametric

design, this gateway for the City of Wyndham will promote the

growth and development of this municipality, presenting it as a

focal point for broader Melbourne to embrace.

MATERIALITY

The gateway design has the potential to become a completely inte-

grated part of the site through the choice of material. By choosing a

material that responds to the environmental conditions of the site and

to those interacting with the space, the surface of the Gateway can be

altered in a way that is totally unique to its particular context. It also

��ơ��and change the way it will be experienced by others in the future, who

��ƪ��Ǥ

KINETIC MOTION

Kineticism refers to a particular degree of motion within the design of

��ǡ��ơ��ǡ��time-related conditions.1 This idea of a dynamic, ever changing

1 Dr. Carolina Stevenson. 2010. Kinetic Architecture. [ONLINE] Available at: http://www.liv.ac.uk/lsa/

research/kinetic/index.htm. [Accessed 03 May 12].

23 /

MATERIALITY / WYNDHAM GATEWAY

I 01

MATERIALITYWYNDHAM GATEWAY PROJECT

Materials that can be controlled in terms of their physi-

cal appearance and properties, such as Cortel Steel,

have the ability of being contextually sensitive and in

some cases, being responsive to the interaction be-

tween it and the user. For the Wyndham project, we are

proposing to use Cortel Steel, which is a high-stength

alloy steel composition with an oxidised coating that

provides atmospheric reactions to take place making

the surface of the material becoming rusticated and

corroded.1

Through processes such as car exhaust fumes coming

in contact with the material, which will be a constant

factor at our Wyndham site, regular users will be able

to see their gradual impact on the sculpture, and there-

fore the atmosphere.

�� Ƥ�� used is on the Sydney Myer Asia Centre in Melbourne.

The facade encorporates an abundance of Cortel Steel

��ơ��between surfaces that have been in frequent contact

with corroding causes, and those which have not.

Using this approach to materialising a road-side sculp-

ture, our intensions of creating a piece of architecture

that becomes an integral part of it’s local environment

��Ƥ��Ǥ

1 Chapel Steel. 2011. Structural, Steel & HSLA Plate. [ONLINE] Available at: http://

www.chapelsteel.com/A588.html. [Accessed 03 May 12].

I 02

I 03

24 /

WYNDHAM GATEWAY / MATERIALITY

��ơ��-�� ǯ��Ǥ�� -�� Ǧ��Ǧ�� Ǥ

I 01

DISCOLOURATION AND UNPREDICTABLE SURFACE TEXTURE ARE ��Ǥ��ABILITY TO REACT TO POLLUTANTS IN THE ATMOSPHERE, LEAV-��Ǥ��Ǥ��ǤǤ�Ǥ��Ǥ�ȏ��Ȑ��ǣ��ǣȀȀ��Ǥ��Ǥ��Ǥ��Ȁ��Ȁ��Ǥ��Ǥ�ȏ��ȐǤ��ǡ��ǡ��

I 02

OBJECTS WHICH INTERFERE WITH THE VERTICAL RUNOFF PRO-CESS CREATE A VARIATION IN SURFACE EXPOSURE TO CERTAIN ��Ǥ��Ǥ��ǡ��ǡ��

I 03

��Ǥ��ǡ��Ǥ��Ǥ��ǤǤ�Ǥ��Ǥ�ȏ��Ȑ��ǣ��ǣȀȀ��Ǥ��Ǥ��Ǥ��Ȁ��Ȁ��Ǥ��Ǥ�ȏ��ȐǤ��ǡ��ǡ��Ǥ

25 /

LIGHT / WYNDHAM GATEWAY

I 01

LIGHTWYNDHAM GATEWAY PROJECT

Light is vital factor of architectural planning, de-

��ǡ��ơ��on the experiential qualities of a space. In our

Wyndham Gateway project, emphasis on light-

��ǡ��Ƥ��ǡ��to create a space which captures driver’s atten-

��Ƥ��ǡ�but also in reference to the Harbour develop-

ment.

Perforations were looked at as being apart of the

overall structure, representing a certain image

that could be linked back to our precedence of

a boat. However after establishing plans to have

rotating panels, perferations within these panels

would hinder their functionality and thus weak-

ening our design response.

I 01

DETAILED IMAGE OF A MODEL REPRESENTING A PERFORATED SCREEN

WHICH HAS BEEN ENCORPORATED WITH A STRUCTURAL RIGID FRAME.

SHADOWS CAST ARE MORE REPRESENTATIVE OF AN INTEGRATED SYSTEM,

MORE THAN THE PHYSICAL MODEL.

Image taken by Nathalie Dumont, Melbourne, April 26 2012

I 02

SAME MODEL AS SEEN IN FIGURE 1, HOWEVER A VIEWPOINT FROM THE

OTHER SIDE OF THE SCREEN. THIS SIDE HAS BEEN PERFERATED WITH THE

USE OF AN IMAGE SAMPLER PICTURE OF A WAKE, APPLIED IN GRASSHOP-

PER.

Image taken by Nathalie Dumont, Melbourne, April 26 2012

I 03

THESE THREE CONSECUTIVE PHOTOGRAPHS SHOW THE POSSIBILITIES

IN TERMS OF THE SHAPE OF THE PERFERATIONS THAT CAN BE ACHIEVED;

CIRCLE, SQUARE, TRIANGLES, REPRESENTING THE SIMPLEST OF THEM ALL.

Images taken by Caleb Boeringer, Melbourne, April 21 2012

I 04

THE REFLECTION OF A MAN IN A RIPLLED BODY OF WATER. AS THE REFLEC-

TION GETS FURTHER AWAY FROM THE ORIGINAL OBJECT CREATING THE

REFLECTION, THE IMAGE IN THE WATER BECOMES INCREASINGLY BLURRY.

��ǡ�ȋȌǡ��ǡ��ƪ��ȏ��ȐǤ��ǣ��ǣȀȀ��Ǥ��Ǥ��Ȁ��Ǧ��Ǧ��Ǧ��Ǧ��Ǧ��Ǧ��ƪ��Ǥ��ȏ��-

cessed 17 April 12].

I 02

I 04

26 /

WYNDHAM GATEWAY / LIGHT

In the Figure 3 experimentation with the variation in

sized perferations, we got an understanding of how

hole size determines the possibility of the shadow

to be blurry or not. The smaller the perferation, the

�� Ƥ�� ǡ� �� away from the light source it was, the blurrier it was.

This can also be seen in the analogy of a man’s re-

ƪ�� Ǣ� �� ƪ�� moves away from the man’s original body, the head

�� Ƥ��Ǥ� �� -

��ǯ�� ǡ� �� Ƥ�� object or shadow needs to be perfect. Therefore have

tiny perferations would not be ideal in this situation.

I 03

27 /

KINETICS / WYNDHAM GATEWAY

KINETICSWYNDHAM GATEWAY PROJECT

“Kinetic Architecture lies in creating spaces and objects

�� Ƥ�� changing needs, whereby an adaptable architecture is

formed.”1 In the case of the Wyndham Gateway proj-

ect, user interaction through the force of passing cars

hitting the scultpture and in turn causing a spinning re-

action from the specially designed, pinned panels.

This form of interaction can also be described as ‘Re-

sponsive Architecture’, in which environmental condi-

tions are measured via sensors and the building’s form,

colour or shape responde accordingly via actuators. 2This form of interactive architecture is usually tech-

��ƪ��ǡ��-

cusing on is more independent than that, being solely

��ƪ��on the panels as they drive past.

1 El Razaz, Z, 2010. Sustainable vision of kinetic architecture. Journal of Building

Appraisal, [Online]. 5, 341-356. Available at: http://www.palgrave-journals.com/

jba/journal/v5/n4/full/jba20105a.html [Accessed 03 May 2012].

2 Wikipedia. 2012. Responsive Architecture. [ONLINE] Available at: http://

en.wikipedia.org/wiki/Responsive_architecture. [Accessed 03 May 12].

I 01

I 01

SIDE PHOTOGRAPH OF MODEL SHOWING THE THREE-DIMENSION-

ALITY OF THE EXTRUDED PANELS. INTERESTING SHADOWS ARE

CREATED AS LIGHT REFRACTS OF ALTERNATING SIDES OF EACH

PANEL.

Image taken by Nathalie Dumont, Melbourne, April 26th 2012

28 /

WYNDHAM GATEWAY / KINETICS

I 01

I 01

DIAGRAMATIC REPRESENTATION OF WIND CAPTURING PROCESS OF THE

SAVONIUS. INCOMING WIND PATHS ARE CAPTURED IN THE HOLLOW WING

WHICH THEN TURNED AROUND A CENTRAL AXIS IN THE SUBSEQUENT DIREC-

TION OF ROTATION.

pvanheus, (2007), Savonius Diagram [ONLINE]. Available at: http://commons.wikimedia.org/

wiki/File:Savonius_Diagram.png [Accessed 03 May 12].

I 02

DIAGRAM OF AN ANEMOMETER WHICH SHOWS THE CUPS CAPTURING WIND

AND FORCING THE WHOLE INSTRUMENT TO SPIN AROUND A CENTRAL AXIS.

Geography LWC, (2009), Weather [ONLINE]. Available at: http://www.geographylwc.org.uk/

GCSE/igcse/weather/weather.html [Accessed 03 May 12].

I 03

PHOTOGRAPH OF MODEL SHOWING A GRID OF FLAT SQUARE PANELS

PINNED TO CORNERS OF THE FRAME. SPINNING POSSIBILITIES ARE HIN-

DERED NOT ONLY BY THE JOINING QUALTIES OF THE MODEL, BUT ALSO THE

FLATNESS AND EQUALLY BALANCED PANELS, WHICH IN THEORY WILL BE

DIFFICULT TO SPIN UNHESITANTLY IN THE WIND.


I 03

SAVONIUS ANEMOMETER

I 02

CUPS IN WHICH AIR IS CAPTURED

DIR

EC

TIO

N O

F R

OT

AT

ION

DIRECTION OF WIND

Some precedences I looked towards were that of wind speed mea-

suring instruments; the savonius and the anemometer. These are

established tools for capturing wind and rotating around a central

axis, exactly what our intentions for the panels are to be. Both the

savonius and anemometer use cup like elements which hold the

captured air and are pushed around the centre axis by the force it

��Ǥ��Ƥ��ơ��to rotate an otherwise static element, therefore the design of our

panels are in line with these principles. However the shape of each

cup is altered to a more angular pyriamid-like structure, allowing

multiple faces to cast and refract light and shadows.

29 /

STRUCTURAL RESOLUTION / WYNDHAM GATEWAY

STRUCTURAL R E S O L U T I O N

WYNDHAM GATEWAY PROJECT

�� Ƥ�� rationality as it’s design encompasses a double curved sur-

face. Normally this highly elaborate and complex design

��ƥ��ǡ��Wolf Pree, rationalised and compromised elements in order

for his ideas to be possible. A level of compromise between

aesthetics and constructability had to be made, therefore

��ǯ��Ƥ��Ǥ��-

cess of this building arises from it’s ability to create a balance

��Ƥ��ǯ��aesthetic objectives. The ability to come to a middle ground

in terms of creating an equilibrium between structural capa-

bilities and design intent, is something that the Wyndham

�� ǡ��ơ��long-lasting.

I 01

CLOSE UP VIEW OF THE RATIONAL STRUCTURAL NATURE OF THIS

BUILDING. CURVED SURFACES, WHICH WOULD NORMALLY BE FIN-

ISHED IN A SMOOTH COHERENT PANEL HAS BEEN SEGMENTED INTO

STANDARDISED ELEMENTS.

DeZeen Magazine, (2007), BMW Welt by Coop Himmelb[l]au 2 [ONLINE]. Available at:

http://www.dezeen.com/2007/10/03/bmw-welt-by-coop-himmelblau-2/ [Accessed 03

May 12].

I 02

DIAGRAM OF AN ANEMOMETER WHICH SHOWS THE CUPS CAPTURING

WIND AND FORCING THE WHOLE INSTRUMENT TO SPIN AROUND A

CENTRAL AXIS.

Geography LWC, (2009), Weather [ONLINE]. Available at: http://www.geographylwc.

org.uk/GCSE/igcse/weather/weather.html [Accessed 03 May 12].

I 03

PHOTOGRAPH OF MODEL SHOWING A GRID OF FLAT SQUARE PANELS

PINNED TO CORNERS OF THE FRAME. SPINNING POSSIBILITIES ARE

HINDERED NOT ONLY BY THE JOINING QUALTIES OF THE MODEL, BUT

ALSO THE FLATNESS AND EQUALLY BALANCED PANELS, WHICH IN

THEORY WILL BE DIFFICULT TO SPIN UNHESITANTLY IN THE WIND.


I 01

I 02

I 03

30 /

WYNDHAM GATEWAY / STRUCTURAL RESOLUTION

Fluid Level of resolve

I 02

I 03

The precedent which currently has the

�� ƪ�� form of the gateway is that of the asymp-

totic nature of the site and it’s contextual

criterion. There are a number of elements

within the Wyndham context which cre-

ate these asymptotic relationships. One

being the divergence and convergence of

the two opposite roads around site A, and

another being the form of a wake once a

boat has sped through a body of water.

�� ƪ�� -

ciations to the Council’s desire of promot-

ing Wyndham’s up and coming boating

precinct, and also the positioning of this

city in it’s wider Melbourne context and

a connecting point between the CBD and

Geelong.

I 01

WAKE IMAGE TO WHICH STRUCTURAL SHAPE

WILL TAKE PRECEDENCE FROM.

Edmont, (2009), Fjord.surface.wave.boat.jpeg [ONLINE].

Available at: http://en.wikipedia.org/wiki/File:Fjord.surface.

wave.boat.jpeg [Accessed 17 April 12].

I 02

DEVELOPMENT OF MODELS HIGHLIGHTING

THE GRADUAL RATIONALISATION OF A CURVED

STRUCTURE TO A PITCHED ROOF-LIKE STRUC-

TURE.

Image take by Nathalie Dumont, Melbourne, April 26th

2012.

I 03

DIAGRAM REPRESENTING THE DEVELOPMENT

OF FORM THROUGH RATIONALISATION, GOING

FROM FLUID LINES TO VERY RESOLVED ANGLED

LINES.

Diagram created by Caleb Boeringer, April 29th 2012

I 01

ARTICULATED CLOUDCASE STUDY

33 /

articulatedCLOUD

I 01

ARTICULATED CLOUD / CASE STUDY

‘THE ATMOSPHERE MAKES THE DECISIONS’

NED KAHN

I 02

CASE STUDY / ARTICULATED CLOUD

34 /

I 01

CHILDREN\S MUSEUM OF

PITTSBURG. ARCHITECT: NED

KAHN.

I 02

TENS OF THOUSANDS OF 14

CM ACRYLIC PANELS FLAP IN

THE WIND,.

I 03

EFFECT OF SKIN CHANGES

NOT ONLY AS A CAUSE OF

THE WIND, BUT ALSO DIREC-

TION OF SUNLIGHT ON THE

PANELS.

I 04

INTERNALSTRUCTURE

WHICH CREATES THE

FRAMEWORK TO WHICH THE

PANELS ARE ATTACHED.

The expansion of the Children’s Museum of Pittsburg has

given live to an incredible, kinetic screen which is not only vi-

sually stimulating but also environmentally savvy. It is a three-

story steel and glass structure with a facade made of tens of

thousands 14cm translucent acrylic panels which dance in the

��ǡ��Ǯ��Ǧ��ǯ��ơ��Ǥ

A grid-like aluminium structural frame supports long stain-

less-steel rods which the individual panels are attached. The

acrylic panels hang, when static, vertically down to create the

illusion that it is a solid screen. However a number of factors

bring this facade to life and allow it’s dynamic nature to ap-

pear. The wind, being the most dominant factor, lighting con-

ditions, times of day and weather, all have a part in interacting

with the Articulated Cloud. This skin also acts as a heat barrier

for the glass building behind.

In a lecture given at the University of Texas School of Archi-

tecture in 2010, Ned Kahn spoke about how the atmosphere

and environment are the decision makers to his architectural

installations. This approach is intriguing, because in some way

he is letting go of the reigns and putting the aesthetic result

of his work into the unpredictable and ever changing hands

of nature.

This approach can be utilised in the design process for the

Wyndham gateway project, due to the positioning of the site

in an expansive open area with constant wind forces occuring

as a result of the passing cars at high speeds.

I 03

I 04

35 /

articulatedcloud

re-engineering

I 01

To determine the functionality and engineering behind the Articulated

Cloud, we developed a replica of the hanging screen in Grasshopper. With

a number of equally spaced lines behaving as the axes to which 300 uni-

form square panels can rotate, attractor points were used as a representa-

tive of the force and direction of the wind on the screen’s surface. These

attractor points are used to articulate the rotational reaction of each light-

weight panel when forces (wind) come into contact with the surface.

The degree to which these panels are able to rotate was experimented as

angles of 90, 180 and 360 degrees. The actual project’s degree of rotation

is 90, however we wanted to see if increasing this number would create

��ơ��Ǥ

To further develop this working model, replacing the attractor points

�� ơ�� Ƥ��omit. This variation in vector components will cause individual panels to

rotate accordingly, hense creating a more realistic representation.

ARTICULATED CLOUD / CASE STUDY

‘ARTICULATED CLOUD’, PITTSBURG CHILDREN’S MUSEUM

NED KAHN

CASE STUDY / ARTICULATED CLOUD

36 /

I 01

FACADE OF THE ARTICULAT-

ED CLOUD. RIPPLE AFFECT

CREATED BY THOUSANDS OF

HANGING ACRYLIC PANELS

OFF ALUMINIUM RODS.

I 02

GRASSHOPPER DEFINITION

WHICH REPLICATES THE AR-

TICULATED CLOUD SCREEN.

I 03

RHINO WORKING MODEL

WITH THE ATTRACTOR

POINTS IN SUCH A POSITION

WHICH CREATES CIRCULAR/

NON LINEAR EFFECTS,

CAUSED BY THE POSITION-

ING OF EACH PANEL.

I 04 + / 05

RHINO WORKING MODEL

WITH THE ATTRACTOR

POINTS IN SUCH A POSITION

WHICH CREATESVERICAL

AND HORIZONTAL/LINEAR

EFFECTS, CAUSED BY THE

POSITIONING OF PANELS

AS A COLLECTIVE SCREEN.

I 02

I 03

I 04

I 05

37 /

PANEL DESIGNKINETIC PANELS / REFINEMENT

To determine the functionality

and engineering behind the Ar-

ticulated Cloud, we developed a

replica of the hanging screen in

Grasshopper. With a number of

equally spaced lines behaving as

the axes to which 300 uniform

square panels can rotate, attrac-

tor points were used as a repre-

sentative of the force and direc-

tion of the wind on the screen’s

surface. rotational reaction of

with the surface.

This stop-motion illustration

shows the dynamic nature of the

multi-angle panels in contrast

�� ƪ�� -ous model. Shadows are created

not only on the ground behind

the sculpture but also within the

structure itself. This design op-

tion has been proven to work as it

follow the sheme of a Savonius or

Anemometer.

REFINEMENT / KINETIC PANELS

38 /

I 01

I 01

RHINO DRAWING ILLUSTRAT-

ING THE GEOMETRY OF THE

PANELS AND THEIR RELA-

TIONSHIP TO ONE ANOTHER.

Drawing created by Mitchel Bizon,

Melbourne, May 3rd, 2012.

I 02

DETAIL PHOTOGRAPH HIGH-

LIGHTING THE DIFFERENT

SHADED SURFACES ON EACH

PANEL WHICH IS A DIRECT

RESULT TO THE ANGULAR

CONFIGURATION.

Image taken by Nathalie Dumont,

Melbourne, April 26th 2012.

The argument for making each half of the panel oppositely indented to create 3 tri-

angular sides which was a direct translation of wind measuring instruments like the

anemometer. Using the frebarication laser cutter technique, pinning these panels

between a double thickness grid gave us the possibility to test our ideas. Thankfully,

��Ƥ��centre of axis. A step forward in making this grid pattern more dynamic might be

the distortion of the frame which creates irregular panels.

REFLECTIVEC O N C L U S I O N

Designing with computers

At the commencement of this subject,

my computing technques were basic and

ranged from Sketchup to PhotoShop. I

wasn’t very familiar with 3D computing

software, so all of this technical learning

��Ǥ��ƥ��beginning to understand the fundemental

concepts of Grasshopper, however Rhino

was a little easier to understand as it had

some similar characteristics to SketchUp.

COMMUNICATING VISUALLY

�� ơ�� Ƥ��Ǥ��course, knowing when to stop being too fussy about

the format and start focusing more on the content is

where I need to improve.

My personal style that comes through in my presen-

��Ƥ��and classic. I think that modernising my approach

to presentating information might be a good way

��ơ��-tively.

ARGUING PERSUASIVELY

��ơ��ƥ��-suade a panel of crits when presenting your

architectural ideas is a huge advantage. I

feel that I have not have enough experi-

ence to say that I am completely comfort-

��Ƥ�� -opment, however working in groups have

helped structure each section and allowed

��Ƥ��to it’s fullest.

In terms of persuasive writing, I feel I have

��Ƥ��-

spond to architectural stimulus.

APPLYING TECHNICAL SKILLS

Being forced to use the FabLab this semester has

allowed me to improve my model making skills

dramatically. I am not only able to make very quick

and cheap models, but ones that look seamlessly

perfect. It is such a huge advantage being able to

�� Ƥ��is relatively simple. However the process in which a

complicated design goes through to get to the stage

of laser cutting is not so simple. Having to learn how

to unfold everything and then remembering to num-

ber each piece were the tricky bits to this technical

model making process.

Applying computerised technical skills is still a strug-

gle. The problems arise when I want to translate

�� Ƥ��Grasshopper.

39 /

conclusion / reflective

/6:

http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio/

uk_exterior/

http://online.wsj.com/article/SB123432213609971519.html

http://www.likecool.com/Dynamic_Tower_Skyscraper--Building--Home.html

PAGE 9/10:

http://www.ruairiglynn.co.uk/wp-content/uploads/2009/08/06_RES_IMG_Kunshaus-Graz-Cook-

BIX.jpg

http://free-d.nl/uploads/default/scale_1024x768_q100/cf8ac3bc745d9626da3acb594cfc025cae6e-

a7ac.png

PAGE 13/14:

http://www.seangodsell.com/rmit-design-hub

PAGE 17/18:

http://www.wyndhamharbour.com.au/wyndham_marina/

PAGE 21/22:

Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn,

Asbuilt (New York: Princeton Architectural Press, 2008), pp. 112 - 117

http://www.4culture.org/publicart/registry/images/home/sites/kahn_s.jpg

PAGE 23/24:

http://1.bp.blogspot.com/_L59QPdbEbzA/SgmY5Pw5izI/AAAAAAAAAZg/qNjoK508xNY/

s400/04NdKahnMockup_index_03.jpg

REFERNCEL I S T

AWAKENINGFINAL DESIGN

contents/ 43 form generation

/ 45 placement + sunlight

/ 47 materials

/ 49 spinners

/ 51 awakening

�� SFnFDUJPO

FORM GENERATIONThe generation of the overall sculptural form of Awakening was informed by a series of factors related to the boating aspect of Wyndham and also the interactive qualities that were discussed in the brief.The wake of a boat was initially taken as precedence and transferred to creating a graphic representation of a vehicle’s wake. From a series of equally spaced points along each side of Site A, graphic depictions of a vehicle’s wake produced by their force through the air, aloud for a TUBSUJOH�UP�QPJOU�UP�CF�EFmOFE�BOE�FYQBOEFE�VQPO��&YDFTT�MJOFT�XIJDI�EJE�OPU�DSFBUF�TPNF�GPSN�PG�BTZNQUPQJD�TIBQF�XFSF�EFMFUFE��BOE�TFWFSBM�PG�UIPTF�TIBQFT�XFSF�BMTP�DVMMFE��4FWFO�of these asymptopic shapes were chosen according to their variation is TJ[F�BOE�TUSVDUVSF��5IFTF�XFSF�UIFO�SPUBUFE�WFSUJDBMMZ�BOE�TDBMFE�EPXO�UP�BO�BQQSPQSJBUF�TDBMF�BOE�QMBDFNFOU�PO�4JUF�"��Each vertical wake pattern were again rotated and placed at different EJTUBODFT�GSPN�UIF�SPBE�UP�DSFBUF�B�HSBEVBM�DIBOHF�JO�WJTVBM�FYQFSJFODF�BT�B�VTFS�USBWFMT�BMPOH�TJEF�PG�JU��$POOFDUJPOT�XFSF�DSFBUFE�UP�GPSN�BO�PWFSBMM�TUSVDUVSF �UP�XIJDI�B�HSJE�QBUUFSO�XBT�BQQMJFE�UP�DPOmHVSF�UIF�TUSVDUVSBM�TZTUFN�UP�XIJDI�XPVME�TVQQPSU�UIF�TDVMQUVSF��

5IJT�TUSVDUVSF�JT�nPXJOH�BDSPTT�UIF�TJUF�JO�B�NBOOFS�XIJDI�QSPEVDFT�UIF�spinners to react to vehicle’s forces differently, according to their distance from the road. Tailoring this gateway according to the movement of cars interacting with it, follow the values of a boat creating B�WFSZ�TQFDJmD�SFBDUJPO�XBLF�JO�UIF�TVSSPVOEJOH�XBUFS�The manner in which the form was created makes this architectural TDVMQUVSF�IJHIMZ�TJUF�TQFDJmD�XIJDI�NFBOT�JU�JT�VOJRVF�POMZ�JO�8ZOEIBN�

��

/ 43

AWAKENING / FORM GENERATION

��

/ 44

��

/ 45

AWAKENING��1-"$&.&/5��46/-*()5

placement + sunlightThe location of the gatway is in the north east corner of the site as this facilitates the viewing for users travelling into Wyndham - a true gateway into the city. It’s function moves from being a transition piece between UIF�$#%�BOE�UIF�DJUZ�PG�8ZOEIBN �HJWJOH�SFGFSOFDF�UP�UIF�DPVOUSZ�MJGFTUZMF�UIBU�JU�QSPWJEFT�UISPVHI�UIF�)BSCPVS�%FWFMPQNFOU�1SPKFDU��

The scale of Awakening is representative of Wyndham’s scale - very large. The grandness of this gateway is to give the user a sense of immersion into the sculpture and highlight their individual impact on the TQJOOFST��*U�BMTP�FWPLFT�B�TFOTF�PG�BXF�BOE�QSPWJEFT�8ZOEIBN�with a stepping stone on being a part of Victoria which is growing in population, size and culture.

1MBDFNFOU�PG�UIF�HBUFXBZ�BMTP�QSPWJEFT�UIF�PQQPSUVOJUZ�GPS�NBYJNVN�shadow creation. During sunrise hours shadows are being cast on the opposite side of the site and road, where most people are commuting JOUP�.FMCPVSOF�T�$#%�BU�UIJT�UJNF�PG�EBZ��8IFSFBT�PO�UIFJS�XBZ�CBDL�into or past Wyndham, the afternoon sun provides shadow on the road below to which will be most populus. This produces not only an interactive element through the sponners, but also through the shadows XIJDI�BMUFS�XJUI�UIF�EFOTFOFTT�PG�USBGmD�UISPVHI�UIF�TJUF��

��

��

7KM DISTANCE

HARBOUR

SITE

��

��

1-"$&.&/5��46/-*()5��AWAKENING

/ 47

AWAKENING / MATERIALS

��

��

��

��

MATERIALS / AWAKENING

MATERIALS5IF�NBUFSJBM�DIPJDFT�GPS�UIJT�(BUFXBZ�SFnFDUT�JU�T�JNNFEJBUF�

surroundings as being apart of the natural Australian landscape - dirt, CVTI�BOE�TFB�5IJT�JT�FYQSFTTFE�JO�UIF�BEPQUJPO�PG�$PSFUFO��*U�JT�

a controlled rust product which provides a structurally sound framing solution for the spinners to sit within. This product allows a high level

of responsiveness in terms of weathering making it interactive with it’s environment and it’s users. Atmospheric conditions and user impact

JOnVFODFT�UIJT�NBUFSJBMT�BOE�DBVTFT�UIF�JOJUJBM�HSFZ�mOJTI�UP�RVJDLMZ�UVSO�TIBEFT�PG�CSPXO �PSBOHFT�BOE�SFET��SFnFDUJOH�UIF�"VTUSBMJBO�DPVOUSZ�

side."T�$PSFUFO�JT�B�WFSZ�IFBWZ�NBUFSJBM�BOE�XPVME�DBVTF�UIF�HBUFXBZ�UP�

be incredibly weighty, the spinners are to be made of a lighter material which also displays this factor of weathering and change.

1FSTQFY�JT�BO�PQUJPO�GPS�UIF�TQJOOFST��BT�JU�JT�B�DPOTJEFSBCMF�BNPVOU�MJHIUFS�UIBO�$PSFUFO�BOE�IBT�CFFO�UFTUFE�UP�QSPWJEF�TPNF�GPSN�PG�

weathering response. This ‘decaying’ may not be as drastic or as quick BT�$PSFUFO �CVU�JU�BMMPXT�GPS�UIF�TUSVDUVSF�UP�CFDPNF�TUBCMF�JO�JU�T�PXO�

merit.An option to which is most suitable for the gateway is the use of copper as the spinners. As can be seen on Flinders Street Station - and iconic

7JDUPSJBO�MBOENBSL��DPQQFS�PO�UIF�SPPG�BT�B�DMBEEJOH�QSPWJEFT�FYUSFNF�DIBOHFT�JO�DPMPVSJOH�EVF�UP�UIF�FYQPTVSF�UP�BUNPTQIFSJD�

DPOEJUJPOT�TVDI�BT�SBJO �BJS�BOE�TVOMJHIU��$PQQFS�JT�BO�FYUSFNFMZ�MJHIU�material, which is perfect for the spinners to actually move with the little

force that is occassionally put on them from the cars. The green tinge that will eventually become the spinners, will offset the browns and reds PG�UIF�$PSFUFO�BMPXJOH�UIF�HBUFXBZ�UP�CFDPNF�BOE�JOUFHSBUJPO�JOUP�UIF�

��$PSFUFO�TFFO�PO�UIF�4ZE-OFZ�.FZFS�"TJB�$FOUSF�JO�Melbourne. Photo taken CZ�.JUDIFM�#J[PO��6,�1BWJMJPO�BU�UIF��4IBOHIBJ�&YQP1SPGFSP�� IUUQ��shanghai.profero.com/works/en/shanghai/UIF�VL�QBWJMJPO�BTQY �BD-DFTTFE�PO��Flinders Street Station, Melbourne.,VOH�'V�#SFX�� IUUQ��LVOHGVCSFX�DPN�home/tag/melbourne/, BDDFTTFE�PO��

/ 49

AWAKENING / SPINNERS

SPINNERS8JUIJO�FBDI�TFDUJPO�PG�UIF�$PSFUFO�TUSVDUVSBM�HSJE �UIFSF�XJMM�CF�B�TFSJFT�PG��DN�MPOH ��DN�IJHI�TQJOOFST�XIJDI�BDU�BT�BO�JOUFSBDUJWF�FMFNFOU �liking the user to the structure and thus Wyndham. Depending on the turbulent nature of the vehicle’s wake or force, each spinner will NPWF�BDDPSEJOHMZ�UISPVHI�TQFFE�PG�SPUBUJPO��Each spinner is connected to the main frame with a cetral aluminium SPBE�XJUI�QJWPUJOH�FOE �BMMPXJOH�UIFN�UP�TQJO�XJUI�FBTF��5IF�BOHVMBS�approach to the savonius shape was to provide a three-dimensional element which produces shadows which are highly dynamic in all WJFXJOH�BOHMFT��5IF�TQJOOFST�OPU�POMZ�SFQSFTFOUT�UIF�nPX�PG�USBGmD�UISPVHI�8ZOEIBN �CVU�BMTP�JT�BO�FNCMBNBUJD�FYQSFTTJPO�PG�XBUFS�SJQQMFT�Similar to the effect a boat has through it’s movement, the gateway reacts in the same way through the spinners, creating a wake which is unique and direct to the passing vehicle. This strongly provides a connection to the interactive element which was focused on in the initial brief.

��

��

SPINNERS / AWAKENING

��

��

/ 51

AWAKENING

��

AWAKENING

/ 55

AWAKENING��3&'-&$5*0/

REFLECTION5IJT�TVCKFDU�IBE�QSPWJEFE�NF�XJUI�B�DPNQMFUFMZ�OFX�PVUMPPL�PO�UIF�EFTJHO�QSPDFTT�BOE�UIF�JOnVFODF�UIBU�DPNQVUJOH�UFDIOPMPHZ�DBO�IBWF�PO�NZ�EFTJHOT��"U�UIF�TUBSU�PG�UIF�TVCKFDU�FOUIVTJBTN�BCPVU�VTJOH�3IJOP�and Grasshopper was high, however as the weeks went by the DPNQMFYJUZ�PG�UIF�UBTLT�BOE�NZ�MJUUMF�LOPXMFEHF�CFDBNF�B�IJOEFSBODF�JO�my use of the program. This is however, an aspect of design that I need to master and will be doing so in future studios and my own personal XPSL�PVUTJEF�PG�6OJWFSTJUZ�Even though I did not fully engage with the computing side of the DPVSTF �UIF�QSPDFTT�PG�mOEJOH�B�TUSPOH�DPOOFDUJPO�PS�DPOUFYU�UP�XIJDI�UIF�EFTJHO�XPVME�CF�DSFBUFE�QBHF��BOE�TPMFMZ�CBTFE�VQPO�XBT�something other studio’s did not emphasise. It was good practise on doing so now, as this is the format to which real practises go about things.The process of fabricating using technologies such as laser cutting was B�OFX�FYQFSJFODF�UP�NF�BOE�TPNFUIJOH�UIBU�XJMM�CF�DPOUJOVFE�JO�UIF�future. After creating some handmade models and comparing them to the laser cut ones, there was no comparison in the quality and effectiveness. This, I think really showed in our models on pages 51 -54.5IF�GPSNVMBUJPO�PG�BO�&YQFSFTTJPO�PG�*OUFSFTU�XBT�POF�*�IBE�OFWFS�UIPVHIU�BCPVU �BOE�OPX�TUJMM�mOE�B�MJUUMF�IBSE�UP�HSBTQ�BT�UIFSF�XFSF�OP�QSFDFEFODFT�UP�IPX�UP�HP�BCPVU�JU��)PXFWFS�UIF�QSPDFTT�PG�DSFBUJOH�BO�&0*�GPS�B�SFBM�QSPKFDU �BT�BO�BSDIJUFDU �TFFNT�B�MJUUMF�NPSF�TUSBJHIU�GPSXBSE �BT�FYBNQMFT�PG�ZPVS�PXO�XPSL�DBO�CF�JODMVEFE��5IJT�TFFNT�B�lot more viable in comparison to what we needed to do. Although it was a process that I needed to learn if I wish to enter any architectural competitions, so in the long run, a useful task.0WFSBMM �FWFOUIPVHI�UIJT�TVCFDU�IBE�JU�T�IJHIT�BOE�MPXT �*�FOKPZFE�UIF�QSPDFTT�PG�VTJOH�QSPHSBNT�PUIFS�UIBO�4LFUDI6Q�XIJDI�BSF�GBJSMZ�MJNJUJFE�JO�UIFJS�DBQBCJMJUJFT �UP�QSPEVDF�GSFFnPXJOH�GPSNT�XIJDI�SFBDU�UP�DFSUBJO�parameters. I think our capabilities of creating such forms escalated and DBO�CF�TFFO�JO�PVS�mOBM�QSPEVDU�1FSTPOBMMZ�UIJT�TVCKFDU�IBT�TFSWFE�NF�XFMM�JO�UIBU�JU�QSPWJEFE�NF�XJUI�B�souund base knowledge of what the contemporary architectural process of design is, and how my role as a future architect can use it to my advantage.

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