STUDIO AIRVICTOR WONG 391192LOREN ADAMS/CHRIS GILBERT

“The limits of my language mean the limits of my world” Ludwig

Wittgenstein Philosopher 1922

CASE FOR INNOVATIONA1. ARCHITECTURAL DISCOURSEA2. DISCOURSE AS A DISCUSSIONA3. DISCOURSE AS AN INNOVATIONA4. INNOVATION OF COMPUTATIONA5. CONSTRUCTION INNOVATIONSA6. SCRIPTING AND PROGRAMING CULTURES CONCLUSION

SCOPE OF POSSIBILITIESB1. MATRIX OF COMBINATIONSB2. REVERSE ENGINEERINGB3. EXPLORING WITH PATTERNSB4. WEATHERING PATTERNING

COMPETITIVE ADVANTAGE WYNDHAM GATEWAY RECONNECTION SOCIAL AND SUNLIGHT RESEARCH DYNAMISM RECONNECTION EXPLORATIONS FEEDBACK

PROJECT PROPOSALC1. PRECEDENTS & CONCEPTC2. WING EXPLORATION/PHYSICAL MODELLINGC3. COMPUTATIONAL MODELLINGC4. 1 FINAL WING GEOMETRYC4.2 DAY TIME EFFECTSC4.3 NIGHT TIME EFFECTSC5 SITE DISTRIBUTIONC6 FINAL SITE PLANC7 FINAL SITE MODELC8 STOP MOTION PROJECTC9 CONSTRUCTION PROCESS

D1 LEARNING OBJECTIVES AND OUTCOMES

“UNEARTHING” is a first year design studio subject involving Herring Island. The concept bands around a site that is an urban escape to the secluded bushland of the manmade island on the outskirts of the central business district. The concept for this design stems from the abstraction of graphing the conflict between nature and man. The jaggered exterior shows the physical non-linear relationship of humans (Through human intervention) and then nature striking back (In the form of natural events).

The building’s concept comes alive through computation. With the design intention to take a literal approach and extrude the graph into a snake-like structure that would be built on the edge of the island and take the visitors through the journey of discovery. This discovery is physical and as you walk through it, you experience and feel the conflict between humans and nature. Each jaggered end point becomes a node of discovery for the visitors.

A1.ARCHITECTURAL DISCOURSEDESIGN STUDIO EARTH PROJECT

Architectural discourse exists within the use of computational tools to translate the data which became the layout of the structure. The discussion was if computation was suitable for this project. It was sucessful in that it translated the concept strongly, that the complex geometry was brought alive by the use of computational tools such as Rhino and Grasshopper. An example of this is above where sized aperture holes were punched through the skin of the building to control the amount of light in the building. As visitors walked through the site, they would experience from dark to light from one end of the building to the other. It controls the experience of the visitors and shows how the building opens up to nature.

The project was presented in 2011 to a jury of two judges including the tutor, Michael Macleod. Although the presentation was presented well, the jury seemed to be in conflict in their feedback. The discussion was not direct to the project, but rather if the jury’s preconcieved ideas and bias towards computation. The argument was towards if computation was a suitable expression for this concept. Regardless of their feedback, the design was chosen to represent the studio at Open Day 2011.

Coordinator: Janet McGawTutor Michael MacleodDesigned by Victor Wong

TOPInterior render with the difference of light from the different sized apertures

LEFTModel of the form of the building showing the angular concept

Richard Williams writes:

Casa Da Musica by Rem Koolkaas and OMA amplifies the social realm of architectural discourse than it does as a built form. Although the main function of the building is a concert hall, it breaks the conventional confinement of what Koolhaas calls the “Shoebox” concert halls and creates a dynamic solid structure in the heart of Porto. The architecture itself is a heavy contrast to the sorroundings of Porto in Portugal but creates an ideal social driver in the busy streets of Porto. This building breaks the cultural normality of the local architecture and contrasts between the colour render of the small residential flats of Porto with a white concrete mamomth structure in the center of the city. The source of the discussion of discourse is derived from this contrast.

The building is much more than a concert hall but has become the central hub of the city. The social aspect of this architecture comes through with its sorrounding public space, opening up the building to the fabric of the city, invites youths to use its facilities and caters for community activities.

An amatuer video catches this discourse by asking the residents of Porto their opinions about the building. They all agree that the building is a large contrast, but are also signifying the social importance of a facility in Porto. The video shows the public’s need to engage with architecture, a requirement of the Wyndham Gateway Project. There are complex levels of social engagement that needs to be addressed and the Casa De Musica shows us it can be achieved.

In the context of the Wyndham Gateway Project, we can draw another comparison with the buildings symbolism. Porto commissioned this design competition to revive its port-industrial city that have long been in decline (Ouroussoff, 2005). Like the Gateway project, a sense of reviving interest in the city of Porto.

“Architecture is as much a philosophical, social or professional realm as it is a material one” (2005)

A2.DISCOURSE AS A DISCUSSIONCASA DA MUSICA, PORTO

“10 years from now it might be sitting here quite perfectly, but right now it’s a bit of a contrast, but contrast is good” Architect Rem KoolhaasFirm OMA / AMOCompleted 2005Awards Royal Institute of British Architects, European Award 2007

A3.

The eVolo skyscraper competition is described as “forum for discussion, debate and development of avant-garde architectural design in the 21st century”. The word virtual ‘Forum’ they describe is a Roman public square where public discussion took place. The nature of this competition becomes a virtual platform of architectural discourse for where 4000 projects from 168 countries in the world come together to generate ideas and solutions that redefine the art of the skyscraper. This is through the implementation of new technologies, materials, programs, aesthetics and spatial organisations. It encourages studies on globalization, flexibility, adaptability and the digital revolution that are layered throughout the competition. In many ways, this virtual platform encourages and pushes the boundaries of architectural conventions.

DISCOURSE AS AN INNOVATIONTREE OF LIFE

Architect Syirid Denis Gudzenko AnastasiyaCompleted 2005Awards Short listed winner Evolo skyscraper competition

Left: Tree Of LifeBottom Left Wright’s Johnson Wax Building structural ‘tree’ columnsBottom Right Concept for Tree of Life

“Parametric Design calls for the rejection of fixed solutions and for an exploration of infinitely variable possibilities” Kolarevic 2003

In many of the projects, digital parametric design has been utilised as the tool for this problem solving. As Kalay (2004) describes, ‘different answers suggest different approaches to how solutions can be found’. If you think about the complexity of parametric design, the solution to these problems can exist beyond conventional architecture. Parametric design calls for the rejection of fixed solutions and for an exploration of infinitely variable possibilities (Kolaervic, 2003). The history of associating design with past-precedent based design encourages to look towards architectural history for inspiration. But why do we use past based solutions for past problems when we have new problems to address? By using this platform of innovation we can see that by utilising the opportunities of parametric design, we can conceptualise more outcomes and therefore more viable future solutions.The project entry, ‘Tree of life’ shows the result of the competition as a discourse that encourages innovation. The project is an ecological hotspot that embodies large infrastructure where inhabitants live and work producing ecological products. The skyscraper encourages technology including using a geothermal energy, subterranean water purification plant, pneumatic elevators, geoponic greenhouses, solar technology and more. The project concept stems from a tree, much like Frank Lloyd Wright’s Johnson Wax Headquarters (1930). Wright’s inspiration was a tree, but the concept embodied more of the structural aspect of a tree. The tree of life shows that although you have the same concepts from the start, there’s more opportunities in computation to push the boundaries.

In the Wyndham City Gateway Project, there is a call for an innovative and prominent indicator for this portal into the city. This innovation exists within the discourse of architecture. The discussion of the way innovation occurs happens in this discourse and the ability to use computation can aid this process to undertake an image for the Wyndham Community.

A3.

Architect Syirid Denis Gudzenko AnastasiyaCompleted 2005Awards Short listed winner Evolo skyscraper competition

“What do you call an architecture firm that draws inspirations from the most extreme aspects of nature and human psychology?” Princeston Architectural Press Architect R&Sie(N)Firm Francois RocheCompleted 2005Published Princeston Architectural Press: Bioreboot

The Hyponosis Room by Francois Roche is a conceptual hypo chamber brought to life through the innovations and advancements in CNC milling. The life size modular fliud structure breaks away from the conventions of architecture and branches off into a new idea stemming from sleep. The structure is an indoor chamber where hypnosis sessions occur and help the person experiencing the space escape from their alienated social condition.

The Hyponosis room shows how broad the field of discourse exists around digital design. The example shows how innovative thinking and new technologies can come together to combine for different outcomes. The designer has generated a extremely complex form, only made possible by the use of computational design. The design can then be translated into production through documentation that can express how to produce this geometry through computerized fabrication (In this case, CNC Milling). Although this form is not a suitable scale for the Wyndham project, we can see in this example the innovations in computation design. We can see the designers clear intention (a dynamic web form) and it is further expressed in its materialisation 1:1 scale.In many ways the Wyndham project brief encourages to propose new, inspiring and brave ideas to generate a new discourse. This is clearly the direction suited for the digital computational field. this brief objective and aim can be achieved. Complex forms can be appealing as it is strange and appealing. The fluid geometry can look more dynamic from different views and can have the characteristics of futuristic and flawless form.

“Digital modelling software has opened new territories of formal exploration in architecture, in which digitally-generated forms are not designed in conventional ways” (Kolarevic, 2003)

A4.INNOVATIONS OF COMPUTATIONHYPONOSIS ROOM, FRANCIOUS ROCHE

The Times Eureka Pavilion is the winning entry by NEX Architecture and as a result was exhibited at the Chelsea Flower Show. The design patterning stems from the relationship between humans and plants, allowing users to explore the geometry of leaf patterning at a larger scale.The concept was heavily influenced by the design brief of what materials could be used. This led to a timber structure and the use of biodegradable plastics (With different degrees of transparency and bend variations). As a result, this voronoi-like patterning frames the garden.

A5.CONSTRUCTION INNOVATIONTIMES EUREKA PAVILION

“A new design continuum, a direct link from design through to construction, is established through design technologies” Kolarevic (2003)

Firm Nex ArchitectureCompleted 2011Awards Winning Design Competition for Eureka Pavillion

Paul Loh from Power to Make presented this project at a lecture at ex-lab and talked about the complexity of the design process to the construction process. Use of computation aided the process of fabrication, allowing for the designers to articulate exactly what each fabricated panel contained. The calculations for each wooden segment was made to be fabricated and each plastic element was labelled and manufactured to size. The construction process shows an innovative approach to design. No longer is the designer only in charge of the designing, but also the construction process. Kolarevic describes this as a “new continium”, this relationship between design and construction through design technologies.

In relation to the Wyndham Project, the Eureka Pavilion shows a simple project that can be materialised through the use of digital computation. It shows the continuation of the design process into the construction process by the designer. Therefore the design concept is not lost through the practicalities of the construction process. This project shows how a digital model can be translated into the real scale of the world. It is a great advantage of computation to have a complex design that can be expressed through construction detailing through digitally modelling.

Designer David PigramFirm Supermanoevure

‘Living Morphologies’ is a hundred-square meter conceptual proposal designed by David Pigram of Supermanoeuvre. The project is based in New York, a 1.5 billion dollar project that is a future interpreation of apartment dwellings defined by Parametric modelling. The project intergrates the use of morphogenetic algorithms, a technique where an element in space continually changes its state based on the states of those around it, giving rise to emergent patterns. The series of scripts run based on simple rules that give rise to these emergent patterns. These rules defined the site response and the topology of the dwellings, giving life to the expansive form stretching from New York’s dense urban infastructure into the water. A example of this rule is that the script would act like a bird and this bird could know a good smell from a bad smell, a reference to New York’s industrialisation and polution of air. This would later influence the views, ventilation and built court yards of the concept.

A6.SCRIPTING AND PROGRAMING CULTURESLIVING MORPHOLOGIES

The use of programming is an essential part of this design. Described by Kaijima (AKT Architects), programing is a useful tool for handling information beyond our perceptual capabilities (Burry, 2011). This project in many ways shows the advantage of scripting through morphogenic algorithms that factor in issues such as polution, space and effiecency to produce an emergent design. The design is quite graphical as it is has a complex form, but the same algorithmns can be used to produced contemporary housing in any situation. They handle complex issues of site and context at a different level than traditional architects.The gateway project site is very unique as the context plays a vital role in the design outcome. The site context has very complex systems through it, but not at a localised level. Things such as wind patterns, sun paths, weather, etc. All these factors can contribute in how the design can change over time. Exact information values can feed the design program to generate different simulations.

“Programming is useful in handling information beyond our perceptual capabilities”Sawako Kaijima, AKT Architects

“The limits of my language mean the limits of my world”

Ludwig Wittgenstein Philosopher 1922

Casa da musica inspires designers to think outside the box in terms of precedence. Its contrasting features shows how something that is considered “a space ship” can be such an influential building in the city of Porto. There is a strong need for social interaction with the building. All these traits show us how the Wyndham Gateway could possibly interact with the community.

The Tree of Life shows us how computation can lead to different outcomes. The push for an innovative design in the brief shows us there is a need to reject convention and use the advantage of digital modelling to explore multiple possiblities created by the infinite possiblity of variables.

The Case of Innovation argues for the use of computation and how the use of computation can influence the design of the Wyndham City Gateway. From these examples, we can learn how they designed buildings to suit social aspects as well as explore unconventional solutions for the design.

Hyponosis Room influences the possiblities of fabrication of the future. More importantly, it shows how digital modelling has opened up new avenues for geometrical exploration of forms. It pushes the notion of what is conventional in todays world and shows us how we can use these unconventional techiques to design the Wyndham City Gateway.

The fabrication of the Times Eureka Pavillion shows us how a design can materialise from the computer to being fabricated. The use of techniques of the lazer cutter and 3D printers can help use realise our designs in the built world. It influences the techniques needed to build the model on site.

Living Morphologies shows us how programming can be used in our design to explore variables beyond conventional boundaries. The use of scripting can help us design and simulate how the design can affect the site.

Arbitrary Points, Boolean Patterning, Curve Intersections, Surface Grids

The Matrix of Combinations is an introduction to experimentation with Grasshopper3D. These examples show the different variety of combinations that can be achieved with simple grasshopper scripts under “inputs” “associations” and “outputs”. Many of these show the same associations being used, but with a different input. This reaffirms Kolvarevic’s view:

“An entirely new way of architectural thinking ... continous experimentation based on digital generation that respond to complex contextual or functional influences ...” Kolarevic (2003)

B1.MATRIX OF COMBINATIONSRHINO & GRASSHOPPER EXPERIMENTS

IMAGE SAMPLER ATTRACTOR POINT ATTRACTOR CURVE MATHS FUNCTION LAYERED FUNCTIONS TEXT INPUT USING SETS

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IMAGE SAMPLER ATTRACTOR POINT ATTRACTOR CURVE MATHS FUNCTION LAYERED FUNCTIONS TEXT INPUT USING SETS

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Boolean (data type being true or false) patterning shows how more patterns can emerge out of the simple selection of points. It selects points based on the boolean pattening (In this case, True, False, True) to create a diagonal gap throughout the pattern. This patterning can be associated with finishing a geometry and to detail it in a closer scale.

Square grids works almost like a surface divide, but is more equal in both directions. Patterns can emerge out of using the image mapper script. It leads to the type of decoration or ornament mostly seen in commercial buildings. What would be interesting is the use of these square grids to give off the same style image mapper, but in 8-bit style. Square rectangular extrudes that portray information or colours.

Hexagonal grid extract more interesting sets of points that can be manipulated. The use of large geometry can produce interesting intersections. It works almost like boolean, but has less control. This type of detailing is more used for finishing an exterior.

Arbitary Points functions using points and a surface. The points within the surface (Both drawn in rhino) respond and can be manipulated to have certain outcomes. Can be used as marking site boundaries and plotting suitable areas for geometry to morph out of. The points interacted with a point attractor, measuring the distance between and altering the radius to match. The more distance away from the attractor, the bigger the circle.

Curve intersection extracts the existing information for points (Such as existing overlapping lines). From these points, they can be manipulated to interact together and to map more interesting geometries. This technique can be used with the existing information on the site, extracting intersecting areas (such as contours) and carve out geometry from it.

The graph represents on one axis the type of point distribution as an input and then the associative that influences the geometry. Through the change of these variables, we can see how the outcome can change. The experimentation shows how grasshopper can produce an infinte amount of outputs.

‘Articulated Cloud’ by Ned Kahn is an Art work represented in the facade skin of the Pittsburg Children’s Museum. In many ways this facade takes a tangent on predictable and still architecture and pushes it to be dynamic, changing and unpredictable. Kahn commits to questioning nature and approaches is designs as a scentific experiment. This facade is a larger scale materialisation of many smaller works and works with creating an interesting visual experience and makes people question about complexity and the intricacy of nature. It also experiments with taking wind currents, an invisible force of nature, and express it in a constant complex visual experience. It produces a emergant affect creating waves, verticies, sound and colour (Sound and colour through materialisation)

“Architects play a lot with transparency, translucency and reflectivity but here’s something that does all the same things, but it’s the atmosphere that makes the decision” Ned Kahn, 2010

B2.REVERSE ENGINEERINGARTICULATED CLOUD WITH KINETICS

Name Articulated CloudDesigner Ned KahnCompleted 2004Published Princeston Architectural Press 2008

The interest in this movement led to trying to simulate this movement physically. With the use of some light weight thin plastic, it was easy to replicate how these flaps would move with the wind. With the use of fishing wire, the flap was able to move with the wind. The most surprising thing about this physical simulation was the emergent rotation in how the air would move through this model. As you see above, the angles vary randomly with the only control variable being the direction and strength of the wind.

Although this can be seen as an unpredictable reaction by the environment, one of the primary interests driving this reverse engineering was how to sucessfully simulate it digitally. Although the real life wind would simulate a different outcome, the digital simulation can uncover how each joint could work in full motion before fabrication.

The simulation began on grasshopper with image sampler to stimulate the random rotations. The problem with this is that it was not simulating how they would rotate (aim stated above). This pushed the simulation beyond normal grasshopper techniques into a plug-in named “Kangaroo Physics”.

INITIAL SURFACE DIVISIONS OF SPACE

ROTATING FLAP EDGES

SPRINGS

KANGAROO SETTINGS

WEIGHT OF MEMBERS

GRAVITATIONAL FORCES

WIND POWERSIMULATION OF WIND

KANGAROO

THE INITIAL SURFACE PROVIDES A STARTING POINTIN THE DEFINITION, WHERE THE GEOMETRY ISDIVIDED INTO EQUAL SEGMENTS

THE FLAP IS AN IMPORTANT COMPONENT, AS IT IS THE MEMBER THAT ALL THE FORCESWILL BE ACTED UPON. IT ALSO PROVIDES AN ANCHOR POINT, WHERE AN END POINTIS FIXED LIKE A HINGE.

HOOKE’S LAWCALCULATION OF REPULSION ANDATTRACTION

FINAL SIMULATION, ACCOUNTS FOR ALL FORCE OBJECTS, ANCHOR POINTS ANDGEOMETRY.

GRAVITATIONAL FORCES AND WIND POWERARE UNARY FORCES FOR THE EFFECT OFGRAVITY AND TO GIVE A PARTICLE WEIGHT

THE SIMULATION THROUGH WIND ISTHROUGH ATTRACTOR POINTS GEOMETRY.

ACCOUNT FOR OTHER VARIABLES SUCHAS DRAG, TOLERANCE, STATIC FRICTION,KINETIC FRICTION, ETC.

WEIGHT OF THE MEMBERS IS A PARTICLE SYSTEM

NEWTONS LAW:(FORCE = MASS X ACCELERATION)

KANGAROO WORKS BY FINDINGTHE TOTAL FORCE VECTOR ‘F’ FOR EACH PARTICLE BY ADDING UP ALL THE DIFFERENT FORCES THAT ACT

Stepping out of the conventional grasshopper tool kit, using Kangaroo Physics simulated the wind perfectly. Kangaroo is a live physics engine for interactive simulation that can be done directly in Grasshopper. It takes the primitive base established and incorporates forces such as weight (Particle), wind and gravitational forces (Unary Forces) in combination with the Kanagroo Plugin that simulates other variables. The edge points of the surfaces become the anchor points, so the simulation shows these flaps fluttering in the modeling space anchored at the top to simlulate the hinges of the shingles.

B3.MATERIAL EXPLORATIONSEXPLORATION WITH VORONOI PATTERNING

The material exploration was driven by Jessica Zhang (Group Member) who revese engineered the Tokyo Airspace Building. The lazercutter material reproduced the same shadowing effects but the main purpose was trying to push this pattern further from its basic geometry.

Pushing the geometry further involved trying to produced more dimensions in the two-dimensional lazer cutting. The use of bending, folding and deforming led us to achieve some interesting effects. It distorted the shadows and showed what types of shaped could emerge out of physical modelling.

1. Moisture Deformation2. Fililng apertures3. 180 degree bending4. Slight bendings 5. Overlapping Shadows

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B4.MATERIAL EXPLORATIONS

WEATHERING PATTERNING

Our interest as a group was how weathering would effect the model. Our

criteria for this exploration was using ways to simulate short and long periods of

decay.

Photos and experiments by Jessica Zhang

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5 The results were interesting. Our criteria was simulating how weathering effects and the time it would take for them to change. Our longer changes included how material would split to reveal the softer inside and possibility of extreme heat that would deform the material. Our shorter changes simulate how water would look on the model, how frost would stick on the model and then the water marks left by the rain.

1. Frosting effects2. Wet Surface effect3. Water marks4. Heat deformation 5. Splitting of materials

EXCITING

WYNDHAM GATEWAY PROJECTEYE CATCHING

INSPIRIN

GENRICHES MUNIPALITY

VISUAL ARTS

LONGEVITY

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ASPIRATIONAL INTENT

ASPIRATIONAL FEELING

PLACE-MAKINGFOCAL POINT

BRAVE IDEAS

NEW DISCOURSE

The Wyndham gateway project brief specifically specifies what it wants to

achieve out of this highway monument. These words extracted from the document are the feelings we want to capture in our

proposal.

VISUAL ARTS

Seeds of Change, a past installation comissioned by the same council had some limited success. As a group we agreed that although it made a good post card image, the structure did not convey the potential it could have achieved. The static nature of the structure did not capture any attention and within a fast moving environment with limited experience time, it was essential that we somehow see the problems and achievements of this design and it would inturn influence our proposal.

SEEDS OF CHANGE

RECONNECTION.CONCEPT: THE CAPSULAR CIVILIZATION

The geographical nature of the site, between Geelong and the City of Melbourne, is the state of Wyndham at the moment. It is the current situation where Wydnham is often passed by on the way to Geelong. Princes Highway is the connection between Geelong and Melbourne, and there’s in interconnection between how wydnham interacts with this connection.Capsular Civilisation provides a general theory for this situation. Humans live in capsules, an artifical environment that shuts out the outer and becomes a hostile environment. The author describes humans as hiding in clothes, in architecture, settlements, fortresses and importantly, cities, as a sense of how civilizations have become capsular. It originates from historical logic of culture, the need for protection. That humans are more than ever, prisoners of architecture.The need for protection comes from the modern man under constant attack by external stimuli and therefore feel the ened of greater human capsules. Where this theory becomes more relevant and interesting is the author describes cars and other moving vehicles as an extention of the house, an artifical interior - in short, a capsule. The moving capsule is our interest, when people leave and get in these extentions of the home, they are in these controlled environments that are isolated. Although they are travelling through, these capsules become the isolators between the site and the people inside these capsules. Our concept comes as forging this reconnections, forcing people outside of these capsules to take interest in the site. To take this moment of interaction where the controlled environment of the car cant be connected to and finding ways to reconnect people that interact the site to Wydnham.Capsular Theory from: The Capsular CivilizationOn the City in the Age of FearLieven De CauterNAi PublishersReflect #32004

“Humans have to hide in clothes, in architecture, settlements, fortresses and

cities – in a sense, obvious and trans-historical – one might say that all civilizations

have been ‘capsular’“A capsule is a holder, a container ... a tool

or an extention of the body which, having become an artificial environment, shuts out

the outer, hostile environment.”“The car: earthbound model of mobile

residence: immediately, the car was seen as the extension of the house, an artificial

interior – in short, a capsule.”

EMPLOYMENT LOCATION (WYNDHAM)

Employment in Wyndham tells us who is interacting with Wyndham on a daily basis for work. 57.5% of people who work in Wyndham but travel out to get home. This informs us of another stakeholder will influence the design.

OCCUPATION OF WORKERS

Occupation has a large deal to do with who interacts with the site. For example: 36.7% are tradesmen. The tradesmen work on the road and work during daylight hours. This influences the method of interaction to target this group.

WHERE DO RESIDENTS WORK?

Travelling in and out of Wyndham is an important factor for the site. 57% of residents travel out of Wyndham for work, so they influence how the site will interact with them during this travel time.

SOCIAL RESEARCHData that tells us who, when and why people interacting with Wyndham and the site.

GEELONG BOUND TRAFFIC

MELBOURNEBOUND TRAFFIC

WEST ROAD SERVICE LANE

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NOWThe idea of reconnection was a broad concept but it had a certain complexity about it. “Reconnection” asked us, who are we connecting to? Why are we connecting to them and how we can constantly reconnect them. The census data indicated that the people using the site the most would be residents of Wyndham who need to use this as a constant travel route. From the previous observation of the ‘Seeds of Change’, the lack of constant interest in the site became a major problem in the static leaf structure. Our idea began to extend to something that would be moving on site to create a constant reconnection. The idea that moving past it at different times of the day and the constant change of the structure would create a better reconnection.

GEELONG BOUND TRAFFIC

MELBOURNEBOUND TRAFFIC

WEST ROAD SERVICE LANE

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MODE OF TRANSPORT TO WORK

73.9% use cars as a mode of transport to get to work. This means that a large percentage of the population will interact with the site to get to work.

SUNLIGHTMAPPINGThe constant changing variables of light affect how you design the change throughout the day. It was necessary to think about sunlight as it would affect positioning and materials and to think about approach and experience as well.

DYNAMISMRECONNECTION THROUGH KINETICS

The concept of reconnection of Wyndham came out of our site analysis and the need to restablish Wyndham on the map. There is a need to reconnect the locals to the site as well. The census data shows us that the site has many different stake holders and we want the proposal to connect everyone who travels through the site.The choice to continue this concept with kinetics is that the moving structure on site would generate an eye catching focal point for those who use Princes Highway but also be a proposal to be place-maker for Wyndham City. For those who move through the site more than one times a day, this gateway would be constantly changing throughout the day. In addition, we aim to make the model interact with the circulation of the site. The cars moving through would influence how the structure would move throughout the day.The need for brave ideas and creating discourse could be achieved by the complexity of a moving object. Wyndham needs this exciting monument that will symbolise their city.

Picture shows our initial idea, a car moving through that would create movement next to it.

The Tri-blade shape emerged out of the need to punch holes to attach the string differently in each member. It produced different ranges of motion.

method of reconnection

These models simulate the motion that we will try and produce on site. The aim of these simulations were to produce some models that could be powered by hand motions and produce right amounts of blur, a reference to the speed on site. The similarities between the models is that they spun on an axis and by using two distinctive shapes we were able to produce different effects.

MOTION EXPLORATIONS

The disc motion model involves

having different size disc contoured

out of geometry. By fixing some

discs and by letting some areas

to move, we can create different

patterns of motion.

FEEDBACK

- Good site analysis- Being more critical of the experiments- Haivng a better criteria for the experiments- Away from mechanical and towards a own forced driven design- Possibility of making the invisible more visible- Concrete way of working - generating the moving device- Testing geometries - how they would best work with wind - Many ileterations and controls the design- kinetic - driven passively by wind - thinking complex way of the articulated cloud- Learn from Articulated cloud: spinning of axis and changing together, experimenting with movement - Looking at the model as a representation- Adding your own variations and seeing what happens - density, fiber, direction of airflow- Series of experiments to show kinetic movement that would in turn show how it could work structurally- Make sense of the data and how it is relevant- Playing more with models

The initial expression of interest saw the need to focus soley on one concept and to take our research into the site and context into our design. Although the research elements were good, there needed to be a more critical approach to the design and in our design decisions. The advice was to move away from mechnically driven objects and to work towards something that could be contextually driven. The advice was to learn from our precedent, Ned Kahn, and extracting elements that could be inspirational for our design.

CONNECTING THROUGH KINETICSWYNDHAM CITY PROPOSAL, 2012

‘Connecting Through Kinetics’ is a Wyndham City Gateway project aiming to reconnect residents and people traveling through Wyndham with the site. Heavily influenced by artists and designers such as Ned Kahn, Ruben Margoln and Janet Echelman, the project uses motion and dynamic objects to generate interest. This project proposes to use wind as an important changing variable and uses its own power to generate different geometrical shapes and effects. The users of the site, bound in the seats of their cars, sit through the experience of this invisible phenomenon becoming visible through the movement of spinning turbines.Although many of the precedents works without the use of computation, this sculpture uses Rhino3D with the plug in Grasshopper to further enhance and simulate the effect and execution of this proposal. These turbines are massed on site and distributed according to their different functions.This project further advanced the interaction between people and site, this is depicted through the moving vehicles and the design of the wind turbines. To achieve such a connection the turbines close to the roads harnesses energy through the air movement left behind by the passing vehicles. Its ability to activate the site on human contact as well as responding to the site’s environment (wind condition) proves that gateway designs should consider social and environmental demands on top of being aesthetically pleasing.

VICTOR WONG/JESSICA ZHANG/TRACEY NGUYEN

stansilav qoute

description

quoting,what they do wellwhat we want to emulate

The interest in reconnection through movement has led to the project to take inspiration from Reuben Margolin, Ned Kahn, Janet Echelman and Makoto Sei Wantanabe. All these precedents relate to movement in different forms. What we can learn from them is the experience that the people interacting with these sculptures and the artists materialisation of these sculptures.

For example, what we learnt from Reuben Margolin is the inspiration behind using nature and the way in which we can generate interest for the people who will experience the sculpture. Reuben talks about the need to distinct the need of where to look for inspiration. If too complex, the beauty is lost. The movement is not exclusive and can engage with anyone. These subtle elements influence the way people interact and experience the site.

Stanislav Roudavski, the lecturer for this studio, uses Makoto Sei Wantanabe’s example: Fiber Waves to describe kinetic movement. Although the design is simple, the use of parametrics could push this idea further. Controls in size, layer and differences in movement can be controlled with parametrics and could enhance the model further.

The aim is to use these precedents of movement and adjust them on site to produce something suitable to the scale of cars. The movement needs to be quick enough to engage with the vehicles as there is a limited time travelling through the site.

C1.PRECEDENTSKINETIC SCULPTORS/ARTISTS

“This tension between the need to look deeper and the beauty and the mediacy of the world, or if you try look deeper, you’ve already missed what you’re looking for. This tension is what makes the sculptures move. For me, the path between these extremes takes the shape of a wave.” Reuben Margolin (TED Talks, 2012)

MAKOTO SEI WANTANABE

Reuben Margolin is a kinetic sculptor who, through his work, is interested in moving by mechnical means, the manipulation of waves, the beauty of adjusting the amplitude, period, wave lengths and combining with motors and pullies to become sculpture. The combination of subtle movements, generating curiosity with the people who are looking at it. This engagement with the sculpture is particularlly interesting in a built scale of a room.

Janet Echelman is famous for transforming dense heavy masses into free flowing volumetric shapes made through weaving. The initial inspiration was using fish nets, that led her to study indepth how to manufacture as large scaled pieces of architecture. Within this process from her first art installation to the engineering of her larger scale projects, she has developed her own processes using yacht sail design programs and a industrial fishnet factory. She learnt the processes and created a language to create her lace net sculptures.

As proven by the reverse engineering, Ned Kahn pushes predictable archiecutre into dynamic, changing and interactive sculptures. His aim is to use wind as an interactive tool that is often unseen and invisible. Through the use of smaller modules in a large repetitive nature, Kahn can create large scale patterns that take bland facades into dynamic forms. Through this movement, people take interest in a space that is often ignored or overlooked in their daily lives.

Makoto Sei Wantanabe explores the use of long fiber elements to express the hidden behaviours of air. Using it as a delicate variable in the movement of this design, the experience of the model changes throughout the day and has a picturesque nature in its dynamic movement.

C1.PRECEDENTSKINETIC SCULPTORS/ARTISTS

REUBEN MARGOLIN

NED KAHN

JANET ECHELMAN

The concept of reconnection has led us to question: Who are we connecting to? The purpose of this design is to reconnect the community of Wyndham and the people travelling through Wyndham. These stakeholders will reconnect with the site and the conditions it provides.

WINTER SPRING SUMMERAUTUMN

WHO ARE WE CONNECTING TO?

As seen in the precedents, wind as an ever changing variable can become a perfect connection point between human interest and the sculpture. Wind is a unpredictable natural movement that can dynamically change the experience of the sculpture. Above are diagrams of wind movement relative to season. If wind changes the sculpture, the movement of the sculpture will differentiate every time you drive past it.

HOW ARE WE CONNECTING THEM?

The use of wind as a reconnection method has many links back to Wyndham. The rich history of the RAAF base, relevant to all Australians. The interaction with that history and wind is incorporated in our design. Knowledge such as their wing designs can enhance the interaciton with wind.

By choosing wind as a variable in our design, there are two alterating factors of wind in the proposed site. First is the car which is a moving object. This object produces complex wind movement (Fluid Dynamics). The other is natural wind that changes unpredictably on site.

The Werribee Parks is an important element of Wyndham as communities often interact with the natural environment. The dedication to segment zones for environmental protection is inspirational in the spread of unused space. This influences our design to become multiple elements, not just a singular static design.

In analysis of the site, two relevant factors become the two major components of our design. The first is the cars, a ever changing variable on site. The interaction with the car is important.

RAAF + WING DESIGN VEHICLE MOVEMENT + WIND

WERRIBEE PARKS(FIELD OF TURBINES)

CAPSULES: ISOLATIONCAR MOTION = DESIGN

RECONNECTION AS A CONCEPT

THE IDEA OF RECONNECTION AND WIND MOVEMENT HAS LED TO THE EXTRACTION OF ELEMENTS FROM WYNDHAM AS WELL AS CONTEXTUAL SITE IDEAS TO DESIGN AN INTERACTION BETWEEN THE SITE AND THE VEHICLES.

hand models

C2.WING EXPLORATIONS/PHYSICAL MODELLING

The ideas behind the design concept has influenced the decision to produce

elements rotated around an axis. The ‘Wind turbine’ consists of geometric shapes designed to capture wind to generate enough force to spin the whole turbine. The design criteria in

these physical experiments was to find a design that could capture the maximum

potential of wind and to be aesthetically pleasing. It began with the design of the

single element and led to the design of rotations around an axis that could

generate interesting patterns.

Photos and experiments by Jessica Zhang

The initial wing modelling produced interesting results. Physical modelling produced a diverse range of possibilities but the main idea was captured when we experimented with a curved-rectangular shape (Above). There was a realisation that rotations around an axis with the same shape would produce an interesting pattern and would help the turbine distribute wind force evenly.

INITIAL PT

TRANSLATION OF PT

3-POINT ARC

WING LENGTH LINE

LOFT

ROTATE/MIRROR

FINAL WING GEOMETRY

AXIS LINE DIVIDE SEGMENTS ORIENT GEOMETRY

RANGE

LIST MANIPULATOR

ROTATION DEGREES ROTATE 3D (AXIS)

FINAL GEOMETRY

INITIAL RHINO GEOMETRY IS A POINT THAT IS TRANSLATED TWICE TO FORM THREE POINTS. THESE THREE POINTS THEN BECOME DRAWING REFERENCES FOR AN ARC. THE MOVEMENT OF THESE POINTS ARE CONTROLLED BY SLIDERS.

THE ARC AND A HORIZONTAL LINE PERPENDICULAR ARE LOFTED AND BECOME THE WING GEOMETRY. THROUGH THE USE OF SLIDERS, THE LENGTH, ARC DEGREE, HEIGHT, WIDTH, ETC CAN BE CONTROLLED PARAMETRICALLY.

ROTATION AND MIRROR ALLOW THE WING GEOMETRY TO EXIST ON BOTH SIDES OF THE AXIS.

SINCE THESE WINGS BRANCH FROM AN ORIGIN VERTICAL ELEMENT, WE CAN CONTROL THE AMOUNT AND LENGTH OF DIVISIONS NEEDED.

THE GEOMETRY CAN THEN BE ORIENTATED TO PLANES ON THESE SEGMENTS. GRASSHOPPER CONTROLS HOW THIS GEOMETRY SITS ON THE AXIS.

THE MAIN AREA OF DESIGN COMES THROUGH IN HOW THESE WINGS ARE ORIENTATED ON THIS AXIS. BY MANIPULATING THE NUMBERS, WE CAN CONTROL PARAMETRICALLY THE AMOUNT OF ROTATION OF EACH BLADE.

THE RANGE PROVIDES US WITH AN ADJUSTABLE DOMAIN AS WELL AS THE NUMBER OF VALUES THAT ARE NEEDED. THE LIST MANIPULATOR CAN BE GRAPH MAPPERS, IMAGE SAMPLERS OR ANY FORM OF NUMBER GENERATION.

THE FINAL GEOMETRY (SEEN ON THE RIGHT) CAN PRODUCE AN INFINITE AMOUNT OF GENERATIONS DEPENDING ON THE RANGE AND LIST MANIPULATION THAT ARE USED IN THE PROCESS.

C3.COMPUTATIONAL/PARAMETRIC MODELLING

The interest in the rotational axis wind turbine is generated easily on rhino. Through our research on wing design, we realise the need to design these wings carefully. Fluid dynamics and airfoil design dictates the need to consider pull and and lift forces that influence the pressure of wind around the geometry. This led to the consideration of an arc-shape that would aid the flow of air.

The basic grasshopper definition incorporates the control of the wing design as well as the way it is

rotated around an axis. All of the elements of the design can be altered by the movement of the number

slider that can change the geometry in the matter of seconds.

Although the wing design can be very technical, these wing designs can become important elements in shaping the pattern generated by the push of the wind. The rotation around an axis can be controlled by number-altering equations and grasshopper functions (Math Functions, Graph Mappers, Image Samplers, etc). The aim of this matrix was to generate a well distributed rotation (That would not hinder the air movement) and have a design that would be eye-catching in the limited attention span on the high speed moving site.

WIN

G D

ESIGN

MA

TRIX

POWER FUNCTION LINEAR FUNCTION PARABOLA FUNCTION SINE FUNCTION

PARABOLA FUNCTION(2) PARABOLA FUNCTION(3) PARABOLA FUNCTION(4) PARABOLA FUNCTION (5)

SINE FUNCTION (X/2) SINE FUNCTION (X) SINE FUNCTION (2X) SINE FUNCTION (3X)

RANGE FUNCTION SINE FUNCTION LINEAR FUNCTION POWER FUNCTION

POWER FUNCTION POWER FUNCTION POWER FUNCTION PARABOLA FUNCTION

RANGE FUNCTION RANGE FUNCTION(2) SQUARE ROOT FUNCTION LINEAR FUNCTION

PARABOLA FUNCTION(6) PARABOLA FUNCTION(7) PARABOLA FUNCTION(8) PARABOLA FUNCTION(9)

C4.1FINAL WING GEOMETRY

The final wing geometry embodies the concepts and ideas generated in the

earlier phase of the design. The nature of the design rotates around an axis with

the angles generated through digital modelling. This model shows the smallest

of the wind turbines, but higher examples will have ore wings and more agressive

rotation patterning.

The Wind Turbine design finds its form in the folding

curvature of plastic material. Through this

simple folding effect that is repeated along an

axis, it gives the model a geometric arc form

out of a two dimensional product. This arc serves

as the main element that would capture wind and

maximise its power to spin the turbine. The materiality

of the wind turbine uses a glossy surface that

gives an elegant shine to the wings. As the turbines

constantly move, the shine would change all the time.

C4.2MATERIALITY / DAY TIME

The daytime experince of this wind turbine is through the use of recycled plastic. The functional requirement of these wind turbines requires it to be light weight and flexible to bend into arching geometry. The problem with moving objects is the need for maintaince. The use of recycled plastic satisfies these requirements. The manufacturing process of recycled plastic results in a uneven and rough finish. The coating of these elements with tinted polycrylic will produce a glossy finish. As seen on the below, the turbine will shine in the sun and provide a transluency that will light up on site depending on the weather.

C4.3MATERIALITY / NIGHT TIME

With the natural sunlight playing a vital role in the materiality of the model, during night time the wind turbines take on a different aesthetic. The use of LEDs on the tips of the wings allow the model to glow at night. The spinning rotations of the wind turbines generate light painting and turn the site from a dark isolated highway to a interesting moving light show. The variable of the wind alters how the light shines in patterns. The faster the wind, the more defined the light painting will be.

C5.SITE DISTRIBUTION

The idea of not using a singular element, but a field of wind turbines to generate interest has led

us to parametrically design the site distribution. Three governing factors for this are: the areas of

interaction, the height of the site and the relationship of the road curvature. These were translated into

Rhino and a matrix of combinations was made to see the best way to transition through a site and

distribute the wind turbines evenly on site.

DIAGRAM:Shows the intended boundary of the wind turbines relative to relationship and program (Stated above). This diagram shows the need to consider height, as the speed of wind is increased with height. This alters the diameter of the wind turbines as well as the height to maximise the potiential of the wind.

SEGMENT 1: INTERACION WITH INBOUND CITY TRAFFIC (CLOSE PROXMITY OF WIND TURBINES TO ROAD). LOW TOPOGRAPHY RESULTING IN SHORTER AND SMALLER DIAMETER WIND TURBINES

SEGMENT 2: DETACHED FROM INTERACTION WITH CAR. HIGHER TOPOGRAPHY RESULTING IN HIGHER AND LONGER TURBINES.

DIAGRAM:Influencing factors on the geometry of the site. Influences on programing specific circulations on site as well as the relationship between the turbines and the view point of the car through relative distance.

USING SETS

REF. CURVE DIVIDE

SURFACE DIVIDE

CURVE DISTRIBUTION

CLUSTERS

USING SETS/PROXMITY

SEGMENT 3: INTERACTION WITH OUTBOUND CITY TRAFFIC. CLOSE PROXMITY, LOW TOPOGRAPHY.

DIVIDING THE SITE INTO THREE SURFACES AND USING SETS TO CONTROL THE DISTANCE AND

AMOUNT OF POINTS

USING CURVES DRAWN ON SITE AND DIVIDING THEM, THE POINT DISTRIBUTION IS EVENLY

SPREAD

SIMPLE RECTANGULAR SURFACE DIVIDE TO GENERATE

LINEAR DISTRIBUTION.

GRADUAL DISTRIBUTION OF POINTS TO GENERATE LINEAR

ROTATED LINES OF POINTS

CLUSTERED SURFACES DICTATE WHERE THE POINTS ARE

DERIVED FROM A LARGER LIST OF POINTS

USING SETS, CURVE REFERENCES AND SURFACE

REFERENCES TO DISTRIBUTE THE POINTS SUITABLY.

C6.FINAL SITE PLAN

The final site plan shows the three levels of interaction that have been programmed into site. The final distribution of “Using sets/Proximity” was executed on site because it combined the different elements of all the matrixes and they support the intended transition through the site.

SECTION

INTERACTION 1:THE WIND TURBINES ARE PLACED CLOSE TO THE ROAD TO INTERACT WITH THE CARS. WIND GENERATED BY THE CAR SPINS THE WIND TURBINES FASTER. THIS CLOSE SCALE WILL CATCH THEATTENTION OF THE DRIVER.

INTERACTION 2:THE WIND TURBINES GRADUALLY

BREAK AWAY FROM THE RELATIONSHIP WITH THE CAR,

INFLUENCING THE DRIVER TO SEE AND TAKE INTEREST OF THE TURBINES FROM

A DISTANCE.

INTERACTION 3:THE LAST EXPERIENCE IS SEEING THROUGH THE SPREAD OF THE

WIND TURBINES AND SEEING THE INTERACTION OF THE CARS HEADING

IN THE OPPOSITE DIRECTION. THIS COMPLETES THE EXPERIENCE.

PETROL STATION

PARKING LOT

PRINCES HWY

PRINCES HWY COMMUNITY SPACE

Often motor roads generate unused spaces within the community. Since the council are proposing to develop the site into a

sculptural park, why not open it to the community? The design proposal makes use of the four metre contour height and creates a opening for human interaction with the wind turbines. From the

parking lot (indicated on map), you enter a tunnel and emerge into a enclosed outdoor space with a open roof to the spinning turbines. Within the space there are areas for lying and sitting to make maximum experience of the movement of the turbines. It

will be open to the public and people passing by who need a break from driving.

SECTION OF THE PROPOSED COMMUNITY SPACE

SECTION

C7.FINAL SITE MODELThe final site plan was developed into a 1:1 physical model in order to capture the experience throughout the site. The physical materialisation of the model helped the design to realise its sheer scale and mass on site. It helped to see at ground level the approach and transition through the site.

1:100 SITE PHYSICAL MODEL SHOWING SPREAD AS WELL AS EXPERIENCE THROUGH THE SITE

C8STOP M

OTIO

N PRO

JECT (REFER TO

WIKI)

C9CONSTRUCTION PROCESSES

An important element of this design proposal is the final construction. The wind turbines are designed to be durable, low maintenance and simple. The amount of wind turbines needed on site can be graphed and referenced as if it was a point on a surface. This can further be divided into groups of logical understanding so the construction process is less complex and faster to install.

Although there are many wind turbines to be installed, the solution in sorting out where each one goes relates to how each element can be labelled and organised. Like GH data, they can be related to U,V points which can then be sorted into different catagories.

The difference in height and spans can be divided

into segments of letters (Shown above). This allows

less confusion and the installation of the correct

elements on site.

JOINTING OF WING TO THE ROTATIONAL AXIS IS AESTHETICALLY HIDDEN DUE TO THE FOLDING NATURE OF EACH WING.

EACH WING MEMBER IS CUT TO PRECISE TEMPLATES AND CAN BE HEAT PRESSED TO BEND INTO THE NEEDED GEOMETRY. MEASUREMENTS VARY ON THE INTENDED RADIUS/HEIGHT OF GEOMETRY

THE OPENINGS ARE THREADED THROUGH THE ROTATIONAL AXIS AND FIXED WITH SCREWS. DUE TO THE LIGHT WEIGHT NATURE OF THE STRUCTURE, IT HAS RESULTED IN A SIMPLE AND QUICK ONSITE INSTALLATION.

SCREW THREAD ON EACH SIDE OF THE TOP AND BOTTOM OPENINGS. THEY ARE FOLDED BACK TO HIDE THE SCREW

“The Limits of my language mean the limits of my world” - Ludwig Wittgenstein

Design Studio AIR has been one of the toughest and challenging design studios ever for me as a student. For everyone, it was a tough and long semester and the dramatic learning curve was pushing the limits of how we think and design. I have been using grasshopper since the EX-Lab project in St Kilda, 2011 but have never really pushed the limits any further than the basic skills of grasshopper. It was a good chance this semester to test my knowledge but to also expand it further into more plug ins and new tools. It has been engaging on every level and there has not been a studio where people have learnt such a wide range of useful tools. For example: model photography, using the lazer cutter, creating presentation documents, using other programs (Illustator, Indesign, Photoshop, etc). The most useful piece of this semester has come through in my journal. Learning to argue and to be critical about how to approach other precedents and my own designs has been the biggest step in my architectural learning. There is a need to look beyond the glossy magazine and blog descriptions and to search for a different approach to how you use these precedents to set up an academic argument.

D1.LEARNING OBJECTIVES AND OUTCOMES

I think this studio has set a new higher standard of work at the University of Melbourne. The amount of exposure to so many different avenues of architecture is the best thing for young architecture students.

As for the future, I will continue to learn more about the use of parametrics in design. Although I am more interested in the fabrication outside of traditional means to produce a unique materialisation of the concept. Taking from the precedents, Janet Echelman, who was inspired by the use of fishnets and gradually built her sculptures by altering the manufacturing process of industrial fishnets.

The process and tasks of this studio has introduced me to more elements of architecture that are not usually considered in a normal studio. Influences such as weathering, change and movement are interesting components of architecture. This has changed my design thinking to something more dynamic and engaging. This is evident in our approach to kinetics. Although there was a simple idea of allowing wind movement, there were complex hurdles and justifications for why and how that needed to be fulfilled. The ‘why’ and ‘how’ in my learning has been pushed and I now feel comfortable in justifying why particular areas were chosen over others. This can be seen in our design outcome where many choices were made with the support of evidents and specific criterias.

I look forward to tackling my next studio and applying the knowledge I have obtained from this studio.

Victor Wong, 2012.

REFERENCES

- Corbellini, G, 2003, ‘Review of Bioreboot’, Italy, viewed on 23 April, 2012http://www.papress.com/html/book.details.page.tpl?isbn=9781568988696

- Echelman, J, 2011, ‘Taking imagination seriously’, TED Talk, United States, viewed on 6 May, 2012, http://www.youtube.com/watch?v=9YekkGz1E2k

- Kolarevic, B 2003, Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, pp. 23

- Kalay, KE, 2004, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design, Cambridge, Mass.: MIT Press, pp. 15

- Margolin, R, 2012, ‘Sculpting waves in wood and time’, TED Talk, United States, viewed on 17 May, 2012, http://www.youtube.com/watch?v=_L052IOoX0Y

- Ouroussoff, N ,2005, ‘Rem Koolhaas learns not to over think it’, The New York Times, 10 April, viewed on 17 April, 2012,http://www.nytimes.com/2005/04/10/arts/design/10ouro.html?pagewanted=1&_r=1&sq=casa%20da%20musica&st=cse&scp=1

- Williams, R 2005, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley, Edinburgh: Ediburgh University Press, pp. 104

- Wittgenstein, L, 2001, Tractatus logico-philosophicus: translated by D.F Pears, New York, Routledge