Page 1

Journal ADS: Air

Grazi Prada - 538264

Cover photo by the JavaGecko, DevianArt, viewed 10th April 2012, <>

Contents A personal project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 A state of the art project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Another state of the art project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Plastics and Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Deconstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 EOI - Design brief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 EOI - Werribee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 EOI - Commute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 EOI - The proposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 EOI - The overall form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 EOI – The breathing cell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 EOI – Air intake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 EOI - Manufacturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 EOI - Precedents - The movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 EOI - Precedents - The morphology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 EOI - Precedents - The structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 EOI - Precedents - The materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 EOI – The models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 EOI- Competitive advantage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Learning objectives and outcomes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42


A personal project

Sketch of other churches of the time

Project: Brasilia Cathedral Location: Brasilia, Brazil Architect: Oscar Niemeyer Finalized: May 1970

Brasilia Cathedral, Wikiarquitectura, viewed 2nd March 2012

Sketch of the Brasilia Cathedral

Other churches at the time were designed based on the shape of a closed hand with one finger pointing to the sky - a main large area with a tower at the end. They were heavy rectangular buildings with small windows; the sitting was linear and from some seats it was quite hard to see the narrow altar. The Brasilia Cathedral was so different to everything else that it took the Catholic Church many years to accept it as a Cathedral. First it was circular. There was not a tower to one side, but the whole building elevated to a point right at the center. The altar was not separated from the seating, making it easier to be seen. The large glass areas let an enormous amount of light into the building, giving the impression you were walking into the heavens. The entrance is underground and extremely dark, adding to the effect of walking towards the light.


It made other architects rethink their designs. It showed that there are different solutions to the same problem, that buildings could have diverse designs to others with the same function. The use of different materials also had a great influence on the design, without the precast concrete, none of the design would be possible.

Brasilia Cathedral, Wikiarquitectura, viewed 2nd March 2012

When we design a building today, we should think about how it makes a person feel. Niemeyer made people feel close to God when they entered the building. How will people feel when they drive past our sculpture? What feelings can come from driving our cars on a freeway? It wonâ&#x20AC;&#x2122;t make us think about God, but maybe speed, or waste of time, or even waste of money due to the high prices of fuel.

Brasilia Cathedral, Wikiarquitectura, viewed 2nd March 2012


A state of the art project

Project: Guggenheim Museum Location: Bilbao, Spain Architect: Frank Gehry Finalized: 1997

Guggenheim Museum Bilbao, Wikipedia, viewed 2nd March 2012

The Guggenheim Bilbao is an example of a large scale designed with free form surfaces. The titanium curved panels are designed to appear random, and could only be designed by the use of a Computer Aided Three Dimensional Interactive Application. Its shape resembles a ship sailing on the nearby Nervion River, without being too literal. It brings the ship shape with a modern approach, making it modern and unexpected. When designing the sculpture for Wyndham, I would also like to use a shape that means something to the locals, but bringing it to life in a modern way, without coming out too literal.

“Bilbao was one of those rare moments when critics, academics, and the general public were all completely united.” (1)Tyrnauer, Matt , “Architecture in the Age of Gehry”, Vanity Fair. Viewed 2nd March 2012 /2010/08/architecture-survey-201008?currentPage=all

Guggenheim Museum Bilbao, Wikipedia, viewed 2nd March 2012


Another state of the art project

The Farnsworth House, Wikipedia, viewed 2nd March 2012,_Illinois)

A building with thin metal columns may be common for us nowadays, but in 1951 it was something completely new, and even thought to never be able to be used in an urban environment due to privacy issues.

Project: Farnsworth House Location: Plano, Illinois, USA Architect: Mies van der Rowe Finalized: 1951

Van der Rohe had it covered in glass because he wanted to bring the nature in, make the building part of its surroundings. He didnâ&#x20AC;&#x2122;t want to separate from it, but add something to the scenery. Wyndham still has a lot of natural landscapes. I believe is important to remember that. That somehow the installation on that site must relate to its surroundings. Adding something to the area, without poorly contrasting with the history and nature around it. Farnsworth House, National Trust for Historic Preservation, viewed 2nd March 2012,


Plastics and Computers Parametric design is often done using very different forms. Those forms frequently can’t be built using traditional materials. Plastics are a modern alternative that can be transformed into almost every shape. We can see it being used in many modern structures. The Panton chair is a good example of the use of plastic for a curvy structure. Even though it is not an example of a computer-aided design, it shows how plastic can be transformed into a complicated shape without losing its strength. It is made out of a thin layer of molded plastic and can still hold the weight of an adult without changing its shape. Panton Chair turns 50, Yatzer, viewed 18th March 2012

The Blobwall Pavilion was created as a redefinition of the common brick. Each brick, or “blob unit” is massed produced by a cutting machine. They are hollow inside, made only of a thin layer of plastic. When attached together, form a solid and strong structure that is free standing and can be used indoors or outdoors. As an example of a Computer-aided design for a large scale building we can use the Allianz Arena in Munich. The façade is made out of ETFE foil cushions that are inflated with low air pressure. ETFE is a type of polymer, or what we commonly call plastic.

Blobwall pavilion, viewed 18th March 2012

In this case it does not have to hold the weight of the building, but it contributes towards insulation and weather resistance. It is fire resistant and performs well in case of heavy snow and rain. Plastic can be used in so many different ways, and there are so many different plastics. It’s a material easily used collectively with Computer-Aided design, as it is simply shaped into any free form we can imagine. It is a modern material that can be used on the Wyndham sculpture to make it contemporary and practical.

Allians Arena, wikipedia, viewed 18th March 2012

Project: Panton Chair Designer: Verner Panton Designed: 1959-1960

Project: Blobwall Pavillion Location: Los Angeles, CA Architect: Greg Lynn Finalized: 2008

Project: Allianz Arena Location: Munich, Germany Architect: Herzog/de MeuronFinalized: 2005



The Dynaform is a great example of parametric design. â&#x20AC;&#x153;The Dynaform was generated in a computer simulation by overlapping the spatially translated Doppler effect and environmental forces.â&#x20AC;? [1]

Project: Dynaform Location: Frankfurt, Germany Architect: Franken-Architekten Finalized: 2001

Fritz Busam, Berlim

The architects used a complicated steel frame and opted for a PVC membrane to cover the surface. We can compare the structure to the bones of a living animal, holding its shape. And the membrane can be compared to the skin, protecting all the delicate interior organs from the outside. I believe that idea can be used for the Wyndham sculpture, a sculpture with a thin but strong skin, that seals it form the weather conditions.

[1]Dynaform, Franken-Architekten , viewed 18th April 2012. &param3=1&


Fritz Busam, Berlim

Cut Curves Intersection /Curve

Explicit Grids/Image Sampler

Data Driven Shading

Data Driven Rotation

Data Driven Extrusion

Boolean Patterning/Attractor Point

Using the definitions provided to us, I have picked 3 inputs, 3 associations and 3 outputs. On each column I have kept the same input and association and have changed the output. The outputs are the same on each line. This way I have created 9 different combinations. In the first column it is possible to observe that by just changing the output and moving the sliders, we can create very different final products. They all have different shapes and volumes in them. On the second column however, the final solutions are all very similar. I have tried moving sliders around and changing a couple of other things, but the solutions tend to stay the same. On the third column we can see a large variance again. With that we can conclude that the same problem can have different solutions. There are different ways to solve a problem, and different views can help you find the best way to solve all your design restraints. The cut can be used on the plastic skin to create the idea of an animal skin. It can relate using an image sampler of the selected animal skin, but that seems perhaps a bit simple. Maybe that can be developed better in the following parts of the journal, with the use of test models and sketches.



Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’

Project: Articulated Cloud Location: Pittsburgh, PA, USA Designer: Ned Kahn Finalized: 2004

Kahn designed a skin for the Pittsburgh Children’s Museum that moves in the wind. It is made of translucent plastic squares mounted on thin rods and attached to an aluminum frame. Those rods can spin freely, and the squares can be moved with very little wind, giving the impression that the building is “alive”. Adding a moving skin to our sculpture could also bring it to life. We could use a very similar technology to do so, but I believe we can develop it further and perhaps have a similar effect with a less complicated structure that is also easier to maintain. In the picture to the left we can observe a simple sketch of the existing system. It requires a complicated structure to create a simple movement. That structure seems to be extremely costly to build and maintain. Perhaps we can simplify it and create a similar effect.


Existing system sketch

For the sculpture we intend to use the snake as our basic shape. It is an animal that relates to the region. Information on why the snake was picked can be seen a little later on this journal. In the following sketches we can see the original square shape, replaced by a shapes associated to snake scales.

Triangle scales replacement

Hezagonal scales replacement

Just the change of the original shape already makes it more useful for the project; however we can still simplify it to make it more cost efficient and easier to maintain. It is possible to replace the complicated structure of the skin with a simple polyvinyl chloride membrane laser cut to a specific pattern that resembles snake scales. If the vinyl is pliable enough it will also move with the wind, creating a similar effect with smaller costs.

Triangle cuts replacement

Hezagonal cuts replacement

Using this method will also simplify the structure. Instead of having a large amount of rods attached to every single â&#x20AC;&#x153;scaleâ&#x20AC;?, we can have a structure similar to a snake skeleton, adding to the snake proposal.


Simpler structure


Testing The ideas proposed by the sketches can be better tested by building models. First I tested the cut shapes on a plane surface. I have used common paper to test if the wind would be enough to move the material and give us the impression of our sculpture moving.

Prototype two

Prototype one

It creates a very interesting texture, but it does not move as expected. The following model tests the structure similar to snake ribs, and how the vinyl can be attached to it, to see if that can make it move in an interesting way.

Prototype three

Going back to some of the buildings viewed previously, I learn that the Dynaform used pumps to shape the membrane to the desired form. Adding pumps to inflate the skin, making them appear to be taking a deep breath while the cars drive past expelling their toxic gases on our atmosphere. Using similar shapes to the ones seen previously we can create individual cells that inflate when a sensor detects movement or vibration. Here is a model of a cell we could use.


Prototype four

It could have a large skin that inflates like below.

Prototype five - deflated

Prototype five - inflated

It definitely forms an interesting shape and if applied to a large area of cells it will make our sculpture appear to be breathing, making it seem alive. An hexagonal shape was also used earlier, and maybe it could create something even more interesting.

Prototype six - deflated

Prototype six - inflated

It forms a much more interesting shape. It is larger and more prominent. It is easier to attach the plastic cells, therefore easier to maintain. I created the cells by joining 2 sheets of plastic by the edges and those edges are attached to the inside of the cells. They can be easily screwed in and replaced easily in case of rupture. This way it also leaves space for the installation of a pump inside the cell, represented on my model by a plastic straw. It really gives the impression that the model is breathing.

Prototype six - front detail

Prototype six - back detail


EOI - Design brief The City of Wyndham is the entry point into greater Melbourne for all travelers coming from Geelong. It is in their interest to create a Gateway at that point, in a way that it will inspire and enrich the municipality. Our objective in our proposal is to create an iconic feature, one that people will remember, and that can be used as a symbol for the council. There will also be a dialogue between the landscape and sculpture as well as a different viewing at different times of the day. We also would like to keep in mind the history of the area. There are beautiful stories about the local people and we wish to respond to that history of Wyndham City, to restore the City as a significant cultural hub. We also hope to promote user interaction with the sculpture. It will respond to the number of cars driving by in a noticeable way. It will deliver a statement, something new and modern to bring Wyndham into the new age, and to impact people.

Site for proposal


Sites used in proposal

Between the 3 sites available, we decided to make use of the 2 larger sites as shown on the picture above. Each site will have separate structures but that communicate throughout their continuous design. We will keep in mind the gas station located next to the sites. It is the only large construction on the area. The remaining surrounding areas are either farmed lands or other vegetation.


EOI - Werribee For many years Aborigines lived in harmony with the land. They named everything around them based on things they knew from nature. The ones that lived in the area we today call the City of Wyndham thought that the local river reminded them of a spine or backbone. Or in their language; Werribee. The first animal that comes to mind when I think about a moving spine is the snake. When looking at the river curving on the surface, I can see a snake moving at the same manner. Our roads today also follow that curvy way on the surface of Earth. Avoiding hills and valleys and forming a way for us to move to our desired destination. The history of the City of Wyndham must be kept in mind when designing for the site. I want to use that small part of their history and give it a modern twist to create something contemporary but that still means something to the local community. And that the community could use as a symbol, something they can use to be remembered. The path of the sun will also be kept in mind for this design. The different shadows that will form on the street or the form in the darkness of the night should be incorporated to the design, so it can be an icon to drivers at all times of the day. The sites are originally undulated and I plan to work the design to complement the topography. This will all be brought together with the use of modern parametric design, using computer tools to bring the most modern approach, without losing the original thought of history.


Werribee River Google Earth, viewed 10th April 2012

kriegswauzie, DevianArt, viewed 10th April 2012, <>

EOI - Commute Some people live very far from where they work. They endure hours a day sitting in their cars driving to their work place. Hours that could be used for much more enjoyable things. I don’t imagine anyone enjoying that situation. I believe some people do it for necessity. Others do it for lifestyle. Many people that live in Geelong, work in Melbourne every day. I am not aware of the reason why they decide to endure this long journey every day; but I think it’s important to remind them of many reasons why that is not the best option. Firstly, the cost. Gas is extremely expensive. Oil is a non renewable resource. Once we harvest and use all the oil on the planet we can’t simply make more. We have been using the technology for a very long time, and a new technology is overdue. Secondly, the environment. The use of gas is also not the best option for our Earth. It creates extremely high amounts of pollution that are expelled into our atmosphere every day. It harms the plants and animals around us, as well as ourselves. I would like to keep this thought in the design, and remind the commuters of the harm they are causing. A large animal “taking a breath”; inhaling their car fumes can remind the drivers of the harm their decision is making on the environment around them. A real snake would probably not survive long surrounded by those gases, inhaling nothing but those every day. It affects us in a harmful way and it is time people are aware of the damage they cause. With something as simple as a sculpture we can remind people of all that and hopefully, if they have the option, they will rethink their life choices and move closer to their work or work closer to their home., viewed 10th March 2012, <>


EOI - The proposal



We propose that 3 different structures be installed on the sites. They resemble the structure of a large snake coming in and out of the ground around the freeway. The structure will be made of a large number of steel hexagons, and inside each one there will be installed a PVC membrane pillow that inflates and deflates according to the volume of cars driving past the site. Proposal - view A

Proposal - view B


Proposal - day


Proposal - night

Proposal - Section


EOI - The overall form



When designing the overall form of the sculpture we considered our initial thought for this brief, the story of the aboriginal community and how they named the local river Werribee; or in English, back spine. We developed that back spine idea into the snake and its way of moving in a curvy way, similar to the Werribee river. We started with an image of a snake as well as an image of the river. Out of those we extracted a curvilinear shape that resembles the snake.


First curve

That shape was beautiful, but perhaps a bit too literal. The next step was to evolve that curve into three separate sculptures. It still keeps the original thought in mind, but it makes it more interesting and modern, as well as a lot less literal. The sculpture will be visible to all traffic. The lanes towards Geelong would drive past the south side of the sculpture, the city bound lane would drive in between them and the werribee exit lane would drive past the north side.

Developing overall form

The height of the sculpture was also considered. We wanted it to appear grand without being extremelly large

Developing overall height


EOI - The breathing cell

The breathing cell


Prototype one

Prototype two

Prototype four

Prototype three

Prototype five

Prototype six

As previously mentioned, many prototypes were developed to find the most appropriate cell shape and inflation system. Firstly we decided that the hexagonal shape would be the most appropriate for our cells, as it covers a larger area and this way the inflating cell would be more visible for the drivers. Secondly we decided to use air pumps to inflate each cell; however this decision was reviewed due to high costs. We studied the wind the cars produced and how we could use that to inflate the cells. We will look into those air intakes into more detail in the next pages

The hexagonal cell development


EOI - Air intake

Air intake mimicking a wind mill

Air intake mimicking movable louvers


Air intake mimicking a Lamborghini air vent

We looked at three different options for the air intake section of the breathing cell. Firstly, the wind mill. It rotates towards the wind direction to guarantee the best use of the wind available. It uses the wind wisely, however it wonâ&#x20AC;&#x2122;t work as well inside the cell as it cannot rotate freely. It would also need to be checked often and oiled to insure that the system would be always working, and that would raise the costs. Second, the movable louvers. It also rotates to guarantee the best air intake. Again, expensive maintenance would be required and we would like to find a solution without moving parts. Third and last, the Lamborghini air vents. It is stationary, and simple to construct and would achieve high quality results. That is the air intake we choose for our cells.


EOI - Manufacturing

To manufacture the sculpture a folding technique will be used. Each individual cell is cut from steel into the desired shape.

Open cell

That shape is folded to form the hexagonal shape.



Screws and bolts are used to attach the ends together.


The air intake panels are added to the large openings.

Air intake

The air out take panels are added to the opposite side in the small openings.

Air exit

They can be transported to site and the multiple cells can be attached together using screws and bolts again.

Multiple cells


EOI - Precedents - The movement

arch daily, viewed 2nd April 2012

Project: Madia-TIC Location: Barcelona, Spain Architect: Enric Ruiz Geli Finished: 2011

We also would like to introduce the idea of breathing into our sculpture. This building designed by Geli incorporates the inflatable PCV membrane cushions into the faรงade. It inflates and deflates to allow more or less sun and therefore heat inside. It responds to the outside conditions to improve the conditions inside. In our sculpture we want it to respond to the amount of cars going past, but the system of the pillows inflating and deflating is very similar.


arch daily, viewed 2nd April 2012

EOI - Precedents - The morphology

Project: Honeycomb Morphology Location: London, UK Designer: Andrew Kudless Finalized: 2003-04, viewed 2nd April 2012

Our group studied Biometric Strategies for our sculpture. We wanted to assimilate the form to an animal, so it is important to study the natural form to create an ideal man made form. He looked at the Honeycomb morphology, as it was a biodynamic structure derived from a natural phenomena. We did research into applications of scale patterning surface system and how we could aggregate that into our proposal., viewed 2nd April 2012


EOI - Precedents - The structure

arch daily, viewed 2nd April 2012

Project: ZA11 Pavilion Location: Cluj, Romania Designers: Dimitrie Stefanescu and CLJ02 workshop

We looked at different examples for building the sculptureâ&#x20AC;&#x2122;s structure. We found a great example on the ZA11 Pavilion. It was designed and put together by students. It used parametric techniques as well as Rhino and Grasshopper to create the geometry, the fabrication method with labeling and assembly. It experimented on what new computer technology can do by giving an architectural affect.


arch daily, viewed 2nd April 2012

EOI - Precedents - The materials

A constructed example with similar materials to what we want to use is Project: Dynaform the Dynaform, the BMW pavilion for the 2001 International Automobile Location: Frankfurt, Germany Exhibition. Architect: Franken-Architekten Finalized: 2001 15 steel frames are used as the main structure for the building. A dual ETFE and PVC membrane is used as a skin for the faรงade. Differently to what is commonly done, the membrane is only stretched in the longitudinal direction. Stretching the skin transversally would have deformed its three-dimensional shape, resulting in bulges that would have contradicted the idea of acceleration. A vacuum blower reduced the air pressure on the pillow creating an inward vaulting faรงade.

Fritz Busam, Berlim

Fritz Busam, Berlim


EOI - The models

The first model


This was the first model we developed showing our design idea. While building it we came across many difficulties that help us develop the construction process for the sculpture. We used laser cut plywood for this model. Each side of the hexagonal was cut separately and it was a very long construction process. Finding each piece was time consuming and mistakes happened. Attaching each piece together was also complicated. Plywood is not malleable so we could not fold the edges to glue it together. The edges were also poorly cut which made gluing them almost impossible. In the end we had to resort to taping them together to be able to construct the model. It gave us an understanding of the overall shape of one of the sculptures, but unfortunately gave it an unattractive finish. Another problem we came across is the weight of the model. As plywood is a heavy material for the model size it did not stand up by itself, we had to use a column to hold the model up, and we do not want to use that in the real sculpture. We continued studying different construction methods, and developing different models to showcase these methods.


The second model


The second model had a lot of similarities to the first one, but we changed the way we constructed to make it simpler and easier. Firstly when laser cutting the hexagonal shapes we attached all six sides of the model, only having to fold them and attach two ends to each other. We also created hatch tags that were easily followed to facilitate finding the correct piece. To be able to create the fold and hatch we had to use a different material as plywood cannot be folded. We also wanted to make the model lighter so it could stand up by itself. We decided card would be the best material for this model. The model was easier to make, it was stronger as well as better constructed. But it was still not an ideal solution. From this model we developed the entire construction method shown on pages 28 and 29. Unfortunately creating an entire 1:50 model using this construction method would be extremely hard. So we developed a 1:20 model of 4 cells to show the specifics of the construction method and a last 1:50 model to demonstrate a stronger sculpture.


The third model


The third model is stronger, it stands by itself and shows parts of the construction method. We created many openings to create a lighter model. When creating the real sculpture they wonâ&#x20AC;&#x2122;t be necessary as the structure will be made of steel, making it stronger and able to hold its own weight. It is the ideal model to showcase our design proposal


EOI - Competitive advantage Our sculpture will be a new iconic feature for the City of Wyndham, it will tell a story, the story of the aboriginal people that used to live in the area. It will be used to represent the area, as people will recognize that space as the entry way to greater Melbourne. The sculpture will interact with the drivers and passengers, driving past different times of the day, it will give a different reaction; the busier the freeway gets, the more the snake will inflate. It will define the entrance of the municipality, and identify the new direction Wyndham is taking. It will identify Wyndham as a cultural hub and assist the council to bring the city to a new era - the modern era.



Learning objectives and outcomes In this subject I have had an intense education of parametric modeling using digital technologies. I have developed skills in three dimensional media design and how to fabricate the digital models into real live models. Using modern computer programs such as Rhinoceros and the plug in Grasshopper we can create an interesting design, and even different varieties of the same design to find the most interesting and impressive product. This can be seen in pages 34 to 39, where I show the development of our real life models that were laser cut in the Fab Lab. I have also learned how to follow a competition brief to create a competitive design outcome. The importance of reading and understanding what the competition brief outlines, and how to add all the variants to the brief to create an outcome that follows each and every point mentioned by the group running the competition. But it is also important to separate the ones that are most important, the ones that will be highlighted in the project. I have demonstrated this in pages 14 and 15. I have also learned how to relate an Architectural project into a pre-existent theme, such as Air. How to create an interesting design following a theme, but without making it to literal. To create something that is interesting and contemporary and that reminds you of the pre-existent theme. Pages 24 to 27 show the breathing cell based on the air theme. Finally, I have learned how to add all that information together, creating an amazing final product, that aggregates parametric modeling, three dimensional media design, following the brief and the theme that were pre imposed into the design. You can see all those items together on the final project description.


538264 - Graziele Cristine Reistenbach Prada ABPL 30048 Architecture Design Studio: Air University of Melbourne Bachelor of Environments Faculty of Architecture, Building and Planning

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