Blashki joshua 697827 final journal

STUDIO AIR

STUDIO: AIR - JOURNAL JOSH BLASHKI_697827 SEMESTER 1_ 2016

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CONTENTS STUDIO: AIR - JOURNAL

PART A - CONCEPTUALISATION A.1 - DESIGN FUTURING A.2 - DESIGN COMPUTATION A.3 - COMPOSITION/GENERATION A.4 - CONCLUSION A.5 - LEARNING OUTCOMES A.6 - APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN B.1 - RESEARCH FIELD B.2 - CASE STUDY 1.0 B.3 - CASE STUDY 2.0 B.4 - TECHNIQUE: DEVELOPMENT B.5 - TECHNIQUE: PROTOTYPES B.6 - TECHNIQUE: PROPOSAL B.7 - LEARNING OBJECTIVES & OUTCOMES B.8 - APPENDIX - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN C.1 - DESIGN CONCEPT C.2 - TECTONIC ELEMENTS & PROTOTYPES C.3 - FINAL DETAIL MODEL

INTRODUCTION

PHOTO: DAVID ZWIER

Joshua Blashki - Architecture Student, Musician For me, architecture is the bridge between the imagination, sculpture and the real world. It dictates the built environment around us and the way we operate within it, through form and spatial systems. As a musician, I discovered architecture as an expressive tool. Thus, in previous studios I have explored the poetic and sculptural potential to imbue architecture with symbolic meaning. Studio: Air will challenge my view that human touch, anatomical flow and spontaneous energy creates a more meaningful architecture than that driven by rules, strict parameters or algorithms.

Studio: Air will contend that computationally driven processes can aid, perhaps replace or even exceed those human processes which I value so strongly.

STUDIO: EARTH - HERRING ISLAND - ‘THE WOMB STUDIO AIR: JOURNAL

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PART A - CONCEPTUALISATION

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A.1_Design_Futuring CCTV_HEADQUATERS ARCHITECT: OMA Location: Beijing, China Client: China Central Television (CCTV) Year: 2002 - 2012 The CCTV headquaters contributes to contemporary architectural discourse with both technical innovation and by challenging typical ideas of the skyscraper.1 According to OMA’s own website the ‘CCTV headquarters aims at an alternative to the exhausted typology of the skyscraper’.2 Comprising of two L-shaped 50 storey towers connected by a 13-storey bridge, the building loops to create a continuous ‘loop of interconnected activities’ 3 Thus, while OMA disengages with a skyscraper typology of ‘ultimate height’, they have reinvigorated an architectural discourse surrounding the possibilites around skyscrapers of the future.

FIG. 2 - SOURCE: ARCH DAILY - COLOUR CODED STRUCTURAL DIAGRAM

On a more conceptual level, some have argued that the building has diverged from the common phallic typology of skyscrapers that permeate city skylines.

Arguably, instead the building represents a more vaginal form, because it appears as an ‘O’ rather than an ‘I’.4 From an innovation and engineering perspective the building challenges standard contstruction techniques.

‘The building’s primary support is achieved through the irregular grid on its surface, a visible expression of the forces travelling through the tube structure; the smaller the diagonal pattern, the stronger the load and the greater the support.’5 This can be seen in Figure 4.

Thus, an aesthetic statement is also made by exposing the building’s load-bearing structure to the public.

FIG. 1 - SOURCE: ARCH DAILY - EXPLODED STRUCTURAL DIAGRAM

1 “The Most Scandalous Skyscraper In Modern History”, Colorcoat-online.com, 2016 2 “CCTV – Headquarters”, OMA, 2016 <http://oma.eu/projects/ cctv-headquarters> [accessed 7 March 2016]` 3 “CCTV Headquarters / OMA”, ArchDaily, 2012 <http://www. archdaily.com/236175/cctv-headquarters-oma> [accessed 7 March 2016].

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4 http://www.gizmodo.com.au/2013/11/a-briefhistory-of-buildings-that-look-like-vaginas/ 5 “China Central Television (CCTV) Headquarters | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.com, 2016

FIG. 3 - SOURCE: WORDPRESS - CCTV RENDERING

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FIG. 1 - PHOTO: SATORU MISHIMA - SHADDOWS

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SPANISH_PAVILION ARCHITECT: Foreign Office Architects (FOA) Location: Haiki, Aichi, Japan Client: Spanish Society of International Exhibitions (SEEI) Year: 2005 Behind this geometric tessalating facade is the Spanish social ideal of ‘cultural hybridisation’. Referencing arches, vaults, lattices and traceries, this pavilion pays homage to a Spanish lineage of Christian and Islamic architecture. 1 Tessalating hexagonal ceramic tiles form the exterior of this pavilion. Seemingly non-repetitive, these colour coded tiles therefore represent this ideal of ‘cultural hybridisation’.2 In this pavilion we see architectural language being used to engage in a social, cultural or even religious discourse.

As well as this, there is a nationalistic overtone using variations of red and yellow for the ceramic tiles (the spanish flag). The key material, ceramic is also widespread in Spain.

FIG. 3 - PHOTO: SATORU MISHIMA - SPANISH PAVILION

We also see this building engage in a discourse regarding the internal vs. external or inside vs. outside. The facade almost like a membrane which signifies a transitioning between spaces. This references Japanese ideas and therefore responds to it’s setting at the Expo AICHI. So not only does a transitioning between inside and outside occur, but also a transitioning between the east and the west.3 Ultimately, the Spanish Pavilion uses digital modeling and pattern generation to project political, nationalistic and religious ideas. Thus, we see algorithmic design becoming a tool of expression and facilitating architectural and broader discourses globally.

FIG. 2 - SOURCE : FOA - DETAIL: TESSELATING HEXAGONAL TILES 1 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].

2 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].

FIG. 4 - SOURCE : FOA - WEST ELEVATION 3 Invisible Architect, “Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan.”, Slideshare.net, 2014 <http://www.slideshare.net/kappa2007/spanishpavilion-expo-2005-haiki-aichi-japan> [accessed 7 March 2016].

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A.2_Design_Computation ICD_ITKE_Research_Pavilions ARCHITECTS: ICD/ ITKE University of Stuttgart Location: Universität Stuttgart, Keplerstraße 11, 70174 Stuttgart, Germany Years: 2010 + 2011 The advent of computing as a method of design has had a multi-faceted effect on architecture. Taking the 2010 and 2011 ICD/ITKE Research Paviliuons as micro examples, we may project methods used in these projects to consider the broader impact of computing on structural innovation, pushing geometric boundaries, material and fabrication efficiency.

The 2010 ICD/ITKE Pavilion demonstrates the way in which parametric design in conjuction with digital stress modelling can push structural boundaries. Using FEM simulation, the team were able to build a structure with a twelve meter span out of 6.5 millimetre thin birch plywood sheets.1

FIG. 1 - SOURCE : ICD - ICD/ITKE RESEARCH PAVILION 2010 - AERIAL VIEW

From a fabrication perspective, The 2011 Pavilion demonstrates full use of computing as a tool for efficient construction. Using ‘programmed routines’ a seven axis robot was used to cut ‘850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space.’ What this process enables is the reduction of manual labour hours and therefore enables an economic fabrication process. The University staff and students were able to put together the modular elements of the Pavilion themselves to complete the project.2 Furthermore, this pavilion is able to explore geometries and concepts of biology which previously may not have been possible without parametric design. 3 Perhaps a key aspect of computation design is therefore the expidited design and fabrication processes, as well as improved efficiency of material usage and a faster assembly.

1 “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

2 “ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=6553> [accessed 13 March 2016].

3 “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, ArchDaily, 2012 <http://www.archdaily.com/200685/icditke-researchpavilion-icd-itke-university-of-stuttgart> [accessed 13 March 2016].

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FIG. 2 - SOURCE : ICD - INTERNAL PERSPECTIVE

FIG. 3 - SOURCE : ICD - PLYWOOD SHEETS DIAGRAM

FIG. 4 - SOURCE : ARCH DAILY - SEVEN AXIS ROBOT

FIG. 6 - SOURCE : ARCH DAILY - ICD/ITKE RESEARCH PAVILION 2011 - INTERNAL VIEW

FIG. 5 - SOURCE : ARCH DAILY - FINGER JOINTS

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A.3_Composition_Generation BIFID_Ceiling_System_Prototype ARCHITECTS: BIOTHING Location: New Museum, NY Years: 2005 Studio Air engages in a discourse surrounding a shift from traditional ‘Composition’ to ‘Generation’. The BIFID prototype engages in a form of generative composition, using computation to explore material attributes and form complex patterning and geometries.

FIG. 1 - SOURCE : BIOTHING - ROOF PROTOTYPE

From a technical standpoint, Brown explains “The intersection and fabrication pattern was generated algorithmically.... Parametric differentiation embedded into the script derived multiple offspring conditions.1” Thus we see human controlled parameters arranging and producing the end architectural product and must question how Parametricism is changing the role of the Architect.

FIG. 2 - SOURCE : BIOTHING - DIAGRAM OF ROOF STRUCTURE FIG. 3 - SOURCE : BIOTHING - ROOF STRUCTURE

1 Pia Ednie-Brown, “All-Over, Over-All: Biothing And Emergent Composition”, Architectural Design, 76 (2006), 72-81 <http://dx.doi.org/10.1002/ad.296>.

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FIG. 4 - SOURCE : PINTREST - GAUDI’S INVERTED PARAMETRIC MODEL

but rather work symbiotically with generative methods.1

Sagrada_Família ARCHITECTS: Antoni Gaudí Location: Carrer de Mallorca, Barcelona, Spain Years: 1882 - Present

FIG. 5 - SOURCE : DEZEEN SAGRANA FAMILIA IS ENTERING ITS FINAL STA OF CONSTRUCTION

Assuming a nexus between Parametricism and Generative Architecture, one might consider that these ‘tools’ could threaten the need for architects.

Prof. Mark Burry poses the question, ‘Is Parametricism 2.0 a dangerous step down the road towards the destruction of the profession of architecture, or is it simply architectural practice as we know it that is at risk?’ Perhaps, the Architect can no longer be the sole author of a project

We may also consider that Parametrisim is not a contemporary concept, but architects from the 19th century such as Antonio Gaudi have unashamedly adopted parametric tools in the past to devise their schemes.

Parametric tools perhaps provide a flexibility and complexity in Architecture that cannot be achieved otherwise.

1 Mark Burry, “Antoni Gaudí And Frei Otto: Essential Precursors To The Parametricism Manifesto”, Archit. Design, 86 (2016), 30-35 <http://dx.doi.org/10.1002/ad.2021>.

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A.4_Conclusion The above projects demonstrate engagement on varying levels with parametric thought and processes. In some cases we see an expedited design and fabrication process, as well as improved efficiency of material and a faster assembly. We can see geometries and concepts being explored which have not yet been. We see parametics being used to develop nationalistic and political messages. In this sense, Parametricism can be powerful tool for design.

However, what can also be seen is the traditional identity and role of the architect being challenged. By critically analysing these projects I have developed a personal view that there is a fine line between maintaining authorship and control while relinquishing some aspects of the decision making process. If a balance is struck then great design outcomes may be achieved. However, it this balance is not struck, authorship may be lost and the design outcome may be derivative and reflect merely the style of parametricism.

Throughout my design process I intend to maintain deliberate decision making whereby digital agency is kept under my control so as to preform and reflect significant design drivers, whether they be amenity, shelter or social responsibility. Secondarily, I will aim to utilise parametric tools available to enhance the aesthetic, style and visual complexity of the project.

A.5_Learning_Outcomes I have developed a strong conceptual understanding of the way in which algorithms can be programmed using Grasshopper - a node based, visual alternative to traditional scripting. Particularly, I have developed a technical ability in creating patterning algorithms to create complex surfaces.

Skills such as these may have enhanced previous designs I have worked on, particularly in terms of adding complexity.

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A.6_Appendix Algorithmic_Sketches

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PART B - CRITERIA DESIGN

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B.1_Research Fields PATTERNING SWANSTON_SQUARE ARCHITECT: ARM Location: Melbourne, Vic, Aus Client: GROCON Year: 2015 The concept of patterning has existed since early mankind with the marking of bodies with tribal patterns.

As an example we see early Maori facial tattoos being used to denote hierarchy. Today, patterning is a complex research area which ties into discourses surrounding ornamentation, spatial expression and hierarchy. According to Patrik Schumacher, “architectural patterns thus have a broad and deep lineage, and one should not expect them to have any well-defined, unitary function.” 1 1 Patrik Schumacher, “Parametric Patterns”, Architectural Design, 79 (2009), 28-41 <http://dx.doi.org/10.1002/ad.976>.

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Patterns therefore might serve purposes of “decorative enhancement, feature accentuation, camouflaging, totemic identification,semiotic differentiation, or any combination of these. Furthermore, parametric patterning allows for a complexity and level of spacial animation to be achieved which could not be before hand.

We may also consider the functionality of patterning, in the sense that a building may only function through the users active ‘reading’ of it’s spatial qualities.

We have entered into an era of sophisticated 3D modelling, parametric design and digital fabrication. This has opened a new opportunity for ornamentation which had to a large extent been abandoned by modernist architecture. Ornamentation no longer faces the moral dilemma of requiring tireless, costly and unfair labour in the creation of ornamentation. Technically, the Pantheon could now be parametrically modelled and digitally fabricated without any manual labour. This is a dramatic shift in architectural processes, thus we may see the reintroduction of ornamentation as an architectural tool.

Nevertheless architects must carefully consider the nature and impact of ornamentation and patterning.

ARM’s Swanston Square building uses image sampling to reference the face of William Barak, an Indigenous Australian elder.1 In doing so this building makes a strong social and political commentary on it’s surroundings and context . While the image is abstracted, it is still able to be clearly read and interpreted. While some may interpret this use of patterning as overly literal, others may view it as a powerful piece of art.

It must be considered that this use of patterning is entirely detached and unrelated to the function of the building. Indeed, there is somewhat of a disjunct between this commentary on aboriginal land and 500 upmarket apartments.

Thus, with a new-found parametric capacity to express ideas architecturally, there is a challenge ahead to navigate the role and need for ornamentation in architecture.

1 “ARM - Swanston Square”, A-r-m.com.au, 2016 <http://www.a-r-m. com.au/projects_SwanstonSquare.html> [accessed 24 April 2016].

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B.2_Case Study 1.0 SPANISH_PAVILION ARCHITECT: Foreign Office Architects (FOA) Location: Haiki, Aichi, Japan Client: Spanish Society of International Exhibitions (SEEI) Year: 2005 As previously explained, behind this geometric tessellating facade is the Spanish social ideal of ‘cultural hybridisation’. Referencing arches, vaults, lattices and traceries, this pavilion pays homage to a Spanish lineage of Christian and Islamic architecture. 1 Tessellating hexagonal ceramic tiles form the exterior of this pavilion. Seemingly non-repetitive, these colour coded tiles therefore represent this ideal of ‘cultural hybridisation’.2 In this pavilion we see patterning being used to engage in a social, cultural or even religious discourse.

Parametrically, the Grasshopper definition provided for this pavilion is quite limiting in terms of scope for alteration. Changing various parameters such as offset distance, base geometry and referenced images create some change, however the definition is easily broken.

1 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].

2 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].

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TOGGLE OFFSET DISTANCE

CHANGING VERTEX POINTS/VALUES

REPLACING HEXAGONS WITH RADIAL GRID

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B.3_Case Study 2.0 Reverse_Engineered_Project 30_ST_MARY_AXE (GHERKIN) ARCHITECT: FOSTER + PARTNERS Location: London, UK Year: 1997 - 2004

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STEP 1 Circle Vector move in Z direction STEP 2 Change Radius

STEP 3 Graph Mapper

STEP 4 Divide Curves Shift Lists STEP 5 Increase Points

STEP 6 Tweak Pipe

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B.4_50_ITERATIONS + DESIGN_EVOLUTION Selection criteria Constructibility Elegance Complexity SPECIES 1 - Radius + graph mapper

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SPECIES 2 - shift point data + no. of steps + graph mapper

SPECIES 3 - hexagon base geometry + shift lists

SPECIES 4 - graph mapper

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SPECIES 5 - polygon base geometry

SPECIES 6 - extrude surface + populate geometry + draw lines

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SPECIES 6 - populate geometry + draw lines + shift list

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B.5_Technique_Prototypes Assembly_Sketch_Diagrams SKETCH 1 SKETCH MODEL 1

SKETCH 2

SKETCH 3

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Assembly_Process

Prototype_1

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B.6_Technique Proposal PARAMETRIC_TECHNIQUE

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STEP 1 POPULATE 3D POINT CHARGE LINE CHARGE MERGE FIELDS FIELD LINES

STEP 2 DIVIDE CURVES DRAW LINES SHIFT LISTS

STEP 3 CIRCLE (CNR) SET RANGE GRAPH MAPPER SCALE OBJECTS LOFT

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B.6_Technique Proposal PARAMETRIC_TECHNIQUE_CONT. FEATURE WALL SITE = POINT CHARGE TRANSMISSION TOWER = POINT CHARGE POWER LINES = LINE CHARGE

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DIRECTION DISPLAY + TENSOR DISPLAY

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B.6_Technique Proposal DESIGN_CONCEPT

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B.6_Technique Proposal DESIGN_CONCEPT

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B.6_Technique Proposal PRECEDENTS Sydney Opera House Architect: Jorn Utzon Location: Sydney, New South Wales Year: 1958

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Sidney Myer Music Bowl

Maquette d’étude en bulle de savon pour le Tanzbrunnen

Architect: Barry Patten

Architect: Frei Otto

Location: Melbourne, Victoria

Location: Cologne, Germany

Year: 1958

Year: 1957

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B.7_Learning Objectives and Outcomes Studio: Air has enabled me to develop and consider the far reaching scope of computational design. In particular, I have considered the increased speed of design, prototyping and model production. It also enables increased complexity in design and allows for a design proccess which responds mathematically to site and brief parameters. I have thus been able to produce multiple design possibilities using visual programming, algorithmic design and parametric modelling.

The ideas raised in the subject have challenged traditional design processes. In particular I have focused on patterning as a research field, which ties strongly into discourses surrounding ornamentation. We see a shifting role for ornamentation in architecture and the capacity to create spatial complexity in an expedited manner.

Simultaneously, I am progressing my technical understanding of data structures and computational scripting processes.

Furthermore, I have developed stronger 3D modelling and rendering techniques as well as begun developing physical model making techniques to express my ideas in “atmosphere”.

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In generative computational architecture, the designer is required to carefully “choose” the end product as much as “design” it. I have developed critical thinking skills which are useful in the parametric modelling space. Particularly, in the sense that increased production of designs requires increased consideration and awareness of design limitations.

As well as this I am developing a personalised algorithmic style which can be seen in my algorithmic sketches.

I have commenced making a case for a design proposal which responds to both the brief and site in a considered manner. I intend on placing particular emphasis on creating a parametric system for fabrication and assembly of the end product.

B.8_Appendix - Algorithmic Sketches

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PART C - DETAILED DESIGN

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â&#x20AC;&#x2DC;THE POWER PLANTâ&#x20AC;&#x2122; has begun to thoughrally engage with the design brief as well as the ethos and physical parameters of the site. In particular my design serves a somewhat sculptural, experiencial purpose. It defines a space and lense where one might muse upon the significance of the power lines and consider the effect of man on nature. The design is about creating an educational and phenomenological experience for users.

In terms of fabrication, I will start considering a more controlled method of digital fabrication, rather than the hand crafted techniques use untill now.

Working with wires in tension has posed a challenge in terms of control and precision.

Furthermore, working with a doubly curved form has added to the complexity of this issue. This led to the use of copper pipe, which enabled me to manually curve the pipe into the correct form. The following prototypes lead me to the use of a panellised techtonic of fabrication.

This design is driven by three paramtric levels of control.

1. THE SITE --> POINT AND LINE CHARGES (FIELD LINES) 2. THE FORM --> PANELING AND CONNECTIONS 3. THE SURFACE --> PATTERNING AND IMAGE SAMPLING

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C.1_REFINED DESIGN CONCEPT

THE IMPOSITION The transmission towers and powerlines on site are a strong imposition and juxtaposition to the sustainable values of CERES. They are a physical embodiment of coal and unethical human consumption. Physically and visually overpowering, the transmission towers are a stark symbol.

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THE SUPER-IMPOSITION The ‘POWER PLANT’ (design proposal) changes the visual power balance, serving as a transparent yet fragmented lense through which one can view the powerlines. Referencing the language of trusses, the crisscrossing form of the ‘POWER PLANT’ mocks the structural language of the transmission tower.

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CONCEPT COLLAGE - THE ‘POWER PLANT’ SERVES AS A PROCATIVE TOOL. IT SENDS A STRONG ENVIRONEMTNAL MESSAGE TO YOUNGER GENERATIONS.

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ELEVATION COLLAGE - WE SEE THAT THE SCALE IS LARGE ENOUGH TO VISUALLY COMPETE WITH THE TRANSMISSION TOWER

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BIOMIMETIC SUBVERSION

THE ‘POWER PLANT’ TAKES A SYMBOL OF INDUSTRIALISATION AND POWER, TRANSFORMING IT INTO A FORCE OF NATURE. THIS INTERPLAY OPENS A DIALOGUE BETWEEN THE FORMS.

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IMPLIED MESSAGE

THE IMAGE SAMPLED POWERLINES ARE A SUBTLE REINFORCEMENT OF THE DESIGN CONCEPT STUDIO AIR: JOURNAL

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SITE MODEL - 1:1000 ILLUSTRATES KEY SITE PARAMETERS, SIGNIFICANT SITE OJECTS AND SITE FOR DESIGN PROPOSAL

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C.2_TECHTONIC ELEMENTS AND PROTOTYPES

PROTOTYPE 1 MASSING/EXPRESSION SKETCH 1

DIAGRAM: THREADING PATTERNS

SKETCH 2

DIRECTION OF THREAD RED: FORWARDS BLACK: BACKWARDS

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ASSEMBLY PROCESS

COPPER PIPE HAND-BENT INTO SHAPE

WIRE IS WEAVED THROUGH DRILLED HOLES

KEEPING WIRE IN TENSION PROVED TO BE A CHALLENGE

THIS MODEL GIVES A STRONG SENSE OF SCALE AND FORM

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PROTOTYPE 2 MASSING/EXPRESSION/RULED SURFACE

GUITAR MACHINE HEADS USE TO KEEP WIRES IN TENSION

MARKING OUT DRILL POINTS

STEAM BENT TIMBER CREATES THE VISUAL IMPRESSION OF A LUNGING FROND

ALTERNATING HOLES TO CREATE RULED SURFACE

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PROTOTYPE 3 PANELISATION/RIGID CONNECTION

JOINT 3D MODEL

FAILED 3D PRINTED JOINT

ASSEMBLY DIAGRAM - PIN JOINT

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PROTOTYPE 4 ZIP TIE CONNECTION

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C.3 FINAL MODEL

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THE CONNECTION DETAIL

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SPINE AND BASE

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C.4_LEARNING OBJECTIVES AND OUTCOMES Part C of Studio: Air, for me, has highlighted the disjuct between the flexibilty of coputational design and the physical limitations of digital fabrication. Physical processes of assembly, tinkering with joints, 3d printing, laser cutting, time and material costs are all genuine hurdles in this process. Nevertheless, stepping into the world of these processes was a huge leap for me, having only shifted towards these techniques in the final 4 weeks of semester. Furthermore, I recognise the immense power of these processes, which seem to be developing at a rapid rate, with improved technologies arising by the day.

Using zip-ties as a connection joint was clearly a bold decision, however, was not intended as a rejection of digitally fabricated joints. It was a decision which both tied into my design concept (consumption) and allowed for a flexibility of the form in each frond. Unfortunately, my 3D printed pin joint failed because of the technologically limitation of the machine (excessive scafolding). My rigid laser cut joint was not successful because of the 5 day wait for such jobs.

My design ultimately explored three levels of parametric design. Using site parameters I was able to create a design which responded parametrically to the transmission towers on site. The criss-crossing form was generated by manipulating point data. And the surface of the design was imbued with symbolic meaning using image sampling.

This ornamental aspect of the design, the image sampled power lines, could not have been achieved whatsoever without the use of digital fabrication techniques. The fine pattern was rapidly etched using the laser cutter.

This highlights the potential to reintroduce ornamentation into design thinking and architecture.

Learning Objectives Objective 1 was met by “interrogat[ing] a brief”, delving into the ethos of Ceres, and using site data to computationally drive my design outcome.

Objective 2. was met by developing “an ability to generate a variety of design possibilities for a given situation” by manipulating my script on grasshopper. This is particularly evident in my 50 iterations of the Gherkin.

Objective 3. was met by developing “skills in various threedimensional media”, including grasshopper, rhino, UP, using 3D printing technology and laser cutting in my digital fabrication process.

Objective 4. was met by developing “an understanding of relationships between architecture and air” exploring the ideas of physical and conceptual parameters to inform a real design proposal in space.

Objective 5. was met by making a strong visual and verbal case for my design proposal through my presentation.

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