ARCHITECTURE DESIGN STUDIO: AIR 2012
JOURNAL
2010 – SHANGHAI DANDELION PAVILION HEATHERWICK STUDIO
The Dandelion Pavilion was designed for the World Exposition held in Shanghai. The World Exposition has historically displayed architectural works which push the boundaries of innovative design and technology. The Dandelion Pavilion was is exception as it's unique and organic form challenges the perception that architecture consists of geometric and static forms. The structure consist of acrylic rods which move with the wind, while reflecting sunlight. Interactive software was developed to informed the structural behaviour of the design from its conceptual phases. The usage of generative software strongly benefited the project as it allowed for a wider range of explorations and experimentation with form.
The conceptual software tied the design direction closely with fabrication processes and was the main proponent in the construction of unconventional pavilion. There was a strong link between the computation engaged in the project as it not only facilitated the design process but drove its direction and execution, from the conceptual phase through to the construction. Kalay (2004) states that process of computational design involve “effective abstraction of the problem, development and implementation of mathematical algorithms in order to extract a a set of pre-solutions”, these pre-solutions behave as a form of design inspiration in the early processes, rather than a definitive outcome. Kalay's argument sheds light on projects such as the Dandelion Pavilion, which engaged computation as a means of executing a large library of abstract solutions based on pre-set data. The true power of computation does not solely lie in it's strengths in executing complex forms but stretches to the start of the design process. Kalay.Y (2004) Architecture's New Media: Principles, Theories and Methods of computer-Aided Design, p.5-15
1993 - Paris LOUVRE PYRAMID I.M. PEI
The expansion and restoration of The Louvre by the great designer I.M Pei was a brave, eloquent and sophisticated piece of architecture, set in a context unlike any other. Faced with the task of envisaging an addition to original structure which already had a strong identity with influences from the French renaissance. Pei immediately understood that his additions would not merely be a structure but rather sought a deeper meaning which would allow his design to compliment the strong historical nature of the Louvre. According to Pei, he “believed that the eye would reject any addition to the structure thus adjusting his mindset to work as a landscape designer rather than as an architect”. According to Heyer (1993) Pei's glass pyramid design not only changed the perception of modern architecture's ability to blend with historical buildings, but created a typology which would be later used in other Museum projects.
The main function of the Louvre Pyramid was to serve as an alternate entrance to the museum, circumvention traffic issues at the main entrance. Pei created an underground tunnel scheme which was unprecedented at the time, as its success in directing movement lead to its assimilation to other projects, notably the Museum of Science and Industry in Chicago. Heyer states that additions to the Grand Louvre changed the word's perceptions of modern architecture's place, in the creation of grand monuments. Pei's understanding and engagement of cultural surroundings with architecture seemingly out of place lends strong argument to the usage of computation in the Gatehouse project, as a new language in architecture has the ability to assimilate with and enhance what currently exists. The criticism I M Pei received for his usages of what were modern design techniques during his era, have stood against computation and scripting in architecture. In the same the Louvre Pyramids subtly enhanced its surroundings, so must computational design take into consideration the way in which it affects its context. The risk inherent with designs which grow from computational driven design processes is creation of designs with a language that do not compliment their settings. This risk can be avoided through the mastery of scripting, input of data and critical analysis of designers, which will be discussed later in this journal.
Paul Heyer (1993) American Architecture: Ideas and Ideologies in the Late Twentieth Century, p275-278
2009 – VIRTUAL ENVIRONMENTS SURVIVAL HEADPIECE MARK ONG
The Headpiece design, conceptualised in the Virtual Environments course, involved the development of design concepts using digital mediums. The project encapsulates the elements of simple geometric frames, which are formed from a mesh of dodecahedrons. The project played a large role in influencing the way the role of computation is perceived in the design process. Design possibilities and ideas were explored on both in the model making and in computation, early on in the design process. The ideals of the design intention of the project, which focused on the ability of designs informed and aided by digital means to be greatly amplified in quality from the conceptual through to the construction phase. Computation enabled the design to come alive, as it facilitated the creation of a clean and monumental form, through it's execution of extruding shapes and based on geometry. The media allowed for a large amount of variants to be generated with ease, which solved the design objective of creating a sturdy design which would both functionally and symbolically represent ruggedness and reliance. This project makes a strong argument for the ability of computation, in solving design questions. phase.
As the results from the design study were shared globally, I believe architectural discourse was furthered, in the areas of expanding the understanding of computation’s role in design. The focus on digital modelling being part of the means to which design solutions are reached, rather than being limited to the role of visual representation was furthered through this assignment. The Headpiece project is a representation of how simple concepts such as creating a “Headpiece overlaid with a mesh”, can be enhanced and explored while utilising the capabilities of computers to explore mathematics and geometry. This project informs the Western Gateway project, as it furthers the understanding and supports the role of computation in the design process.
Conclusion
By studying and drawing from previous precedents, one can appreciate and understand how those who have come before, have contributed to architectural discourse. Projects which have successfully advanced discources have been those that pushed the preconcieved ideas of what architecture should be. Most notably the Dandelion Pavilion, challenged the concepts of architectural form, powered by a computational design proccesses which reflect the control and mastery of technology of the twentieth century.
Learning Objectives: Reflection The discource of architecture seems like such an ellusive thing to grab, as it is almost impossible to predict what will be deemed as a truely revolutionary and what will be cast aside as a fad. I conffess that the use of data entry and scripting in architecture seems alien and daunting to me, most like due to the way the rest of my subjects have shaped me. Advancing discource before this course, meant revolutionising the way we engage with and view architecture based on the culture and technology of an epoch. I believe scripting holds a strong argument, as a placeholder for design in the twentieth century, simply due to it's efficiency, design capabillities and abillity to break away from convention.
1994 – NEW YORK PORT AUTHORITY TRIPLE BRIDGE GATEWAY GREG LYNN
The Port Authority Triple Bridge Gateway project was project in architectural history to develop its form from animated software generation. The design team engaged with a series of 'forces' representing traffic and pedestrian flow, modelled using "Wave Front" software. Points, or particles were rendered as spheres then modelled with velocity and their changing paths were an index of site 'forces.' The design process was broadened substantially through this process, as an almost limitless number of stills could taken from the scripted animation. Kolarevic (2003) states that parametric design calls for the rejection of fixed solutions for an exploration of infinitely variable possibilities, seen exclusively in the Triple Gateway Bridge Project's usage of scripting to generate possible solutions to their design agendas. This process engages with what Kolarevic describes as an “entirely new way of architectural thinking” involving continuous experimentation based on digital generation that respond to complex contextual or functional influences.
Greg Lynn argues that design devoid of computation in the conceptual phase, assumes an identity of linearity due to the limitations of the minds of designers. He believed the Gateway was a representation of parametric design's ability to encapsulate movement within its form based on data from the site. Although the bridge takes on a unique form, it did not win the competition, largely due to its extreme nature and its perception as a design far removed from conventional thinking. This design highlights parametric designs' power and limitless potential to generate forms can alienate those who are unaccustomed to it. The capabilities of a program such as grasshopper will be used to generate a large variation of form and function, but designs produced this way must be refined, readjusted and changed based on the development based on obstacles and objectives that should be engaged.
Koarevic, Branki, (2003) Architecture in the Digital Age: Design and Manufacturing, p3-62 www.glform.com
1999 - NEW YORK KOREAN PRESBYTERIAN CHURCH GREG LYNN
The Korean Presbyterian Church was a project that engaged with parametric design To create a design which reflect a common language throughout each space within the church that have separate functions. The building's design system does not simply provide aesthetic appeal but enhances the function of each space. Greg Lynn (2009) explains in his speech on Algebra in Architecture that much like the technology used in the creation of cars within a series, the parametric design process allowed for an identity to be present in all areas and aspects of the building (i.e. Facade and interior). This is similar to how a car worth $30 000 has the same language as a car worth $70 000 in the same series, while clearly showing distinction in quality correlating to cost. Computation was engaged in the developmental phase, to explore the idea of overlapping fillets of a shell. The process then derived a modular language which could be translated to other areas, particularly interior spaces. By engaging in parametric processes, the designers not only saved large amounts of time but created a structure who's facade responded to its interior. This is clearly highlighted in the sermon hall, which reproduces the fillet features, while adapting them to the ceiling. The ceiling not only carries the identity of the project, but gestures a form of movement, direction and importance towards the front, thus emphasising the focus and attention on the pulpit.
Koarevic, Branki, (2003) Architecture in the Digital Age: Design and Manufacturing, p3-62 www.glform.com
Lynn believes parametric processes are a large step away from the use of preconceived systems such as the Greek cross or standard worship hall as it finds its form based solely on the processes that occur within them. The tessellation and exploration of angles of the facade were greatly aided by digital exploration, as human error limits the efficiency in design conception. The Korean Presbyterian Church engages in what Kolarevic(2003) describes as “a new design continuum, a direct link from design through to construction is established through design technologies” As the model was parametrically conceptualised and modelled, pressure was taken off the construction phase, as digital models allowed builders to fabricate segments of complex geometries based on the digital information provided. This process which would have been arduous to communicate through orthographic drawings and conventional computer models, as changes and values would have taken hours of communication and drawing adjustment.
The project also illustrated that digital mediums paired with algorithmic calculations, reduces the need to think about dimension within design. A key example was with regards to the placement of lights and chairs which are able to move away from modular qualities, while computing lighting based on optimum efficiency at varying intervals. Similar advantages will be evident while designing the Western Gateway Design project as a language can be developed even within a single monumental form, which may stretch over a distance. Forms that follow a function or ideal can be generated algebraically to produce concise and numerous design possibilities. The use of parametric design ensures the efficiency of reaching design outcomes while bypassing the human limitations with regards to conceptualising of complex form. By engaging with parametric design, we will be able to create forms which would be impossible to perceive through mediums such as paper and modelling
Koarevic, Branki, (2003) Architecture in the Digital Age: Design and Manufacturing, p3-62 www.glform.com
2011 – STUTTGARD RESEARCH PAVILLION ICD/ITKE
The Research Pavilion was a project undertaken by the Institute for Computational Design, The institute of Building Structures and Structural design and students from the University of Stuttgart. The project engages with computational design and simulation methods, which allowed for ease of transition to the construction phase. The aim of the project was to draw influence from biological structures and adapt their strengths and characteristics into the design. The Sand Dollar was chosen as the driving force behind the development of a biological and modular system. Computation within the design process enabled the designers to encapsulate structural principals from the Sand Dollar, applying them to a wide range of different forms. The computational process restricted the design to the thin sheets of plywood used in construction.
According to the ICD website, the designers of the project utilised “biological principles in design through the use of custom simulation software, which is further integrated with finite element simulation and robotics control programs to produce the actual construction”. The scripting process automates the day to day aspects of the site chosen, generating a large range of outcomes at an optimum rate. Scripting allowed the designers to intricately engage their design efficiently engaging structural loads, by creating cell sizes which adapt to local curvature and discontinuities while causing them to orient themselves according to the areas which bore the weight load. Due to the complex geometry involved, close data integration was built between the model program and finite element simulation in order to continuously analyse and modify the critical points of the model structure. www.architectureweek.com icd.uni-stuttgart.com
The strength of this project lied solely in the ability of those who engaged in the scripting process, as the created a script unique to the site and design intention of the project. This process requires attention and time, in order to produce results which truly reflect an idea and engage a site effectively. Mastery over a computational tool is essential, when producing work which truly reflect a designer's intention. Robert Aish states that “the designer who wants to be completely in control of the results must be in control of the process” which is driven by the tool that is computation. His statement drives deep at the heart of the issues surrounding scripting within the context of design, as those who do not have a complete mastery of scripting are essentially forced to use scripts written by others, inheriting problems and influences. The mastery of Grasshopper and an understanding of the relevant functions which will achieve a desired result, is of the utmost importance in the Gateway Project, as the lack of understanding will force the creation of designs which do not reflect the intentions of the designer.
This project informs the design process of the Gateway Project, as it highlights the importance of controlling data inputs according to site conditions and desired results. Despite the strengths of computation and its ability to generate an infinite number of forms, its usages can get out of hand, without proper consideration of restrictions. The use of scripting was the main proponent which made the construction process possible, as it allowed for a smooth transition from file to factory. The efficiency of the translation of design to construction was aided by translation routines which converted the 850 geometrically different components into machine code. ICD argues that “the close integration of the programs used allowed the economical construction of a modular bionic structure despite the use of a complex geometric design consisting of free-form surfaces”. The usage of Grasshopper in the Gateway Project will allow the design team to escape the strictures inherent in any software, as it allows endless variants and possibilities of designs which can be engaged in optimal timing. There is also an opportunity for computational data to be translated to the construction phase, which will be particularly effective, particularly in designs which have complex geometries.
MATRIX
MATRIX
Set Pattern/ Extrude
Curve Attractor/ Pattern/
Curve Attractor/ Pattern/ Extrude
Surface Divide/ Image Sampler
Maths Function/ Curve Intersection
Image Sampler/ Surface Grid
Arbitrary Points/ Using Sets
Curve Intersection/ Streaming Text FIles
Arbitrary Points/ Using Sets/ Data Driven Extrusion
Overlapping Pattern/ Arbitrary Points
Overlapping Pattern/ Extrusion/ Arbitrary points
Overlapping Patterns/ Multiple Maths Function
Arbitrary Points/ Using Sets/ Data Driven Extrusion
Overlapping Pattern/ Overlap/ Image Sampler
EXPLORATION VORONOI Voronoi’s were used to create a shattered crystal effect, breaking at a point with complex geometries then stretching outward in streaks. The effects were then offset and adjusted in rhino to create the soft lines in the design. A area of parametric design to be wary of, is the simple usage of generative tools such as the voronoi, particularly with randomly generated points. Meaning and purpose must be assimilated in design, in order to resist the simple notion that computation creates form without true representative meaning behind it.
2006 - Switzerland GANTENBEIN VINEYARD FACADE GRAMAZIO & KOHLER ARCHITECTS/URBAN-ISM
According to Ben Pell (2010) the Gantenbein Vineyard was born from a proposed strategy “for masonry infill between the concrete skeleton [of an existing wall], which could serve as both temperature buffer and sunlight filter for the fermentation room”. The design process saw the usage of parametric modelling, to create a façade with a see through effect which symbolically represented grapes falling into a basket. The computational process involved the data input of specific conditions, such as the simulation of gravity acting on grapes and the rotation of individual bricks according to a set of principles ingrained into the parametric process. The construction process of the vineyard façade was executed with a digitally guided technique developed by the design team, which worked in synergy with the parametric digital model according to Gramaziokohler.com, “the robotic production method" employed allowed them “ to lay each one of the 20,000 bricks precisely according to programmed parameters at the desired angle and at the exact prescribed intervals”. This process “ allowed [the designers] to design and construct each wall to posses the desired light and air permeability, while creating a pattern that covers the entire building façades. According to the angle at which they are set, the individual bricks each reflect light differently and thus take on different degrees of lightness”. This efficient and exact process makes a strong argument for the potential the Gateway project to engage in the efficient and concise method of computational design transitioning to machine fabrication. The inspiration of “grapes falling into a basket” drew strong imagery from the context of the winery and facilitated a direction in the design process. The project contributes to architectural discourse, through it's primary usage of computation as a form of design exploration rather than execution. This allowed for the facade to meet the client's brief, while engaging in a process which enhances the design ideas of the team.
Ben Pell, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183
The strength of the vineyard’s parametric process was It allowed for a general principal of components and functions to be repeated and adapted according to surface sizes and limitations. This feature lies within parametric design’s core strength in time efficiency, as adjustments to features such as the size of individual brick; number of repeated patterns and size of wall could be done almost instantly executed. This is in stark opposition to standard CAD and digital modelling processes, which require large amounts of time to redraw. Elements such as the rotation, brick resolution, offset and size had to essentially be parametrically controlled when remodelling the project. By having a closer control of such parameters, the design team has a stronger hold on the light and shadow play and overall design impact. When reverse engineering the digital model, a system was developed which controlled these variables, encompassing a basic set of components including “Unit Y” and “Move” integrated to a surface in Rhino. The surface is divided and developed into an array, with elements rotating based on the brightness of an associative image. The study undertaken of the digital model has brought the possibilities of a repeated pattern, which has the potential to be controlled on a small or large scale, with the potential to hold large amounts of design control from patterning to the overall design layout. This level of control of parametric design stands leagues ahead of standard forms of design processes.
Conclusion
Scripting cultures and computation in architecture have the amazing ability to synergies and maximise the efficiency of the design process. By scripting programs which execute a desired result from an influence, which have the ability to link with mechanised fabrication, the results and possibility are endless. The main obstacle which stands in the way society from engaging technologies already available, would be the challenge of mastering such processes to an extent where results can be produced. Having begun the process of engaging and learning the ways of parametric design, I can see how one can get lost, however as I spend time reflecting and learning, I slowly begin to understand the merit and accessibility of such innovations. Even a general understanding of the parametric process, allows one to circumvent many hassles with drawings, while allowing one to experiment simply, with the use of associations, inputs and outputs.
Learning Objectives: Reflection Creating a Matrix was truely a struggle for me, as understanding how components coexist together to achieve an exact result is quite a challenging task. It allowed me to grow in appreciation for the powerful tool that is Grasshopper and other computational programs that facillitate scripting and programing. Despite the challenges, I defintely see how parametric design can transform a simple concept or set of data into a powerful means of design generation. Although it took me several hours to complete certain objectives, I can see how an experienced scripter or programmer would have access to a huge range of design possibilities, whilst saving time in the design process. The Gantenbein Vineyard project was really interesting to research, as using data from gravity and movement seemed very farfetched until I was exposed to the power of data driven design. I definitely see a future in parametric process, due it's powerful nature but I can also understand why a large number shy away from it and that is simply because in the hands of an unexperienced scripter, parametric design loses its edge. Stanislav mentioned in his lecture that it takes hundreds of hours to become a master, although whether I will ever spend that much time, will be proven in time.
DEVELOPMENT
The idea of drawing influence from significant landmarks such as the City and the countryside drove the design decisions of the Gateway Project. By engaging parametric processes in the design phase we modeled a series of expressions which reflected a change in context from city to country landscape. We started the design phase by engaging with image samplers and unit multipliers, creating a series of extruded rectangles which decrease in height as they branch off outward.
Our development lead to the concept of expressive dynamism in possible form for the Gateway project. Through the creation of a series of extruded curves which could be altered individually and sequenced in a row, an gesture of movement and transformation started to take form. These sequence of of curves could be influenced by an unlimited range of influences, in which we predominantly focused on image samplers and mathematical formulas.
The initial process involved lines, which were extruded off a plane at lengths dependant on image samples. These rows of lines were then lofted together to produce a series of cuts. This process lead the design team to create a surface, which was then to be dived into points and extruded based on associative images. The points were then transformed into curves, by connecting them to columns. The intent of the design direction, was to gradually lead an individual in and out of the Wyndham City creating a sense of arrival and motion. The influence in the transformation will be drawn from Wyndham Cities fast growing and expanding nature, gesturing a change from the cities density to a wider open suburb. The nature of the design draws a portion of it’s influence from the motion of animated forms, drawing captures from changes and form from number slider values, similar to the Point Authority Gateway Bridge.
METHODS
The design was then flattened and simplified for fabrication, which was an efficient process due to the numbering and speed of fabrication. Upon receiving feedback, the form was reconsidered it didn’t quite hold any relationship to the Wyndham City Site and did not embody the initial design objectives of movement and journey. The fabrication process furthered the design ideas and concepts as the construction allowed us to consider the different methods employed when transitioning from digital to physical model.
The design began to take a less linear form, as It drew influences from motion intertwining in mid air. Hence the direction of form elevation on a suspended wireframe. The former sections drawn from image associations were then translated into round forms, retaining the motif of expanding towards Wyndham City. The static nature of previous forms was abandoned, as we started to experiment with forms which floated in space, while retaining our initial concept of perceving the design in segments. This change in design direction changed the fabrication process completey as we began creating segments that would be bound to a pipe.
The final design draws influence from the relationship between the Melbourne’s CBD and Wyndham City. The sculpture embodies the dynamism and evolution of Wyndam, through its fluidity of movement and transition of detail. The sculpture captivates the attention of travellers through its employment of expressive dynamism, which in turn evokes a sense of journey, progress and modernism in their hearts. The evolving shapes generate a sense of movement and excitement, while serving the purpose of a Gateway as it guides travellers in and out of Wyndam City. The sculpture also draws its influence from the Wyndam City Council logo, which expresses dynamism and fluidity of movement. The sculpture serves to evoke a sense of play and a visual engagement with the design as drivers pass by, similar to the sense of excitement when flipping through a flip book.
Feedback And Reanalysis The general feedback recieved from the crit, highlighted the alienation and lack of identity the sculpture had to Wyndham or to Melbourne. The different between each segment was too drastic, to a point where changes in form reflecting diversity and change were overlooked. Knowledge of this will greatly drive the design process as it aids our ideas of creating a translation of suburb to city. By creating form which is recognisable that morphs and changes at a steady rate, it allows the viewer to better understand intention of the design. The design also faced critism with regards to our choice using image samplers, which caused the design to embody meaningless images which do not truely reflect Wyndham City. This highlighted to us importance of a literal translation of ideas when engaging an audience and the need to step away from abitrary images as a influence. A stronger link to Wyndham city and a sense of place will be explored to strengthen the argument of the design, while parametric controls will be implemented to ensure a gradual and constant change which can be recognised.
INTEPRETATION
Image 1 depicting the rebuilding process of the You Yang profile, by 10,20 and 50 steps In response to feedback given at the crit, we moved away from image samplers and began experimenting with the “rebuild curve component”. We made the decision to literally translate the profiles of significant landmarks surrounding Wyndham, which would center the location as the center of great culture. The You Yang mountains and the Melbourne City Skyline were chosen as they are two distinctive landmarks which the majority of travellers can identify with. Wyndhams' geographic location resides in the center of these two locations, meeting our intention of identifying Wyndham as a central hub of growth. The “rebuild curve” function reinterpreted a curved line based on either the You Yangs, morphing each transformation in curve by the number of steps in transformation. By varying the number of steps in the transformation of each arch, the You Yang profile gradually gains geometrical features and inevitably morphs into the Melbourne Skyline.
The functions used in producing the reconstructed curves, allowed for a large variety of stills to select from, based on the number of steps in transformation from the original curves, This not only gave us the freedom to experiment and choose between curves but also allowed for a language that could be translated into distance, based on the length of the site and desired number of arches.
DELIVERY DESIGN DEVELOPMENT PROCESS
Once the transformations within the arches were refined, the question of application to form became the focus of our design development. Different forms of representation with, developed both in grasshopper and by hand drawings. The initial soltution was an abstract version of the transformed curves, which would sit at an angly by the side of the road. However after fabrication, we discovered that this style of representation lacked impact and was harder to read at an angle. With one of the design aims being a legible design intention at high speeds, we began to develop the design into a more noticable form.
The final outcome was the result of a series of experimentation and development of potential frames which would translate the design intention. The final outcome selected was the strongest, as it allowed for a sense of robustness, without overpowering the design intent or its surrounding context. The final outcome emerged quite a far distance from the concepts but was informed by their strengths and adjusted according to their weaknesses. The design is intended stretch over a significant distance, allowing travelers to perceive the morphing in the arches at a rate of 1 second per panel. It is imperative that a 1:500 model be shown in the final presentation, as it reflects the overall impact and space taken up by the design, while a 1:100 model will showcase the finer details of each truss. A 1:100 model will also be fabricated to show the morphing effect of a series of arches.
CONSTRUCTION PROCESS
The focus with regards to the construction of the final outcome, was the feasabillity in transportation and efficiency of prefabricated parts, to be assembled on site. Elements such as the steel trusses which hold the arch up, are prefabricated in a factory, coated with corten and transported to site. Corten arguably is an expensive material, however the intention was to give the design a sense of earthiness, so as to now contrast too starkly with the surrounding forestry.
Similarly the profile curves can be precut according to the design requirements and transported to site. The structure is mounted on pad footings and braced laterally against wind loads. Universal Beams connect the trusses together and allow for the precut arch to be mounted on with bolts. Double Glazed glass was selected for the profile cuts opposed to perspex, as it allowed for a greater lighting effect and reflection off the profile curves. This detail affects the way the design is percieved at night and is therefore worth the additional costs.
PRESENTATION
Conclusion
I believe the final outcome truely reflects a strong answer to the brief given by the Wyndham Council. The Gateway immerses the travellers in a design narrative which identifies Wyndham as a cultural landmark, through the engagement of visual rhythm and expessive dynamism. In order to further develop the project past its current state, a more complex and intricate language could be drawn from the concept of reconstructing curves. Despite simplicity in communication, I strongly believe that given more time, a more refined and intricate form can be rationalised. Despite this however, I believe the project showcases the strengths of applied parametric design have been showcased in the Gateway Project, as we were able to experience parametric design processes, using computation throughout the conceptual, to the construction phase.
Learning Objectives I entered this subject admittably apprehensive towards computational design processes, due to my exposure to a large amount of litrature, regarding the “cold touch” of computers and the warm touch” of the human hand. It was my objective to discover and truely understand the strenghts of computational processess as a conceptual generative tool, rather than a simple rationaliser of refined ideas. I believed that in order to make a judgement about something as complex as scripting and computational design, I would first have to experience its processes before I could fully understand. This subject's direction has truely challenged my perceptions of how to prepare for the future of architecture, as parametric design truely deserves its place in architecture.
Learning Outcomes/Future Works I definitely see myself attempting to further my skills with grasshopper after this course, as it grew to be a program which i enjoyed engaging with. I believe firms will start to see the merit and strengths of parametric design and it will be of great benefit to be on the right side of the curve. I believe the outcome accomplished in the Gateway Project would have not been possible to accomplish without Grasshopper, due to the short design phase and complexity of morphing forms. Although I believe a similar outcome would have been reached using conventional design approaches, I hesitate to say that they would have been as elagantly executed. This subject has revealed to me, that my preconcieved doubts on computational design rested soley in my fear of the unknown. By engaging in the parametric processes, I fully see the benefits of changing values and components as opposesd to redrawing hundreds of lines. These benefits are not without obstacles, as mastery over these processes requires a lot of time and guidance. I intend to seek other training courses during my spare time, to further my skills with parametric modeling, as I believe doing so will further my capabillites as a designer in the 20th century.