India Mitchell, 538166, ADS Air, Journal

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Studio Air: Procession Way

INDIA MITCHELL

Tutored by Daniel and Kirilly

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Many thanks to my dedicated group members, Tom and Yvon, for helping me survive this subject.

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CONTENTSCASE FOR INNOVATION_/05

Introducing..._ /06Architecture as a Discourse_ /08 Computational Architecture_ /16Parametric Modelling_ /18Algorithmic Challenges_ /26Conclusion_ /28Learning Outcomes_ /29

DESIGN APPROACH_/31

Design Focus_ /32Design Focus_Precedents_ /34Design Focus_Design Brief_ /40Case Study 1_ /42Case Study 1_Technique: Development_ /44Case Study 2_ /46Case Study 2_Technique: Development_ /52Technique: Prototypes_ /54Technique: Prototypes_Material Development_ /57Technique: Prototypes_Material Understanding_ /64Technique: Prototypes_Material Precedents_ /66Technique Proposal_ /70Learnign Outcomes and Objectives_ /77

PROJECT PROPOSAL_/74

Design Concept_ /76Design Concept_Node Diagram_ /84Tectonic Elements_ /85Tectonic Elements_Construction Diagram_ /86Final Model_ /88Learning Outcomes and Objectives_ /94

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CASE FOR:

INNOVATION

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INTRODUCING...

My name is India Mitchell, I am twen-ty years old and in my third year of studying a Bachelor of Environ- ments, majoring in Architecture, at the University of Melbourne. I have lived in country Victoria all my life, in a very small town called Torrum-barry, until moving to Melbourne in order to undertake my degree.

I have some experience with digital design theory and practice, I studied

the subject Virtual Environments, us-

of my degree and used the AutoDesk program Revit Architecture to com-plete the second year subject, Ar-chitecture Design Studio: Water.

Using Rhino and Revit, as well as exploring the use of computer pro-grams within architecture through-out all of my core subjects, has enabled me to develop a sound, if not broad, understanding of the potential use of digital design within the industry of architecture.

Right: Figure 1. Own image , developed during vir-tual environments using Rhino, 2011)

Case For Innovation_Introducing..._

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Case For Innovation_Introducing..._

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ARCHITECTURE AS A

DISCOURSE

When considering architecture as a discourse - that is the ideas and con-cepts that are being communicated through an architectural work - many architects and works spring to mind.

Continually the discourse of architecture is changing, and the ideas that an archi-tect attempts to convey alter and are manipulated by the evolving and alter-ing cultures and societies in which they sit. In today’s globalised world, discourse is developing a technical focus that strives to envelop the beauty and inno-vation of technology within architecture.

Frank Lloyd Wright’s Solomon R. Guggen-heim Museum, New York City, 1959 and Frank Gehry’s Guggenheim Museum, Bil-bao, 1998 present two projects that while

very different, explore some ideas that are entirely parallel, within their discourse.

Both Wright and Gehry have faced criticism that their buildings “out-shine” the works displayed within them, and both works have strived to develop museums that are at the forefront of architecture of their times, how is it then, that the two buildings show such distinct and seperate qualities?

It is a creedit to both architects that they can create such individual buildings, rather than follow the status quo, estab-lished by architects of the past and con-tinued by most everyday architects. It is the ideas and concepts established by these architects that make the study of discourse so important, and something

establish, and explore what we, as fu-ture architects, can offer to the design community, and to society as a whole.

Right: Figure 2. One of Gehry’s famous sketches of his devel-opment for the Guggenheim, Bilbao

Case For Innovation_Architecture as a Discourse_

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PRECEDENT: Frank Lloyd Wright, Solo-

mon R. Guggenheim Museum,

1959.

“No, it is not to subjugate the paint-ings to the building that I conceived this plan, on the contrary, it was to make the building and the painting a beautiful sym- phony such as nev-er existed in the world of Art before.”

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So wrote Wright to Harry Guggenheim before the completion of the build of

this building as an attempt to create a place in which the abstract works which were to be displayed there, would take on a beauty that they could not pos-sess alone. The discourse of this design was the communication of beauty.This was the discourse that Wright intended to communicate to us, and he no doubt

achieved it, along with another idea. This idea sprung from the unique de-sign of the Guggenheim, New York City, a design that in years to come, inspired other architects to attempt to replicate the ingenuity of the spirals and curves that make this work of Wright’s so special.

This building was added to Wright’s amaz-

it is quite separate from most of his earlier works. The personal journey that enabled Wright to arrive at the mentality that creat-ed his Guggenheim, and the discourse that developed it, were products of Wright’s life. This discourse of Wright’s life-work became one of advance-ments in architecture and society.

changed architecture as we know it, even Frank Gehry has admit- ted to an in-

Right: Figure 3. Wright’s Guggenheim, New York City, the inte-rior of the building from the top level

1The Triumph of Frank Lloyd Wright, 2013.


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PRECEDENT: Frank Gehry, Guggenheim

Museum, Bilbao, 1998.

“Overall, the kind of language I’ve developed, which culminated in Bil-bao, comes from a reaction to Post-modernism. I was desperate not to go there, I was looking for a way to deal with the humanizing qualities of decoration without doing it. I got an-gry with it—all the historical stuff, the pastiche. I said to myself, If you have to go backward, why not go back

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While Gehry’s work can be compared to Wright’s Guggenheim as a more elabo-rate and hectic interpretation of Wright’s, Gehry states that, in fact, he was drawing his in-spiration from a very different source. With this design, Gehry communicates an idea of modernity, abstraction and an at-tempt to transform architecture beyond the simplicity that Gehry felt modernist

architecture imposed upon the building.

Gehry’s famous use of abstract sketches to develop his work has enabled the student to observe the uses of technology in archi-tecture. Though Gehry makes a strong case for technology in his use of architecture, he also indicates the need to have a hu-man sense of creativity in regard to design.

Gehry has existed as an architect of the traditional pen and paper draft-ing in the past, but he is now seen as a pioneer for digital architecture, par-ticularly digital and parametric design.Through a discourse of change and new interpretation, Gehry has created a new means of design and communi-cation. His use of technology within this project has not only changed Gehry’s future work, but has also encouraged other architects to investigate and ex-plore the use of digital architecture and its possibilities in terms of develop-ing personal styles and a universal style.

Right: Figure 4. Gehry’s Guggenheim, Bilbao, at sunset

2Architecture in the Age of Gehry, 2013.


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PRECEDENTS COMPARED

In relation to discourse, what makes the works of Gehry and Wright particu-larly special, is the individuality of both works, within a very similar design breif.

Of course, the times had changed be-tween the design of the Guggenheim New York and the Guggenheim Bilbao, and of course there is the presence of two different minds capable of two different designs. Still, the truth remains in that both Wright and Gehry attempted to create monuments thorugh their designs. These monuments were developed to house the

in their own way, monuments of their own.

The changes in technology in those short for--

ment of computer aided design and new materials such as titanium. This warrants are substantially different design approach.

In relation to technology, the change in discourse must be noted: technology has changed what it means to create a mu-seum, or a monument, and one must be aware of the changes that it may have in the future. Wright and Gehry are strong examples of changes in discourse, but they may only be the beginning. Wright’s architectural journey as an example

can be used to explore what the subur-ban house might become in the future.

-tion of nature through their works, Wright through the organic sweeping curve of his building, similar to a shell; and

In the end, the comparison of Wright and Gehry results in one concept: change. We can observe the two Guggenheims as ex-amples of a discourse of change and reac-tion to past works, and change as a result of developments in technology and society.

Right: Figure 5. Frank Lloyd Wright, Solomon R. Guggenheim


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COMPUTATION-AL

ARCHITECTURE

“Digital technologies are changing architectural practices in ways that few were able to anticipate just a de-cade ago. In the conceptual realm, computational, digital architecture of topological...algorithms [etc],are supplanting techno-logical architectures.”

Kolarevic discusses the unpredictable changes in architecture as a result of technology3. While many businesses have changed through the use of tech-nology to make certain aspects of work

has revolutionised the way architecture is seen today. Changes to architecture will continue to take place in the future.

Computational architecture is allowing designers to develop complex projects

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sible with traditional methods, and digi-tal design creates a great advantage. Human and computer communication is

abilities of the designer with computers, however, it is possible to overcome this barrier with an awareness of the issue, and a rethinking of the design process.

In Architecture’s New Media : Princi-

ples, Theories, and Methods of Com-

puter-Aided Design, Kalay explores the evolution of design, and the ways in which computers and people can in-teract with each other to achieve de-signs of higher standards than that which a designer cannot achieve alone.

-vantage of the abilities of comput-ers where ours fall short, and use our own abilities where comput-ers’ fall short, we would create a very powerful symbiotic design sys-tem: computers will contribute their superb rational and search abili-ties, and we humans will contrib-ute all the creativity and intuition needed to solve design problems.“4

3Branko, 2003 4Kalay, 2003

Case For Innovation_Computational Architecture_

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Hence the presence of computer-aided design in society is not one which is based entirely on ease of design, nor aesthet-ics. It is an idea that has developed in order to create an architecture that rec-ognises the faults of both computers and humans. An awareness of these faults may exist, but there is still much contro-versy over the fact that this awareness is not taken into account by designers when using computers to aid them. Those against computer-aided design discuss the way in which the human presence of creativity is lost in the technology.

Mark Burry explores this in his book on scripting cultures, discussing the way in which some are tempted to use the same script in multiple different situations5. It is true that while there are many ways to develop different forms using compu-tational technology, it is easy to come across similar designs using computers. Though it can be considered Gehry’s own style, the similarities between the Guggenheim, Bilbao and his Walt Dis-ney Concert Hall are so strong that an uneducated eye can consider the two buidlings to be the same, out of context.

Through other criticism, we can see that we must remain aware of tradition and nature when using technology in de-sign. Some designs used can be seen to be lacking in connection to site due to the abstraction from the natural land-scape. Despite this, there are of course the exceptions, such as Bernard Ts-chumi’s Alesia Museum, France, 2012.

In simply observing architecture of recent

in style, one that computer design is re-sponsible for. Overall, the presence of computation in architecture has meant a drastic change in style, moving from the uniform buildings that follow horizontal and vertical axis, to the organic, curved

more prominent in architecture today.

Computer-aided design has created

remains a technique that will no doubt be more widely used in the future.

5Burry, 2011

Case For Innovation_Computational Architecture_

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PARAMETRIC MODELLING

-ble, sustainable answer to the drawn-out crisis of modernism that resulted in 25 years of stylistic searching.”

Paremetric modelling presents a meth-od of design that has many advan-tages, but also presents strong deisgn issues. The use of parametric design may have existed for hundreds of years, but it only presently becoming a wide-spread design practice and focus.

and many have attempted to do so: my -

ling as the manipulation of technology, be it a hanging chain model or a computer program, to develop a form that, based on calculations, follows the laws of math-ematics in order to create a function-able model, within a set of parameters.

An issue that was clear even during the ini-tial construction of Gaudi’s Sagrada Famil-ia, is becoming particularly present in cur-rent design construction: many parametric

Robert Woodbury explores the way in which parametric modelling is actu-ally developed using computers, and so brings to light the lack of understanding that deisgners have when using prgram-ming6

the need for anyone using programs such as Rhino, to understand the theory be-hind the development of the program.

A major argument related to parametri-cism arises from Zaha Hadid and Patrik Schumacher. Schumacher treats Had-id’s work as if it a style of itself, the style of parametricism. In reality, t is not a

it is the use of a particular technology. In Schumacher’s opinion, we can only say that he has a very closed opinion of who

can assume that Hadid has the same ideas on parametricism as Schumacher.

6Woodbury, 2010

Case For Innovation_Parametric Modelling_

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Hadid is used as a prec-edent here, as she plays a

-metricism, however, an awareness of the roles of others, architects and thoseresponisible for the development of com-puter programs, such as Robert Wood-bury. As Daniel Davis explores in his re-sponse to Schumacher’s Let The Style Wars Begin, Hadid’s work can be considered to lack the connection to site and cul-ture7, though, in my opinion, she strives to make this connection. This can be seen in the Riverside Museum of Transport, further discussed via Zaha Hadid as a precedent.

This issue of a lack of connection is not only connected to the works of Zaha Hadid Ar-chitects: as discussed in relation to com-putational architecture, in parametric design, it can be considered that there is more of a focus on experimentation and exploration with technology, rather than on connection to site, culture and society.

Mark Burry in his Scripting Cultures: Ar-chitectural Design and Programming explores the place that parametric design has within architecture. He dis-cusses the way in which, at this point, architects have only used parametric

design as a surface tool. There is much more potential within the tool of para-metric modelling. He goes onto say that

“It is about unlocking potential rath-er than guiding conformity to uni-versally held doctrinal positions...”8

Parametric design means an exploration of design rather than a developmen of a

opinion on computing as a whole9.

new way of architectural thinking, one that ignores conventions of style or aesthetics altogether in favour of continuous experimentation based on digital generation and trans-formation of forms that respond to complete contextual or functional

Despite these issues and arguments, parametric models can enable design

7Daniel Davis, 20108Burry, 2011

9Kolarevic, 2003


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designs developed through traditional methods. With developing technolo-gies, parametric modelling is also a much

design development. One might even say thatparametric modelling, when re-alised, creates a building that is more human and relatable than any other de-sign technique. There is, of course, the issue of developing this ability to cre-ate these forms that respond to the in-novative abilities of parametric deisgn, while still maintaining a connection to site, culture, society, tradition and nature.

Right: Figure 6. Hadid’s Riverside Museum of Transport, 2011


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PRECEDENT: Heri & Salli, Landscape Fence,

Vienna, 2011

“In this case architecture is an ac-cumulation of possibilities in a de-scribed space and creates only the edges for a vast land in between.”

Herri & Salli designed this cocoon-like structure to act as a fence and cano-py about a swimming pool. Made from steel, the structure is panelised, to join surfaces that act as furniture within the cocoon. Though it is unclear as to what program was used, the project is clearly parametrically modelled and designed.

The use of parametric modelling in this in-stance has created a very individual form, and provides an example to coincide with the idea that it is only the way in which archi-tects are making use of these techniques, which inhibit the cababilities of paramet-ric design and computer-aided design to develop creative and unusual forms. The use of technolgy in this project to cre-

ate a form that is functionable and en-hancing of the natural elements about it is something that I would like into focus. It this ability, not only in relation to nature, but in relation to all aspects of design, that will enable great works of architecure to be created using parametric modelling, and enable parametric modelling to be come a technology widely used in architecure.

the use of the architecture to manipu-late and increase the beauty of the natural environment.The design cre-ates a balance between the technol-ogy used and the site that it is based in. This technique has been very appropri-ate for the project, and has enabled an

-ral and architectural beauty of the site.

Right: Figure 7. Landscape Fence, with a focus on views from the site.


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PRECEDENT: Zaha Hadid, Riverside Museum of

Transport, Glasgow, 2011.

Glasgow’s rich engineering tradi-tions; a true demonstration and cel-ebration of the skills and passion of local engineers and contractors who helped to bring this building to life.”

Zaha describes her attempt to create a

through an exploration of extremely com-plex engineering. Contractors working on the projectd escribed the construction as “...BAM, described the building of the mas-sive, 2,500 tons steel roof, without any inter-nal supporting columns, as the most chal-lenging engineering feat in the UK today.”

Here it can be seen that Hadid as atempt-ed to develop a strong connection be-tween her work and it’s context through

the extremely complex engineering with-in the deisgn of the Riverside Museum of Transport, which coincides with the strong links that the Glasgow area. Perhaps it is the use of parametric and computer aided design that creates this concept of disconnectedness in these designs.

The precedent is an example of an em-brace of technology to further devel-op design, as well as looking to tradi-tion and past for inspiration and design intent. In some ways, I would consid-er Hadid’s use of the engineering of Glasgow to be a way of addressing in-dustrialiastion as Glasgow’s own natu-ral space, and building on this concept.

Right: Figure 8. The road facing perspective of Hadid’s River-

side Museum of Transport, Glasgow.


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ALGORITHMIC CHALLENGES

I have found the algorithmic challeng-es have not only enhanced my under-standing of Grasshopper, Rhino, and computer-based design as a whole, but they have given insight as to how I might approach my design, and as to what factors I might take into account.

I have chosen the following forms, de-veloped during the algorithmic chal-lenges, as examples of my explorations.

The AA DRIFTWOOD challenge and its strong relation to the texture and qualities of timber, along with some of my prece-dents, has enabled me to developed an interest in the functionality and beauty of the combination of the naturality of the material and the technology of the design.

Algorithmic Challenge Three, explored -

tion and explore how it can be manipu--

plored the different qualitis that can be developed through different meshes of simple shapes to create complex forms.

In my Case Studies and Whyndam City Gateway Project, I would like to build on the theory that I have already learnt, and the skills that I had developed. Through an exploration of add-ons such as Kangaroo and Weaverbird, I would like to build on my skills in order to develop forms which are organic and aesthetically pleasing.

A focus that I would like to maintain throughout the remainder of the subject is on nature. Through my studies, it has come to my attention that much debate lies about the lack of contextuallity about built parametric designs. I would like to explore the ways in which I can create a strong connection between site and form through a n ideal of nature and materiality.

Right: All images developed by self using Rhino and Grass-

hoppper, March, 2013

Case For Innovation_Algorithmic Challenges_

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Case For Innovation_Algorithmic Challenges_

Above: Figure 9. AA DRIFTWOOD challenge.

Below and Left: Figure 10. Algorithmic challenge 3 (Delaunay Mesh)

Below and Right: Figure 11. Algorithmic challege 3 (Voroinoi 3d)

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CONCLUSION

The Case for Innovation explores the place that computers hold not only within soci-ety as a whole, but within architecture.

As students of architecture and design, we feel the need to delve into the his-tory of our future profession and explore those architects who have inspired us; but what of the future, and what of the works that will inspire the next generation?

Architecture is not only about build-

today’s society is a technical one. It comes as no surprise to me that there is a movement towards embracing com-putational and parametric architecture.

This method of design is one that com-municates ideas, creates inspiring and beautiful forms, and explores possibilities that have never before been realised.

I believe that the future holds a further

exploration of computer aided design and in particular, parametric model-ling. Every aspect of our society is being altered by the presence of technolo-gy, and this will continue in the future.

A strong issue in parametric modelling is the lack of connection to the past, na-ture, and other forms of contextuallity in the forms so far discovered. We must not forget these concepts in our explo-ration of technology. It is this issue that I would like to explore, therefore I, with my group members Yvon and Thomas, will approach the design task ahead with an attempt to explore the recon-ciliation of nature and technology with-in the Whyndam City Gateway Project.

Case For Innovation_Conclusion_

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LEARNING OUT-COMES

The theory and practice of architectural computation within the course, at this stage, has led me to develop a greater understanding of computer-aided de-sign, and particularly parametric design.

-lieve that the forms designed in Rhino, and similar programs, were restricted more to sculptural forms rather than architec-tural forms. I found it impractical and dif-

Using Rhino in conjunction with Grass-hopper during my algorithmic challeng-es, as well as attending lectures, studios and researching during my own time, has opened my eyes to the greater pos-sibilities that parametric design can offer.

Not withstanding the limitations that all methods of design offer, I believe that the knowledge I have now could have en-abled me to explore my designs from past studios more effectively, perhaps radi-cally altering the outcomes I achieved, in regards to the designs I developed.

Overall, I have found my experiences in this studio to be very much eye opening in terms of the ways in which computing can assist and develop design concepts, and I would like to further my knowledge and skills in this area of architectural design.

Case For Innovation_Learning Outcomes_

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DESIGN

APPROACH

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Design Approach_Design Focus_

Design Focus: Material Perfor-

manceAfter research of the streams from which a design approach might form, the group has chosen to explore the focus of Mate-rial Performance in regards to the design of the Wyndham City Gateway Project. Material performance is a very impor-tant aspect of design for me, and I be-lieve that the way in which materiality

-ing complex methods of design such as parametric modelling. This interest is one

members, Tom and Yvon, hence it is a very appropriate point of research for us.

When considering the project, some is-sues come to mind: the site is on a free-way, meaning that the deisgn will have to enforce the concept of 100km/h archi-tecture; the design will be viewed from many points and distances, as it will ex-

ist at an intersection; and the design will need to address the greater Wyndham City region. Other issues with the project exist, these are however, the most im-

-formance will need to address these issues, and as a result of the strains of patterning and structure that will form from the focus of material performance, this will be the ideal means of doing so.

Due to the structure that forms within the material, the project will be viewed in differ-ent ways from different distances and an-gles, creating interest for those who see it. The design will need to act as a gate-way into the City of Wyndham, mean-ing that the irregularity that can result from the patterning derived from the fo-cus on materiality will allow for an emer-gent form that draws on the concept of movement and 100km/h architecture.

Overall, for the purposes of the group, Material Performance is the ideal focus, in order to create a successful design for the Wyndham City Gateway Project. The following precedents will extend on this.

Right: Figure 9: Site for Wyndham City Gatway Project

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PRECEDENT: IwamotoScott,

Voussoir Cloud, Los Ange-les, 2009

“Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system.”

Voussoir Pavilion is, as stated above, a combination of material perfor-mance and structural intergrity. For this project, one could not exist with-out the other, and that is what makes

of myself and my group memmbers, as we approach this design project.

Though the project does not exist in a space where high-speed viewing be-comes relevant, the form adresses the concept of views very strongly. From a distance, the form exists as a whole, while on closer inspection, we can see the many parts of the thin wood lami-nate connecting to form a whole.

The different points from which you can view the project affects the way in which it is experienced. Each facet of the vault-ed archs is a different setting, and the de-sign is percieved in a different way each time. Because of the multiple views the site of the Gateway Project offers, this be-comes a very important aspect in our own design, one that this project will present ideas of how to apporach this concept.

They way in which light interacts with the form and patterning is another concept we would like to engage with in our own design.

The use of paremetric design by Iwamoto and Scott in this installation can be re-

Heri and Salli. Their works differ in many ways, but the presence of the organic

of parametric modelling in design can-not be ignored. This aspect of parametric modelling is another thing that we would like to focus on. With the use of a natural material, perhaps one relevant to the site, we would like to extend on the complex relationship between the technical meth-od of design within parametric modelling and the presence of naturallity within that.

Right: Figure 10: Voussoir Cloud

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PRECEDENT: University of

Stuttgart Student Project, ICD/ITKE Research Pavilion,

Stuttgart, 2010

“The computational design model is based on embedding the relevant

material behavioral features in parametric principles.“

The 2010 ICD/ITKE Research Pavilion, Stutt-gart University is a temporary reserach pavilion designed in conjuction with the University of Stuttgart design students, the

and the Institute of Building Structures and

extremely thin, elastically-bent plywood strips, the project explores the concept of material oriented computer design.

The strong design focus of material per-fomrmance within parametric modelling is the concept that the group would like to draw from most with this precedent. Of course a designer is always aware of

materials when designing, even with-in computation, but it is rarer to see the form of the project to be drawn through the meeting of technology and natu-ral material, as is done in this project.

The group considers this to be an im-portant concept, particularly within in a place like Wyndham city, which is an area that is built-up, but still possesses strong aspects of nature, such as beaches and farming areas, and we would like to apply it to our own design for the Gateway Project.

Much like the project my group would like to pursue, this research pavilion uses the properties of the materials to determine the form of the design. It also explores the way in which my aes-thetic properties of the material used

way in which the building is viewed.

In a similar way to the Voussoir Cloud, the Research Pavilion of 2010, the ways in which views can evoke differ-ent emotions as a result of the mate-rial patterning of the stucture. On a different scale, using 100km/h architec-ture, my group would like to achieve a similar result with our own design.

Right: Figure 11: ICD/ITKE Researh Pavilion, 2010

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PRECEDENT: Matsys, Shell Star Pavilion,

Hong Kong, 2012

“...the design emerged out of a desire to create a spatial vortex whereby visitors would feel drawn into the pa-vilion center and subsequently drawn back out into the larger festival site. “

Matsys’ temporary Shell Star Pavilion does not use a natural material,which is some-thing the group would like to focus on, however, the form that emerges from the exploration of material, computa-tion, and forces, is similar to something that the group would like to acheive.

The project uses Rhino, Grasshopper and Kangaroo, as the group plans to do with the Wyndham Gateway Project, as well as other add-ons, those being Lunch-box, Rhinoscript and Python. For the group’s purposes, we will most likely not use these. Rather we will use the add-on Weaver Bird, however, we cannot rule out the use of other add-ons in this proj-ect. Regardless, this use of a the same program in our projects makes Shell Star Pavilion extremely relevant to the group.

The main aspect of design that I would like to integrate into my project from this is the use of the programs to explore the way in which forces exerted on the form will result in different results, depending on the material. The use of the program to explore the material’s ability to withstand forces, and to attain an ideal form given the material and the general structure.

For this project, the result has been an ar-rangement of connected irregular arches with a central vault. This is not unlike the form that the group would like to achieve and we plan on drawing from the technical aspects of this design in our own project. We would also like to draw from this proj-ect, the affect of patterning on light and shade, which Matsys uses in this project. This use of shading will be another aspect of the design that will capture the observ-

in which the project is visible while driving at

Like the Voussoir Cloud, the Shell Star Pa-vilion, uses computer generated hanging

pavilion. And like the ICD/ITKE Research Pavilion of 2010, the different views from dif-ferent distances create different perspec-tives and perceptions within the viewer.

Right: Figure 12: Shell Star Pavilion

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Design BriefThrough a close analysis of the group goals and precedents, we have been able to determine a personal de-sign brief, and key considerations that apply to Material Performance.

Through exploration with materiality, pat-terning and structure, the group aims to develop a landmark design for the Western gateway in Wynhdam City. The Gateway with become an iconic feature within the area, and promote a discourse of pride, positive change and positive di-

rection, with a connection to the great-er region. These inspiring thoughts will be provoked through the meeting of natural material and state-of-the-art technology.

Key considerations to be taken into ac-count when realising this design will be:

- close and distant views,- patterning and structure drawn from material performance,- materiality and material perfor-mance,- views from different angles,- integration with site through rela-tion to naturallity,- experience of procession through form.

Right: Figure 13: Existing Gateway

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Design Approach_Case Study 1_

Case Study 1: IwamotoScott,

Voussoir Cloud, Los Ange-les, 2009

Voussoir Cloud was chosen as the proj-ect for Case Study 1 due to the fact that each of the group members were drawn to the form and the method of design.

After the initial download of the

On the boolean toggle, the identity

order to activate the forces that kan-

The X, Y and Z sliders of the Vector -

ter the height/depth and left and

The Z unit is also edited to alter the

The scale slider is also edited in order to achieve different sizes of the columns. The scale slider can sometimes distort the form to create a jagged form that does not

Experimentation continued, using mul-tiple point and curve combinations, as well as editing and experimenta-tion with the other aspects discussed.

is the for of the mesh. Using Weav-er Bird, experimentation occured with meshes and mesh patterning.

Due to the importance of material pat-terning, this aspect of design will be-come very important in the future for the group’s future design exploration.

The matrix shows the way in which the -

eters or added to with different compo-nents, to create different forms that would explore different material properties.

Right: All images developed by Yvon Chen, Thomas Mitton and India Mitchell using Rhino and Grasshoppper, April, 2013

Image 2

Image 1

Image 3

Image 4

Image 5

Image 6

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False

Image 7


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Original

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Case Study 2: Matsys, Shell Star Pavilion,

Hong Kong, 2012

As discussed as a precedent, Shell Star Pavil-ion is a temporary installation in Hong Kong. The pavilion was designed as an architec-ture that would draw people to the area, and act as a meeting place for people.

The design intent was to create a form that would draw people in, and cause leave to leave in a different way from entering. This was achieved through a sail-like form that connected to the ground at multiple points.

The design was produced through cre-

For the group’s purposes, we created the shape of the mesh out of curves us-ing rhino, set the curves as 18 individ-ual triangular surfaces, and then set those surfaces as meshes and joined them. We chose this method, as cre-ating a single mesh or surface result-

The mesh was then subdivided into

the Weaverbird command “Weav-erbird’s Split Polygons Subdivision.

--

erbird’s Catmull-Clark Subdivision. Using a larger amount of subdivisions, thepro-gram began to slow, which is why the same amount of hexagons as used in the Shell Star Pavilion, is not shown here.

Points on the mesh were then selected, on all

Force was then affected upon the mesh, using the points set as anchor points.

-bird’s Sierpinski Triangles Subdivision and Weaverbird’s Inner Polygon’s Subdivi-

Right: All images developed by Yvon Chen, Thomas Mitton

and India Mitchell using Rhino and Grasshoppper, April, 2013

47

Image 1

Image 2

Image 3 Image 4

Image 5 Image 7

Image 8

Image 6


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54

Design Approach_Technique: Prototypes_

Technique: Prototypes

The group has considered multiple ways of approaching the concept of ma-teriality within material performance.

We have considered using stud-like tim-ber nailed together, thin wood in which the form is manipulated by the prop-erties of the material, as well as a ro-boticly generated material, as used by the 2012 ICD/ITKE Research Pavilion.

After much deliberation, the group has decided to use thin wood. This mate-

of material preformance. Thin wood will also allow the natural connection that we intend to develop as connection to site.

This means that while our form will still fol-low the compressive aspects of kangaroo,

-erties of the matieral. Exploring the mate-rial properties of ply-wood will enable us to understand the limitations and possibili-ties of the material, and we will be able to aply this knowledge within Grasshopper.

Thin wood will also enable patterning, again

aspect of patterning of the solid object above, and the shadowed pattern below.

This technique will follow a similar pro-cess to the ICD/ITKE Research Pavilion of 2010. We will continue exploring this technique through modelling protypes. While this project made use of Birch Ply-wood, we will use Lauan Plywood due to its bending properties, and availabilitry.

55

Design Approach_Technique: Prototypes_Material Exploration_

Material Exploration

Within our set criteria of a plywood based deisgn, the group intends to ex-plore the different ways in which the material can be manipulated and en-hanced, using computational design as well as traditional methods of de-sign such as the bending of wood.

We have seperated the aspects we would like to pursue into three sec-tions, whole, composite and seperate.

The whole approach would mean that the group would attempt to design a structure for the gateway project that would use as few pieces as possible within the design, it would be based on a single, extremely large piece of plywood. This idea would only be differentiated from when the approach was not pos-sible. For example, with extra parts need-

ed for joinery of the plywood to a base.

The seperate approach would develop a design in which many pieces come to-gether to create the entirety of the de-sign. This would not be dissimilar to the

-

within its repitition, while the whole ap-proach would have applied patterning.

The composite approach would involve several large pieces of plywood to join to-gether to become the design in its entire-ty. This approach would mean that cer-tain facets of the design could be treated in different ways, using applied patterning and generative patterning throughout, in spaces within the design where appropri-ate for lighting, weathering, and views.

Our method of design would follow a simi-lar idea to that of IwamotoScott’s Voussoir Cloud - with an understanding of the ma-terial, we will be able to manipulate it using heat and water, with manual construction.

56


Material Exploration

In order to provide proof of the technique, as well as an understanding of our material, we experimented with balsa wood models.

-ing moment of the material, we soaked the wood in water overnight.

In order to achieve permanent curves, we used multiple processes that invloved steaming and ironing.

The steaming increased the malleabillity of the material, and allowing it to bend further.

Ironing enabled the curve to be set

into a particular shape and again, bent further than was previously possible.

Other experimentation took place through scoring of the bal-sa wood, as well as patterning.

In order to increase the permanent curve of the form, clips and pins were used to keep the curves of the wood in place while drying.

We also experimented with joints through glueing and pegging.

the material, an experiment with re-peated steaming and ironing shows the breaking point of the material.

Right: All images developed by Yvon Chen, Thomas Mitton

and India Mitchell, April, 2013

57


Method of bending the material: Left: Soaking in water, Middle: Ironing, steaming and blowdrying, Right: Clipping.

Testing the bending of 5mm thick balsa wood: Left: 1 steam, Middle: 2 steams, Right: 3 steams.

58


plywood, Middle Right:Angled plywood, Right: Bending in both directions

Scoring and bending balsa wood.

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Patterning with gaps, bending and lighting properties.

Krieg

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Case Study 2 manipulation with material. The model becomes an entirely different piece despite the parameters set by grasshopper. The use of whole triangles in a composite approach alter the form set by kangaroo as a result of material properties.

Case Study 2, continued.


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-ing set on a base. It also has a very natural presence, along with the technology that has developed it.

Model continued.The image to the Right expresses the proposed procession of the design.


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64

Material Understanding

Through the exploration of material, as above, the group now has a strong un-derstanding of the possibilities of plywood within parametric design, drawing from our understanding and intentions as de-

would also like to explore the furniture designs of Ray and Charles Eames, as well as a selected recent work using ply-wood, Patkau’s Winnipeg Skating Shelters.

The material has parameters set with-in itself when bent, and we would like to manipulate these in order to cre-ate a technology-built natural design.

Using kangaroo, and other grass-

hopper generated concepts, the group can now intergrate these ideas of material into the design.

These ideas that the group has prodeu-ced are also able to link very strongly to the site upon entering Wyndham. With a procession way as explored in the deisgn

-terning, the project will be bale to link with the wider area of Wyndham as well as the

naturallity and technology coming togeth-er, representing the state of Wyndham.

This representation will also correspond with Wyndham over a long period of time, expressed through the weather-ing and eventual removal of the design,

of technology with newer technology.

Design Approach_Technique: Prototypes_Material Understanding_

65

66

Design Approach_Technique: Prototypes_Material Precedents_

PRECEDENT: Ray and Charles Eames,

Plywood Furniture

“Their Meyer House combined mod-ern design and elegant materials -- hallmarks of Charles and Ray’s own home built in Los Angeles in 1949.”

The works of Ray and Charles Eames, famous from the time of the modern-ist movement, and the search for the international style, as stated above,

-

gy and elegance could come together.

Despite the age of their works, and the lack of parametricism invloved in the de-signs, the works of the Eameses become very important in this exploration, not only because of the material relevence, but because of the ideas they pursued.

The works of the Eameses often used certain detailing of their materials in order to mould and bend their furniture in particular ways. The group has drawn from these works us-ing the slits and patterning of materials in a similar way to Ray and Charles Eames.

Figure 14: Chair molds of plywood, 1945-1947

Case For Innovation_Technique: Prototypes_Material ExplorationDesign Approach_Technique: Prototypes_Material Precedents_

67

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PRECEDENT: Patkau Architects, Win-nepeg Skating Shelters,

2010-2011

“Together, the shelters create dy-namic solar and wind relation-ships that shift according to spe-

environmental circumstance.”

Here, the work of Patkau Architects be-comes a focus of designing a way in which a relatively fragile material such as

plywood can withstand the harsh con-ditions of Canada’s extended winter.

“Stress points were relieved by a series of cuts and openings. The form of the shel-ter is a resultant of this process of stress-ing/deforming and then releasing stress.”within the group’s own design, and in a way not unlike that of the Eameses also, we intend to split our design into several parts in order to reduce pres-sure on certain points, while still em-bracing the properties of the material.

This will coincide with the already explored composite approach that the group es-tablished as a possible design approach.

Figure 15: Winnepeg Skating Shelters

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70

Material and Technique

With an understanding of material and the way in which it can be applied to the forthcoming design, further exploration using Grasshopper and Rhino becomes the next step in the design process.

A further development of the group’ un-derstanding of these technical processes has taken palce in two streams: a contin-ued exploration with the Kangaroo add-on for Grasshopper; and a new study of the Grasshopper script Tapeworm.

Kangaroo explorations have taken place mostly using the hinge component in or-

der to explore new bending and shapes -

per and then applied to the material.

Tapeworm explorations have been very similar, exploring the curves and shapes within Grasshopper in a different way.

Fromt this point, the virtual models will be broken down into irregular parts depend-ing on compression and tension within the whole model. Certain parts will have vo-ronoi or weaverbird patterning applied to them depending on views and weather.

With this technique, there will be a con-trol of views, water and air within the space that the design covers on site.


Design Approach_Technique Proposal_Material and Technique_

71

Design Approach_Technique Proposal_

72


Technique Proposal

With an understanding of material and the way in which it can be applied to the forthcoming design, further exploration using Grasshopper and Rhino becomes the next step in the design process.

A further development of the group’ un-derstanding of these technical processes has taken palce in two streams: a contin-ued exploration with the Kangaroo add-on for Grasshopper; and a new study of the Grasshopper script Tapeworm.

Kangaroo explorations have taken place mostly using the hinge component in or-

der to explore new bending and shapes -

per and then applied to the material.

Tapeworm explorations have been very similar, exploring the curves and shapes within Grasshopper in a different way.

Fromt this point, the virtual models will be broken down into irregular parts depend-ing on compression and tension within the whole model. Certain parts will have vo-ronoi or weaverbird patterning applied to them depending on views and weather.

With this technique, there will be a con-trol of views, water and air within the space that the design covers on site.


73


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Technique Proposal

At this stage, the design attempts to make an equal use of technology and material-

-sign will use plywood with and against the natural grain of the wood in order to create

-

While there are limitations in regards to

the bending properties of the material, these become advantageous when used with knowledge and technology, to ma-nipulate the properties of an elastic form.

The concepts strongly relate to the City of Wyndham through the coming to-gether of natural and technical, and

focus of views and weathering as de-

Right: Image developed by India Mitchell using Rhino ,Grass-hoppper and Photoshop, May, 2013

Design Approach_Technique: Prototypes_Technique Proposal_


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76


Proposal and Argument

Through an exploration of program-ming, combined with a now strong un-derstanding of the properties of our material, the group can now focus on

Through integrating the concept of ma-terial performance into all aspects of de-sign, we can create a project that will re-late to site, breif, people and technology.

The aim of the project is to develop a gateway into the City of Wyndham that will further the positive development of the area. Our project will do this through linking project to site, particularly through

nature and the existing gateway. It will also inspire a feeling of movement to a wider area through patterning, light-ing, views, perspectives and procession.

Material performance will be able create a positive and affective gateway via:

-

different views from close and afar,different perspectives from different angles,Exploration of the combined proper-ties of natural material with technol-ogy baseddesign,patterning in particular spaces to in-troduce lighting, shading, weathering,100km architecture and,a connection to site through material-ity.

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Learning Objectives and

OutcomesWith the knowledge that the group now possesses, we intend to develop a technology based natural design that will represent that state of moder-nity and rural within Wyndham. The de-sign will further instill a feeling of growth and movement within the region.

This will be achieved through the many techniques already discussed.

-

-ing into account Architecture as a Dis-course, as well as A Case for Innovation.

Our design presents a strong discourse of change and the link between tech-nology and naturallity, as well as pre-senting a strong case for the use of parametric design within architecture.

explorations and theories into a physical design. This will be done through the al-ready discussed approach of composite design using plywood and Grasshopper.


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PROJECT

PROPOSAL

P R O C E S S I O N - W A Y

Project Proposal_

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Gateway Project: Design

ConceptThe group chose to develop a set of pro-

-rent state of Wyndham as an evolving city.

The initial model was chosen to be a column and beam based form which would represent the traditional, while

-ed example of parametric design.

-oped through tapeworm within grass-

-pression of sophistication, as well as its exhibition of the properties of plywood.

Project Proposal_Design Concept_

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Right View Top View Right View Top View

Final Form

Right View Top View

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Concept-

ries of 10 individual installations that com-bine to form an overall “Procession Way”.

“Procession Way” exists as an exploration of the progression of the City if Wyndham. Wyndham is developing into a sophisti-cated community that can be linked to the City of Melbourne, while in the past it has been a slowly developing community.

The group has linked this idea to the con-cept of the development of the tradi-tional beam and column form to the currently emerging forms which are developed within parametric design.

within the design progression. The pattern progresses from being non-existant to a single column of cirlces, to two rows of dodecagons, eventu-ally progressing to 8 rows of squares.

-tion to Wyndham City as a whole, as well as any people who will encoun-ter the project through this procession.

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ConceptThe overall technique of the design can be implemented quite easily in rela-tion to site and clientelle. The design will progress along the main road between sites A and B, moving from simple form

The overall progression of the forms will be an exploration of the current state within the city of Wyndham, as well as that of the discourse of architecture as a whole.

The large scale of the gateway will en-sure that the installation is highly noti-cable, and will become an icon as an entry point to Wyndham City, and the alignmean of the installation to the road leading to Melbourne will help to create a sense that Wyndham co-incides with the progressive thoughts that the city of Melbourne aspires to.


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ConceptThe patterning, along with the pro-gression of form, become, not only

-sign, but the core parametric aspects. The patterning exists as an altering set of parameters that progress from a circle

-terning also evolves through the amount of patterns per width and length of ma-

per width and 20 along the length, and Form 10 with 8 patterns per width and 270

along the length. Form 1 has no patterning.

The size of the pattern is dependant upon the amount of curve of the surface it is set to, assisting in bending properties. The larger curves have smaller shapess, while the tightest curves have larger shapes,

Overall, the patterning strangthens the concept of progresion, and assits in the bending properties of the wood.

Other patterning was tested and failed, as shown above, and in Section B.

These concepts of progressive patterning and form take the traditional concept of bending laminated plywood to a mod-ern level through immersing the concepts of form and patterning entirely within the parameters as set by grasshopper.


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FORM 1

FORM 10


FORM 2

FORM 3

FORM 4

FORM 5

FORM 6

FORM 7

FORM 8

FORM 9

PATTERNING

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TAPEWORM CURVE FINDING + LOFT INTO SURFACES

OFFSET CURVE AND LOFT TO SURFACE

TWEEN

BEST 10 SURFACES

DUPLICATE SURFACE EDGES AND LOFT THE CURVES TO GENERATE MOST SIMPLI-FIED SURFACES

TRIM SURFACES WITH A LINE REPRESENTING GROUND LINE

EACH SURFACE: DIVIDE SURFACE INTO EQUAL SEG-MENTS

EVALUATE SURFACE PROPER-TIES AT UV COORDINATES

CREATE PLANES PERPEN-DICULAR TO THE COOR-DINATES

EVALUATE SURFACE CUR-VATURE AT SPECIFIED UV COORDINATES

CREATE POLYGONS WITH THE CETERS ON CEN-TROID OF EACH PLANE

RADIUS

CURVE

TAPEWORM SURFACE

SPLIT SURFACE

SURFACE

This node diagram ex-plores the way in which grasshopper nodes were

-nal design in a sum-marised diagramitic form.

85

3 x 8 metresAs per the concept of Material Perfor-mance, the core construction element of the project in the material used: plywood. The limitations of the size of plywood sheets within the industry mean that the sheet size of 3 x 8 metres will become the most signif-icant construction element of the forms.

progression, broken down into 10 indi-vidual installiations, which will be further seperated into 8 metre long sections.

-

struction will be the joints within these sections, and the joints to the ground.

The joints between sections will consist

glue appropriate for outdoor conditions.

The ground joints will be immersed in reinforced concrete footings, made stable through horizontal reinforce-ment that protrudes through the con-crete-covered part of the plywood.

As traditional forms, Forms 1, 2 and 3 will require structural reinforcement along their lengths, further demonstrat-

Project Proposal_Tectonic Elements_

86

Apply increasing Compression to bendto correct angle

Timber Pin JointsStructural supports for forms 1, 2, and 3

Outdoor Timber glue and Wooden Pin

Ground Joint

Horizontal Reinforcement through Plywood

Rienforced concrete footingsFinal Form of Built

Design


Cut Plywood:3 x 8 max.metres, with Length &patterning as per Files

Steam Wood

Scaffolding and formwork

Leave to set

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Project Proposal_Final Model_

Final Design and Final Models

past experiments with the bend-ing of wood, laser cutting, and the knowledge and use of Grasshopper.

The patterning was applied through Grasshoppper not only as an ex-pression of progression but to as-sist the bending of the wood.

As one can observe, as the complexity of the individual installations, the patterning becomes for dense and sophisticated. In

The size of the pattern is dependant upon the amount of curve along the length of the form. The patterning becomes para-mount for the bending of the material.

The models act as an example not only of constructibility but of the way in which

relationship with material performance.

89


-ling process was to submit balsa wood of different thicknesses, patterns and etch deepness in order to understand the quali-ties of laser cut balsa wood.

After discerning that the most ap-propriate thickness was 2.5mm, and the most appropriate etch

was cut. After cutting, each in-dividual piece was labelled as per its individual installation.

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Light and ShadowThe dual visual affect of form and shadow, which will further in-still the monument to Wyndham in the minds of those who see it.

Nature within Technology

devlop a monument for a rural area which also thrives on the technology of the city.

Architecture as a DiscourseThe expression of the current move in architectural discourse from tradition-

A Case for InnovationAn expression of the need to move forward through the contemporary use of a traditional material and method, as well as through the use of parame-tirc architecture in general, visualised through the progression of elements.

100 Kilometre ArchitectureThe use of multiple forms that can be viewed on many scales. As a whole, as a set of 10, as indivual installments, and as individual patterns; creating fur-ther interest in a structure that will only be viewed in passing for 3 to 4 seconds.


Though not all 10 installations are present

the forms and patterning can be seen.when observing the models, which the group has wished to express are:

FORM 1

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FORM 3


FORM 2

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FORM 8

FORM 4

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FORM 9

FORM 10

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OutcomesAs a student exploring the possibili-ties of parametric design within the feild of architecture, I have found that there are both advantages and limitations to this method of design.

I have found that the method of de-sign that I undertook during the course enabled me to explore ideas that I would not have come upon if not for the technology that I made use of.

This being said, I was also limited by not being able to achieve certain aspects of design that I hoped to pursue, due to my own limited knowledge of Grasshopper.

This method of design also limited my ability to relate the design to con-text and the reality of the built object.

Project Proposal_Learning Objectives and Outcomes_

95


OutcomesOverall, the ideas that eventuated into the

were very much related to project overall.

Since the beginning of the course, the concepts raised have been broad and open, simply presribed to the use of parameters within Grasshopper.

Through choosing to focus the design on material performance, the group has been lead to a very focused de-sign that has drawn from many prec-edents, but is very innovative and new.

The idea of Material Performance and its relationship with the Gateway Project became the basis upon which any oth-er concepts of the design were based upon and the limitations of the material became the reasons for which the proj-

The material properties provided links to nature, site, context and the progression of the form to create a sophisticated design.

Project Proposal_Learning Objectives and Outcomes_

78

Architecture in the Age of Gehry | Vanity Fair. 2013. [ONLINE] Available at: http://www.vanityfair.com/cul-ture/features/2010/08/architecture-survey-201008. [Accessed 15 March 2013].

Glasgow Riverside Museum of Transport | Architecture | Zaha Hadid Architects. 2013 [ONLINE] Available at: http://www.zaha-hadid.com/architecture/glasgow-riverside-museum-of-transport/. [Accessed 21 March

2013].

Heri und Salli. 2013. [ONLINE] Available at: http://www.heriundsalli.com/. [Accesed 21 March 2013].

Patrik Schmacher - Parametricism | Digital Morphogenesis | NZ Architecture. 2013. [ONLINE] Available at: http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/. [Accessed

23 March 2013].

Patrik Schumacher on parametricism - ‘Let the style wars begin’ | Architects’ Journal. 2012. [ONLINE] Avail-able at http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-

wars-begin/5217211.article. [Accessed 23 March 2013].

The Triumph of Frank Lloyd Wright | History & Archaeology | Smithsonian Magazine. 2013. [ONLINE] Available at: http://www.smithsonianmag.com/history-archaeology/The-Triumph-of-Frank-Lloyd-Wright.html. [Accessed

15 March 2013].

Yehuda E. Kalay. 2004. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided

IMAGES:Figure 2: HÁGALO USTED MISMO: Apuntes de Frank Gehry. 2013. [ONLINE] Available at: http://shansbop-

peaces.blogspot.com.au/2010/06/apuntes-de-frank-gehry.html. [Accessed 04 April 2013].

Figures 3 and 5: The Triumph of Frank Lloyd Wright | History & Archaeology | Smithsonian Magazine. 2013. [ONLINE] Available at: http://www.smithsonianmag.com/history-archaeology/The-Triumph-of-Frank-Lloyd-

Wright.html. [Accessed 15 March 2013].

Figure 4: Architecture in the Age of Gehry | Vanity Fair. 2013. [ONLINE] Available at: http://www.vanityfair.com/culture/features/2010/08/architecture-survey-201008. [Accessed 15 March 2013].

Figures 5 and 8: Glasgow Riverside Museum of Transport | Architecture | Zaha Hadid Architects. 2013 [ONLINE] Available at: http://www.zaha-hadid.com/architecture/glasgow-riverside-museum-of-transport/.

[Accessed 21 March 2013].

Figure 6: Heri und Salli. 2013 [ONLINE] Available at: http://www.heriundsalli.com/. [Accesed 21 March 2013].

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Gateway Competition Project|Architecture Design Studio Air|University of Melbourne LMS [ONLINE] Avail-able at: http://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_5_1&url=%2Fweb

apps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_262336_1%26url%3D [Accessed 4 April 2013].

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2013].

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Pavilion/EMTECH-AA|Archdaily [ONLINE] Available at: http://www.archdaily.com/221650/pavilion-emtech-aa-eth/ [Accessed 23 April 2013]

Studio Reciprocities|Oliver David [ONLINE] Available at: http://www.oliverdavid.de/?page_id=213 [Accessed 25 April 2013].

Winnepeg Skating Shelters|Projects|Patkau Architects [ONLINE] Available at: http://www.patkau.ca/ [Ac-cessed 25 April 2013].

IMAGES:Figure 9: Gateway Competition Project|Architecture Design Studio Air|University of Melbourne LMS [ONLINE] Available at: http://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_5_1&url=%2F

webapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_262336_1%26url%3D [Ac-cessed 4 April 2013].

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2013].

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Wprthington Industries I http://www.worthingtonindustries.com.au/oversize-one-piece-panels.asp. Accessed 20 May 2013.

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Documents

India Mitchell, 538166, ADS Air, Journal