Ben GaleaI grew up in Melbourne creat-ing buildings, towns and cities whilst playing with Lego with my younger brother. The idea of cre-ating, designing and building and the joy that came with it must have stuck because here I am study-ing my third year of architecture.

My current experience with digital design tools extends as far as Google Sketchup and stops there. I have never used Rhino, Grasshopper, Photoshop, InDesign or even Illustrator and this course looks to be a steep learning curve for me as I attempt to get my head around these various programs.

However, Parametric Design intrigues me and the use of computer aided design opens a whole new world of possibilities in spatial creation and experimental design outcomes.

Case For Innovation

As digital architecture continues to grow in prominence in our cities, so do the ques-tions about reliance on digital tools and what real capacity we as humans have to create, when so much is reliant on computer programs.

Innovation in architectural form has been largely digitised in the new millenium due to the abil-ity to expedite experiments. This is because of digital models and their capacity to be altered at the click of a button. The ease with which a model can be redesigned, reinspected and eventually re-placed creates a need for the digital environment to encourage continued innovation. However, form is only one cog in the architectural machine. It is the responsibility of architects to ensure the fi-nal designs remain relevant to the target audience and do not ostracise themselves due experiment for experiment’s sake. Although difficult to define, architecture is essentially the creation of space for people to inhabit and this should not be lost. When buildings are built as a means to themselves, this human aspect and social relevance of archi-tecture is lost and the structures risk becoming large, ineffective sculptures awaiting demolishing.

Contrasting these potential pitfalls in over-ex-perimentation, digital modelling tools create the the environment to enhance the social significance already prominent in architecture. Redifining space to maximise efficiency and qaulity of life can be achieved through intuitive use of computer aided design. Effective data analysis alongside contin-ued discourse between the architectural profession and public needs are requirements to achieve this.

The Gateway Design Proposal asks for cohesion be-tween archituctural design and public interface. Creating ‘forward-looking’ symbolism that is both stimulating and relevant relies not only the spe-cifics of the design but how well they are aimed at the target audience, predominanlty visitors.__________________________________________________terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley), p. xx

Building externalhttp://farm5.static.flickr.com/4145/5018446312_12582fea15.jpg

Paper Experimentationhttp://people.brunel.ac.uk/dap/machuma.html

A.1 Architecture as a DiscourseSon-O-HouseStimulating both tactile and aural senses, the Son-O-House by NOX was built around the extrapola-tion of human movement and algorithmic design based around the resulting data. The overlapping forms en-courage movement throughtout the strucuture, which in turn transforms these movements into digitised sound. This creates a new concept of dynamism with-in a structure that behaves differently depending on how the individual interacts with the space.

The theory behind the design of Son-O-House was derived from the typical motions of the hu-man body. Analysing the movements of the limbs, joints and extremities of people (similar to data points in Grasshopper). This project referenc-es non-digital parametric design by using paper strips cut in areas corresponding with the dif-ferent bodily movements (below) then connected, resulting in intertwining lines and curves. The way the building reacts to people is a reflection of the way in which the building was first con-ceived, giving it a ‘natural’ and ‘human’ element.

This method of design would be useful in relation to the Wyndham Gateway Project through the use of data point input and ensuing parametric modelling techniques.

View from inside memorialPhoto taken by self

Libeskind’s similar stelaehttp://farm3.static-flickr.com/2215/2240561192_84655c85ed_z.jpg

A.1 Architecture as a DiscourseMemorial to the Murdered Jews of EuropeEisenman’s Memorial to the Murdered Jews of Europe in Berlin is a distinctive peice of place-making architecture. It was commisioned to symbolise the Jewish victims of WWII but uses no symbols or sig-nage. space is divided by concrete stelae creating the feeling of isolation and dizzying disorienta-tion. However what is particularly interesting to this studio is the use of dual sets of statistical data to create the contoured effect of both ground level and the tops of the concrete stealae.

Through manipulation of meaningful input data re-lating to statistical evidence during WWII, the design was able to take shape by creating a flow-ing undulation from the edges of the memorial site. Similar to Libeskind’s Jewish Museum, also in Berlin, the use of undulation can create signs of physical nausea through the manipulation of gradi-ent on site and disorentation of the senses.

The data input was not arbitrary for this project and related to the statistical recordings of Jew-ish deaths in Europe. This aspect of the project gives meaning and unsigned symbolism. It is of in-terest to this studio as examples can be directly referenced to Grasshopper. Differing results can be obtained through manipulation of algorithms and the same data overlay techniques can be utilised to experiment with different outcomes. __________________________________________________Rauterberg, Hanno. (2012) Talking Architecture, ed. Prestel Publishing

A.2 Computation & ArchitectureRational and IrrationalDesignComputation in architecture has altered archi-tectectural process by giving the designer a mul-titude of independant choices existing at the same time. A large breadth and depth of options is now available to be explored alongside each other to aid the search for the ‘right’ design solution to the ‘right’ problem. Through the use of manouver-able data, instead of a commited line or point, design space can be altered to achieve a plethora of options before evaluating the possible outcomes.

Kalay claims however, that computation can only pro-vide the rational side of arhitecture, for example algorithms and analysis, and that the irrational understanding of human behaviour, aesthetics and ‘feel’ of a building must come from the designer. The trend of computation in architecture will go on to create a co-dependance between machine and human to create architecture that fits the contemporary mould. Whether this is progress or regress remains a widely debated issue in the global architectural community. __________________________________________________Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)

Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering De-sign, Analysis and Manufacturing

The Possibilities and Limitations of ComputationAs well as altering architectural process and de-sign techniques, computation also has enabled proj-ects to be created that used to be close to im-possible. Computation allows the design space to visually reflect almost any form the designer has in mind through the mathematical simplificatin of extremely complex forms. Documentation and visual representation is no longer restriceted to what can be hand drawn through the mass digitization of architecture. New forms such as radical three-dimensional undulataion curves can be represented just as easily as straight lines can. This, in turn widens the possibilites as to what can realisti-cally be designed and constructed.

However, as is a theme of this journal, we must en-sure that the foundations of architectural repre-sentation is not lost. There is still much value in srawings and sketching with architecture. Computa-tion is simply a tool to help develop the ideas thatthe designer has. Compuation can be used to gen-erate form but should still be considered as just a tool in the design process. Mitchell proposes a ten-point checklist of ‘retired and rewired’ archi-tectural terms. But, replacing Parti with Genome and Tectonics with Electronics, for example, pro-vides a limiting scope to design and cannot fully encompass contemporary architecture. Although ar-chitecture is ever-changing, it is essential the techniques of the past are used to inform intelli-gent design, not replaced.__________________________________________________Mitchell, William J. (1998). ‘Antitectonics: The poetics of virtuality’, in the Virtual Dimension: Architecture, Rep-resentation, and crash culture, ed. by John Beckmann (New York: princeton Architectural Press, pp. 204-217

Galaxy Soho in Beijing (pictured), by Zaha Hadid Architects uses horizontal sectional curves to create a three-dimensional undulating structure consisting of five volumetric spaces. Com-putational techniques and the easy visual explorations it cre-ates, allowed each volume to gently flow into the other through progressively increased radial curves. The project has aesthet-ic similarities to Frank Lloyd Wright’s Guggenheim (1936) but shows how compuation allows the designer to alter and expand forms with relative ease.

A.3 Parametric Modelling‘parametric’ by definition relates to parameters and in-volves working within given constraints, usually mathemati-cal. By that loose definition, all architectural projects are parametric in nature, for example, a building cannot have a bigger footprint than its’ site or some kind of height restriction imposed on the building. However, this journal is primarily involved with computational parametric design, specifically projects designed using Catia, Genera-tive Components or Grasshopper.

Parametric design tools enable the exploration of new forms, material performance and overall structural techniques. Globally, the architectural trend seems to be moving toward ‘parametricism’ due to the speed at which experimentation can be carried out and alterations made. Using the computer to quickly perform algorithmic equations and data altera-tion, architects have been able to create unprecendented forms. Parametric design is also creating a global forum specifcally linking mathematics and design, which allows a literal abstraction of ideas and algorithmic uses into new projects and uses.

The shortcomings with parametric design, however, lie with-in the specific functions programmed into the current and future design tools. Like all mediums used for design space, we are restricted by what we can do with them. if a func-tion is envisioned by the architect but not programmed into software, then the design is limited and the designer needs to turn to other esign mediums. __________________________________________________terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley), p. xx

Woodbury, Robert (2010). Elements of Parametric Design (London: Rout-ledge) pp. 7-48

“It is possible to claim that a designer’s creativi-ty is limited by the very programs that are supposed to free their imagination.”

-Kostas Terzidis

One Main Street - dECOi ArchitectsOne Main Street, a project by dECOi Architects, is de-fined by its sectional undulating ceiling and only made possible through the use of paramtric design tools. Evi-dent in the pictures below, the construciton is incred-ibly complex as each wooden section is unique in size and shape. There is a specific relationship between the dips in the ceiling in the rise in the flooring system and this is due to the possibilities of parametric design te-chiniques.

constructing both the hung ceiling structure (below left) and undulating floor system out of ply sections was a de-cision based on form and function. dECOi claims that it was more suitable for the fabrication machine to cut the section pieces in long curving lines, rather than straight interlocking shapes. The material is relatively light and the parametric process allowed for the manipulation of form, which was able to optimise the use of the plywood and its structural performance around the columns._________________________________________________________dECOi website < http://www.decoi-architects.org/2011/10/onemain/>

Webb Bridge - DCMContinuing the theme of sectional design using parametric tools, the Webb Bridge in Melbourne by DCM spans across the Yarra River in a snake-like layout. The parametric design tools allowed the repeating rib design on the southern end of the bridge to extend around the apex and onto the main span. Many iterations of the steel latticework were gener-ated almost simultaneously, creating a wide breadth of op-tions before developing the possible outcomes.

The snakeskin rib pattern required parametric modelling to expedite the design process and enable the pattern to continue throughout the latticework area. Using parametric design in this project, is essentially run-of-the-mill and doesn’t really push any boundaries in either form or func-tion. However, this projectand its’ use of parametric tools show how they can be applied to any project, no matter how big or small the effect. _________________________________________________________Australian Institure of Architects <www.architecture.com.au/awards_search?option=showaward&entryno=20053006>

Hart, Sarah (2013), Architects discover bridge design can eb the per-fect union of art and science, ‘Architectural Record’, < http://archre-cord.construction.com/resources/conteduc/archives/0406edit-4.asp>