STUDIOA

R2013

A L E X . J . M O R S E

“Architecture is basically a container of something. I hope they

will enjoy not so much the teacup, but

the tea.”

-Yoshio Taniguchi

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J O U R N A LF O C U S

MATERIALITY:THE FOCUS IS BASED ON A CHOSEN MATERI-AL CATAGORGY, BEING ‘COMPOSITE’. THERE-FORE, FOR THE PURPOSE OF THIS JOURNAL, RESEARCH AND DESIGN WILL BE CONDUCT-ED BASED ON MY OWN DEFINITIONS BELOW.

COMPOSITE MATERIAL.A UNIQUE MATERIAL THAT IS FORMED FROM TWO OR MORE MATERIALS TO ENHANCE ITS STRUC-TURAL, AESTHETIC OR OTHER PROPERTIES.

COMPOSITE STRUCTURE.A STRUCTURE THAT COMBINES TWO OR MORE MA-TERIALS FOR THEIR PERFORMANCE PROPERTIES, WHERE ONE CANNOT PERFORM WITHOUT THE OTH-ER.

TUTORS: ADAM & FINN

ABOUT THEA U T H O R

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PROFILE:

NAME:

UNIVERSITY:

CURRENT DEGREE:

EMPLOYMENT:

My name is Alex. Sydney-born, I moved to Mel-bourne at the age of six-years old after pre-

viously living in Singapore for eighteen months.

The things I enjoy most in life are spending time with friends and family, getting to the beach as often as I can, skiing in winter, and keeping fit. Living an active, healthy and full life is the only way to live in my eyes.

In terms of design and how I came to the conclu-sion of pursuing a career in architecture, I guess cre-ating things has always been an interest of mine. From the early days as a child, playing with Lego and drawing were amongst my greatest hobbies.

Attending senior school at St Kevin’s College in Toor-ak, I began to realise my passion for design through studying art and visual communication & design. How-ever, I never lost my curious side for the way things worked. And it was through both these interests that ar-chitecture as a potential career began to grow on me.

From there, I moved straight into university to explore and study architecture. Now in my third year of the Bachelor of Environments degree majoring in architecture, I have con-tinued to enjoy and appreciate the profession and disci-pline more and more with greater enthusiasm not only for what architects do, but for where the profession is head-ing, further assuring myself that architecture is for me.

alex j morse

the university ofmelbourne

bachelor of environments-major in architecture

office assistant @archiblox

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I n terms of computational experience and expertise (or lack thereof) from both school and university thus far,

I have had the opportunity to use a variety of programs, including the Adobe Suite programs, Autodesk Revit and AutoCAD, Rhinoceros and SketchUp. Each program used for different tasks in different design situations.

My particular strengths and expertise are in Autodesk Re-vit in terms of documentation, and Adobe Photoshop for presentation, while unfortunately 3D modelling programs / tools such as Rhinoceros I am less familiar with. Other than Virtual Environments, a 1st year subject I now took two years ago, I have not used or gained any additional experience in Rhinoceros. As for the plug-in ‘Grasshop-per’, this algorithmic-based design tool is completely new to me and my current thinking and method for design.

Digital design comes as a relatively new concept and meth-od for design in my short life as a student studying archi-tecture. From the latter years of school to the present day, design concepts and development has been a hand-drawn / sketching process, with computer programs used for refin-ing, presenting and documenting work. The concept of con-ceiving, developing and refining a design solely through the use of computation and 3D parametric modelling stands as unchartered territory but one I am keen to explore.

Of what I do know about computational architecture and 3D parametric modelling, the Virtual Environments sub-ject gave me the greatest insight into the speed and ef-ficiency of digital design using Rhinoceros (however, rela-tively brief), and the opportunity to explore this further in this studio promises to be an exciting prospect and one I am truly looking forward to. I have a strong passion for sustainable, liveable and functional architectural design that provides an improved way of life and a truely unique experience for the user, and the chance to now approach this through digital design while it itself is still developing within the field of architecture is again an exciting oppor-tunity and one I feel is important to learn and understand.

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I m a g e s

'body latern' project from virtual envi-ronments (first year subject), designed to reflect a naturally occuring process, in this case, my proj-ect relating to human migration over time.

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TABLE OFCONTENTS

JOURNAL FOCUS ABOUT THE AUTHOR TABLE OF CONTENTS PART.A: CASE FOR INNOVATION A.1. ARCHITECTURE AS A DISCOURSE A.2. COMPUTATIONAL ARCHITECTURE A.3. PARAMETRIC MODELLING A.4. interim CONCLUSION A.5. LEARNING OUTCOMES A.6. APPENDIX - ALGORITHMIC EXPLORATION PART.B: DESIGN APPROACH B.1. design focus B.2. case study 1.0 B.3. case study 2.0 B.4. technique:development B.5. technique: prototype B.6. technique: proposal B.7. learning outcomes REFERENCES: R.1. text R.2. images

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P A R T . A

CASE FOR I N N O -V A T I O N

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A R C H I T E C T U R EAS A DISCOURSE

The term ‘discourse’ in essence means the ongoing dis-cussion, debate, or expressed opinions surrounding

any given topic over a period of time. Therefore, to ex-plore architecture as a discourse is to critically analyse the profession and the direction architecture has taken over time and is set to take. It is important to formulate and express our opinions on matters influencing architecture, especially being at a student level, to further understand the complexity surrounding architecture as a profession. The ideas, principles, opinions and theories developed throughout the history of architecture and in the modern day help to drive architectural thinking and innovation forward.

Architecture today has reached an era of relatively rapid technological advancements, with an increasing num-ber of influences from a widening pool of fields such as science, IT, engineering and mathematics. And so, as technology integrates itself deeper into the profession of architecture, whether it be the way in which we can design and conceptualise ideas, or the possibilities now available to constructing them, our way of thinking about architecture is also changing. As an architect, our thinking must not only embrace what is being developed for us to use, but to ensure that our thinking does not become lim-ited by this technology, and as a profession, keep ahead to drive architecture onward to even greater heights.

While not being a huge fan of his work, Daniel Libe-skind raised an important point about what I also be-lieve helps to summarise what architecture is, that it is “to create a space that has never existed[…]to create

something that has never been, a space that we have never entered except for in our minds”[1]. And so, the idea that architecture as a solution to a problem does not do the profession any justice, only simplify-ing what is truly complex. Instead architecture should be seen more like “a genius solution to a non-existent problem”[2]. The notion of creating a space in which a unique experience is formed for each individual, rather than just the physical structure, is what architecture is about. To create something beyond the physical, and form an intangible characteristic to a space never be-fore conceived is the constant challenge of the architect.

Today, this challenge is increasingly approached through computational and digital design platforms. The speed, efficiency and accuracy produced as a result of these design tools is a compliment to the integration of the variety of fields and professions now influencing that of architecture. However, as with all new technologies, and the ideas and ways of thinking that evolve from them as a result, will always face scrutiny and resistance by some. Yet, the failure to embrace these new ways of thinking that break away from tradition, denies us the realisation of our own potential as architects. And this potential is to step beyond the expectation of simply de-signing for peoples’ needs, and to explore and pioneer new design approaches and methods. These may not yet (or ever) be appreciated, or physically possible, but it allows us to set goals through the form of an immate-rial architecture[3] and allow for ongoing development of ideas that drive us towards one day fulfilling our own prophecies and aspirations we envisage for architecture.

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Church of Light:

Architect - Tadao AndoLocation - Osaka, JapanYear: 1989

Tadao Ando’s ‘Church of Light (1989) is possibly one of the best ex-amples still to date, despite being over twenty years old now, of ar-

chitecture that creates a space. He forms a totally unique experience for the user, creating that undefinable, intangible characteristic of the building that makes it more than its physical self, creating architecture.

While the design follows simple geometric formation and intersecting cuts, designed before the time of computational and digital 3D modelling platforms, it is clear that Ando‘s approach to designing the church, his very way of thinking, is one with the user and their experience in mind.

Ando uses a very specific method to involve different forms of nature into his designs, the most influential being light. How-ever, his thinking is not to use natural light solely for practical pur-poses of lighting the space, but to capture it and define it, making it part of the architecture. Natural light is channelled and captured so precisely that this connection to nature is felt as part of the ex-perience of the space, as light is morphed into the very architec-ture, giving the materiality of the building texture, feel and life.

Each aspect of the experience of the church is carefully consid-ered, from the approach to the church, to leaving. The specific, yet subtle, intentional direction of movement through the space is a form of thinking towards architecture few others have followed. To produce both a functional and practical space through geo-metric simplicity, yet create a complex set of intangible features unseen to the naked eye that allow the space to evoke an emo-tional response beyond physical appreciation of the building, al-lowing one to truly appreciate the space that has been created.

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Walsh Street House:

Architect - Robin BoydLocation - Melbourne,

AustraliaYear: 1958

Robin Boyd is a prominent Australian architect of the modernist era, and author of the profound pub-

lication “The Australian Ugliness”, where Boyd him-self expressed his disappointment in Australian ar-chitecture and the direction it was taking[4]. Boyd, like Ando, saw the importance of creating space, but with a particularly practical approach in mind.

The design of his very own house on Walsh Street in Mel-bourne (1958), typifies his very way of thinking, to form a space that maximises its full potential. While the experience of the space Boyd aimed to create wasn’t of as significant importance as it was to the likes of Tadao Ando, function-ality, connectivity and practicality were. Boyd, practicing as an architect during the post-war modernist boom, saw the need for utilising space rather than consuming it, as

Australia went through it ‘richest decade’ in the 1960s[5].privacy while maximising the usability of the space.

As part of this wealthy period in Australia’s history, his think-ing expressed in “The Australian Ugliness” is one shared by many modernists at the time and still today. His criti-cism of ‘ornamentation’ applied to buildings and claimed as architecture[6]. Boyd’s views such as this are still very much ingrained in the views of modernism today, a perfect example of one contributing the architectural discourse.

Boyd’s house in Melbourne therefore highlights his practi-cal views, as he created spaces with multiple functions. The dual use of the upper level as both a living room and his own bedroom, along with the separation of the kids’ space using a central outdoor courtyard creates greater privacy while maximising the usability of the space.

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COMPUTATIONALA R C H I T E C T U R E

The idea of computational architecture is that computers and digital platforms or tools drive the design process,

making the entire process from the conception of the idea to the final documentation entirely digital. As opposed to many current and long-standing methods of ‘computer-ization’, where pre-conceived ideas of the mind are then applied to a computer, manipulated for refinement and stored[7], computation bundles all this into one. The com-puter itself, with 3D algorithmic-based modelling programs, becomes our sketchpad to generate ideas from scratch, rather than visualising and free-hand drawing otherwise.

This way of thinking, process for design related to rapidly advancing technology is evolving design approaches for architects. Computation creates a level of efficiency for the architect to work at, due to the accuracy and speed of modelling ideas into realised conceptual designs. And it is due to this digitalisation and quick manufactur-ing of designs digitally, that the construction industry on a larger scale is also evolving. The early conception of 3D digital modelling allows for greater performance control measures to be put in place for construction as the likes of builders and engineers are engages much earlier in the design and construction process. We see this through the implementation of Building Informa-tion Modelling (BIM), allowing stakeholders from mul-tiple disciplines to contribute and evaluate to a design and project globally while the design remains digital.

However, much of this integrated collaboration still re-mains in the design development and documentation stage of the design process. The computational design

tools being developed that architects are becoming in-creasingly interested in and that are influencing design thinking and methods, are ones where ideas are gener-ated through digital tools themselves. Programs such as Rhinoceros with plug-ins like Grasshopper create a digital platform that allows architects to experiment and explore design possibilities that may never otherwise be conceived without the aid of these programs. Architects can now create the most complex of geometries and more easily develop prototypes with these digital tools to test perfor-mance of their designs and the application of materiality.

Despite the many advantages presented in this tech-nology, we must apply a level of criticism to ensure we are not blind to the possible disadvantages to this developing technology at our disposal. It is clear that the possibility for a reliance on these 3D design plat-forms could negatively influence the work of archi-tects, limiting their design potential and way of thinking.

I do believe however, that this digital computation in form-ing computational design is a step forward in the right direction. Herzog & de Meuron, a well renowned architec-ture practice out of Switzerland apply the use of compu-tation for digital design perfectly. They have established they’re own Digital Technology Group (DTG), a branch within the firm whose sole focus is developing specific digital tools for specific projects. Here they ensure a bal-ance in their practice of architecture, where architects can use tailored programs apply their thinking without restriction[8], a direction that the architectural profession should take note of as it sets up a model of integration.

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National AquaticsCentre:

Architect - PTW Architects Location - Beijing, ChinaYear: 2007

The National Aquatics Centre, or more commonly known as the “Water Cube”, was a recent project com-

pleted for the Beijing Olympics in 2008. The intention of the design was to replicate the formal structure of bub-bles as the facade of the building. The architects, PTW, developed the design using 3D digital modelling tools to more accurately represent the bubble configuration.

While the conception of the idea may not have been brought to light with the use of computational plat-forms, the early adoption of the technology allowed them to benefit from integration with other disciplines.

Upon successfully winning the contract to develop the de-sign for the new National Aquatic Centre, PTW worked in conjunction with Arup, an Australian engineering firm. The work done between disciplines early on in the de-velopment stage allowed for structural performance test-ing while the design was still only digital, as Arup were able to develop prototypes such as that of the ‘teflon’ plastic which formed the outer skin of the building.[9]

We can see here the benefits of digital design, to create ideas not otherwise possible. But the true advantage of this technol-ogy is in the integration of disciplines in the design process.

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'Reading Space':

Architects - Herzog & de Mureon Location - Jinhua, ChinaYear: 2009

As explained earlier, Her-zog & de Meuron, as

a firm, base much of their practice around computa-tional architecture and de-veloping specifically tailored digital tools to formulate ideas for individual projects.

It is this business model if you like, that promotes col-laboration between architec-ture and fields outside the construction industry. Such as the employment of the DTG as specialist program-mers from IT backgrounds takes advantage of their expertise in one field and applies it to architecture.

A less well-known project by Herzog & de Meuron is their ‘Reading Space’ development, completed as one of a series of pavilions along the River Yiwu[10]. However, the lack of integration with the con-struction team, despite the innovative digital design develop-ment, meant construction met a series of problems in attempting to form the complex geometry. Therefore, while technological advancements made have improved design methods and pro-cesses, integration still remains the key for successful concep-tion, development and completion of architectural projects.

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P A R A M E T R I CM O D E L L I N G

A specific aspect of computational architecture is the development of parametric modelling and scripting

culture as a new alternative to conceiving and develop-ing design ideas and methods in modern day architec-tural practice. However, the somewhat loosely termed ‘parametric modelling’ or ‘parametric design’ or even ‘parametricism’ is still debated within the architectural dis-course as to what its definition is. At this stage in my short architectural career still studying different ways of think-ing, methods for design and application of technologies such as parametric and algorithmic design platforms, a definition does not come clearly, nor does one stand out.

So, here is my understanding of what parametric modelling and design is.

Digital design is moving further and further into the realm of fine-tuning digital technologies to apply to architecture, down to the ability to adapt specific programs to certain projects. In doing so, architectural practice is spending

the time and effort to define and refine these programs which will inevitably allow for more detailed, complex de-sign outcomes through algorithmic and component basedplatforms. Where 3D modelling was only approached well after ideas were realised, these programs are now being developed to produce potential design ideas for projects. However, possibly the most exciting aspect of this is not the extreme accuracy, detail and complex-ity we can now achieve, but the integration between different disciplines this technology has encouraged.

In saying this, I will be examining two very different proj-ects by two different architects, both finished works, and critically analysing the importance, method and impact the role of parametric or algorithmic design has had in their conception through to final construction. While both are relatively experimental projects, in that apart from smaller prototypes developed for testing, each has been carefully designed and produced with specific materiality in mind for each project to be successful.

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'Hygroscope':

Architect - Achim Menges Location - Paris, FranceYear: 2012

This project by Achim Menges explores me-terorosensitive morphology of material. In,

other words, Menges has closely examined the composition of wood and other materials in terms of their reaction or absorpsion of humuduity.

The ‘hygrscope’ project, while only a proto-type, is a morphing architecture that responds to its environment. As seen in the image on the right, these flaps open and close due to vary-ing humidity levels, without and mechanical or moving parts, or requiring any energy at all.

The entire design, from the conception of the idea to preparing for fabrication, was created using parametric modelling. The project was conducted in accordance with the Popidou Cen-tre in Paris, where material research, along side architectural design took place collaboratively to create this final product. A perfect example of what parametric modelling can achieve[11].

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'FabPod':

Architect - Daniel DavisLocation - Melbourne,

AustraliaYear: 2013

This second project to be exam-ines by local architect Daniel Da-vis, explores acousic properties of materials and shaped design for a wall installation. Located within an open-planned office / work area at RMIT University, the ‘FabPod’ is designed to act as a ‘respon-sive acustic surface’ to create an ‘accoustically dead’ space.

Daniel himself as an architect on the project had the responsibil-ity of ‘establishing the geometric rules that defined the FabPod and creating the parametric models’.

From this small project to create an acustically sound wall in the middle of an already completed office space, we can see how the role of the architect, with this new technology of parametric modelling and algorithmic de-sign platforms at their disposal, has the capability to create com-plex geometric forms that are site specific and site resposive.

Where previously the absense of this technology would not give us the understanding or ability to model, test and cre-ate such forms, with parametric modelling and design, the en-tire design process is now re-fined to achieve such things[12].

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I N T E R I MC O N C L U S I O N

To conclude this initial research and exploration section for a case for innovation, in preparation for an expression

of interest (EOI) for the Wyndham City Gateway Project, the research into the technology now available to architects, and the prospective advancement not only in parametric and algorithmic 3D modelling, but material science and fabrication, promises to provide the most efficient,detailed and refined process to designing, developing and creating.

With this technology however, it is important that integra-tion of different diciplines, such as material science, math-ematics and engineering, along with all stakeholders in the construction industry and construction process, are more collaboratively involved to achieve the desired outcome.

In saying this, I now believe architects have the responsi-bility to lead this collaboration and integrated team projects as it is the technology we have today that will guide design, and therefore drive innovation further not only in our own profession but in material research and construction too.

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L E A R N I N GO U T C O M E S

Prior to starting this semester and design studio, my knowledge about parametric modelling and design,

and computational architecture was very limitled. Even the discussion on architecture as a discourse widened my eyes as to how many opinions by so many architects are regu-larly expressed, and expressed as though they are right.

To this stage in the subject, the ongoing research into architecture as a discourse has helped me for my own views on the profession, where is it head-ing and how I will aim to influence architecture both studying it at University and into my career practicing.

Thus far, my computer based skill have slowly, but surely improved as I am begining to understand the power and possibilities of parametric modelling and algorithmic-based platforms for designing, while being inspired by the works of Achim Menges, Daniel Davis and other leading archi-tects in the field. This is certainly an exciting opportunity I have in front of me to explore further and hopefully master.

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APPENDIX:ALGORITHMICEXPLORATION

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P A R T . B

D E S I G N APPROACH

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D E S I G NF O C U S

Our design agenda has been informed by a num-ber of requirements. Most importantly it is to em-body the parametric tools provided by Grasshop-per and to utilise these to innovate and extrapolate precedent and composite material studies to power-fully draw people to Wyndham in a variety of ways.

In combination with this, we seek to embody the em-bedded structure and asthetic that can be fond in discrete composite materials, in doing so utilising these to create a responsive and elegant design that propels Wyndham into the Architectural discourse.

Our design will go to create something that reflects and enhances the movement of traffic through design. We will create something that operates on a variety of levels, both tactile and visual. We will in doing so cre-ate something that becomes more than a placemark for Wyndham but an embodiement of the rapid change Wyndham is going through now and in the future.

“Architecture needs mechanisms that allow it to become connected to culture.”

FARSHID MOUSSAVI, The Function of Ornament

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C A S E . S T U D Y1.0

DE YOUNG MUSEUMHerzog & de MeuronSan Francisco2005

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In this first Case Study I have explored the Young Museum by Herzog and de Meuron. Its design

is based on two overlapping perforated surfaces.

One surface is patterned by cones of uniform size but varying aperture, the other is a surface that is of vary-ing aperture and varying size. When overlaid upon each other, a variety of perforations are exhibited.

We edited an image of Jacques de Meuron to increase the contrast, then in Grasshopper we selected the greyscale image maping option in order to use his facial features to define the per-forations, as seen in the images to the right.

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C A S E . S T U D Y2.0

EKKOThilo FrankNorthern Denmark2012

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Macro-scale exhibits and sculp-tures are not an infrequent oc-

curance, but we found the 2012 EKKO project by Thilo Frank to be a concise example of how a simple geometry can be employed to work on a number of scales.

Modularity is prevalent, where a single form is repeated, and when applied to a helix this twist goes some way to creating the level of dy-namism and movement that we are seeking to evoke. This modularity creates too a clean aesthetic. Where this project can be improved is in its response to the openings it cre-ates for entrance into the structure. These entrances can be seen be-low, where a number of members have been withheld to allow en-try. By changing the overall den-sity and spacing of the squares this could too have been achieved.

Further to this there are many direc-tions in which this project can be taken, the geometry acts as a strong foundation for further exploration.

EKKODIGITALLY

REPROGRAMED& RECREATED

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T E C H N I Q U E :D E V E L O P M E N T

The helical shape of the precedent is something that we didnt want

to remain entirely attached to without proper exploration. We wanted to see what we could produce whilst keeping the shape and size of the site in mind.

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T E C H N I Q U E :P R O T O T Y P E S

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T E C H N I Q U E :P R O P O S A L

Our intention is to take our objectives from our initial design focus and to combine that with our explora-

tions. Contextualising it to the site and creating some-thing dynamic and interactive on a variety of experiential levels is something we want to embed into the design, as well as having a clear material program in both struc-ture and aesthetic. To us Composites are more than just two substances, laminated together for some sort of benefit, they are able to provide a variety of performance and aesthetic solutions that will be driven by our design.

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L E A R N I N GO U T C O M E S

The mid-semester critique of our work to date pro-vided considerable feedback for us to develop our

ideas. We have gone from having fairly loose ideas after congregating as a group only in the middle of semes-ter, to consolidating our objectives and producing both models and diagrams in digital and physical realms.

Our design currently stands as having strong con-sideration towards precedent projects, although this may have distracted our progress. We do though believe that we have now departed from this pri-mary focus and are generating grasshopper ge-ometries as our primary focus moving forwards.

Our constructed models have all been made with the assistance of Grasshopper and Rhi-no, our aim is to now build on this experience.

The readings have been able to focus our direction in producing non-standard architecture. For us it is also a realisation that non-standard architecture ie that which lies in the digital realm with the potential to never be built still has a strong place in the Architectural discourse.

Saying this, it is then not non-standard but high-ly valuable and therefore the valuse of the Wyn-dham Gateway project is reinforced. We will con-tinue to create more and more complex and refined geometries in relation to the Gateway project.

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REFERENCES:TEXT

[1] ‘Daniel Libeskind: 17 words of architectural inspiration’, TED.com, accessed 18/08/13, http://www. ted.com/talks/daniel_libeskind_s_17_words_of_architectural_inspiration.html

[2] ‘Hernan Diaz Alonso’, What is Architecture?, accessed 16/08/13, http://www.whatisarchitecture. cc/2013/05/hernan-diaz-alonso.html

[3] Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 54

[4] ‘Coming Of Age: Robin Boyd’s ‘The Australian Ugliness’ 50 years on’, The Monthly Online, Peter Con rad, accessed 18/08/13, http://www.themonthly.com.au/issue/2009/december/1295830013/peter-conrad coming-age

[5] ‘Coming Of Age: Robin Boyd’s ‘The Australian Ugliness’ 50 years on’, The Monthly Online, Peter Con rad, accessed 18/08/13, http://www.themonthly.com.au/issue/2009/december/1295830013/peter-conrad coming-age

[6] ‘Coming Of Age: Robin Boyd’s ‘The Australian Ugliness’ 50 years on’, The Monthly Online, Peter Con rad, accessed 18/08/13, http://www.themonthly.com.au/issue/2009/december/1295830013/peter-conrad coming-age

[7] Terzidis, Kosta (2006). Algorithmic Architecture (Boston, MA: Elsevier), p. xi

[8] Brady, Peter (2013) Realising the Architectural Intent: Computation at Herzog & De Meuron. Architectural Design, 83, 2, pp. 56 - 61

[9] ‘National Aquatics Centre, China’, DesignBuild-Network, accessed 18/08/13, http://www.designbuild-network.com/ projects/watercube/

[10] ‘Reading Room by Herzog and de Meuron’, Reading For Reading’s Sake, accessed 18/08/13, http://readingfor readingssake.wordpress.com/2010/02/27/reading-room-by-herzog-and-de-meuron/

[11] ‘Hygroscope: Meterorosensitive Morphology’, Achim Menges, accessed 18/08/13, http://www.achimmenges. net/?p=5083

[12] ‘FabPod’, Daniel Davis, accesses 16/08/13, http://www.danieldavis.com/fabpod/

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REFERENCES:IMAGES

a. photo taken by Alex J Morse

b. photo taken by Alex J Morse

c. http://arch5541.wordpress.com/2012/10/12/tadao-ando-church-of-light/, accessed 18/08/13

d. , accessed 18/08/13

e. http://www.canberrahouse.com/2007/09/26/going-once-going-twicestill-going/, accessed 18/08/13

f. http://blog.houseplans.com/2010/03/05/mind-of-an-architect/, accessed 18/08/13

g. http://www.wall-online.net/wallpaper/beijing-water-cube-in-night-china.html, accessed 18/08/13

h. http://www.architectureanddesign.com.au/news/industry-news/macau-casino-copies-beijing-water-cube-design, accessed 18/08/13

i. http://readingforreadingssake.wordpress.com/2010/02/27/reading-room-by-herzog-and-de-meuron/, accessed 18/08/13

j. http://readingforreadingssake.wordpress.com/2010/02/27/reading-room-by-herzog-and-de-meuron/, accessed 18/08/13

k. http://blogs.uoregon.edu/jennalhsmith/2012/10/26/lectures-4-10/, accessed 18/08/13

l. http://icd.uni-stuttgart.de/?p=7291, accessed 18/08/13

m. http://www.danieldavis.com/fabpod/, accessed 18/08/13

n. http://www.danieldavis.com/fabpod/, accessed 18/08/13

o. http://www.b360insider.com.br/2012/06/, accessed 25/09/13

p. http://www.dezeen.com/2012/10/29/ekko-installation-by-thilo-frank/, accessed 25/09/13