Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
TABLE OF CONTENTS
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
PART A Discourse architecture Computation architecture Parametric modelling Algorithmic challenges Conclusion
1 5 7 9 17 23
PART B
25 27 37 41 47 51 57 65 69
PART C
71 73 75 77 85 89 91 93 95 109 111
Design focus Case study one Case study two Technique development Technique prototypes Material testing Technique proposal Learning objectives and outcomes
Design inspiration Design concept Design definition Sequence of experiences Sequence of construction Tectonic elements Fabrication process Technique proposal Haze experience Learning objectives and outcomes
Ailie miller - 538625
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Ailie Miller My mother always thought it was strange how much time I’d spend reading the real-estate section of the newspaper as a teenager. She also thought my obsession with The Sims when I was ten was a bit extreme. But then, the realization struck that perhaps I wanted to be an architect. Since that moment in year 6 nothing else really sparked my interest, and the further into this course that I get, my decision only ever seems to be reaffirmed, and I know that I’ve made the right choice. Born in England to a family of Scots and spending a brief three year stint in Singapore, it was in 2000 that we moved to Australia, and Melbourne has remained as my home since, just don’t tell anyone that I prefer Sydney.
Besides my love for a city with hills, harbors, and cobbled stones, there are a few things that are currently driving me nuts: • ugly buildings • • the stupid use of colour • • lack of gardens • Though my first pet hate is definitely one of individual preference, the construction of buildings that seem to want to scream at you that, ‘I’m something new and different’ really do irritate me. I simply do not understand why anyone would design a building that only addresses the ‘style of now’. In how many years is it going to become an eyesore? I do believe modern buildings can be beautiful, tasteful, stand the test of time, and become something iconic. But to me, to be able to achieve this, simplicity and traditional elements is the only way. By being respectful to the buildings environment, neighbors, and not resembling a snorkel mask, I think modern buildings can be brilliant, and they have some of the most functional and impressive interior spaces around. Currently, I’m sitting facing an orange house, with a green gate. Which I feel only proves my point on the over use of colour. If this house were white, black, or something neutral, it would probably be really quite beautiful, and yes boring. I feel that by reducing the emphasis on colour, texture and materiality becomes more important. Which are more refined details that I quite like to discover in buildings. I also feel it creates a more homogenous environment, if all the buildings weren’t in clashing colour tones vying for attention. I also really appreciate garden space, and find it deeply upsetting at the decision to maximize internal space at the cost of the external. Sadly I feel that in a lot of buildings, the outdoor retreat is overlooked and underappreciated. So these are probably the three main things that get me frustrated about the architecture world. Though usually I find that I’m pretty much in awe by the brilliance of peoples minds and designs.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
My experience with digital design, theory and tools: Almost next to nothing. My struggle with rhino in virtual environments essentially scared me away from ever trying to work with it again. My Bodyspace project was an abstracted representation of the degenerative affects of Alzheimer’s on the brain, where this degeneration was expressed with mold. This form was then modeled in clay, cut up to create curves, lofted in rhino, and then using my own octagon surface panel pattern, the design was then unraveled into 32 strips, printed and laser cut at the FabLab, and manually put together. Though I found the whole experience to be a bit of a nightmare, it was a valuable subject, and I was very proud of what I’d been able to achieve in my first 12 weeks of becoming an architecture student.
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Discourse
of
Architecture:
Architecture is a functional form of art. It’s intended to provide a function, but to be something more than just a practical object it has to evoke some kind of idea or emotion. Being able to encourage thinking, analysis, observations and interpretations of what is physically in front of you, is to me, what art is all about. The ability to provoke thought. This ability to encourage thinking and reflection is intricately tied with the idea of architecture as a social representative medium. By encouraging social engagement, architecture can be used to promote positive social behavior. It is able to do this simply by existing, almost as a ‘backdrop’ to people’s lives. I see it something like a giant version of an Ikea store, and each different building is just a giant interpretation of one of the little made-up Ikea rooms. Each providing and presenting something different, designed for different stages in life and encouraging a different styles of living. Looking at architecture as a ‘backdrop’ enables the architect to control how people live and behave, thus enabling the encouragement of positive social behavior and norms. In reference to my two chosen precedents, Sky Mirror and BIG Architectures floating solar sphere for Stockholm, both designs show architecture as an art form critiquing society.
The Sky Mirror in New York commons.wikimedia.org
The Sky Mirror in London alisonlucy.worldpress.com
Anish Kapoor’s Sky Mirror, was a £900,000 art installation of 200. I was fortunate enough to have seen in Sydney and was blown away by its simplicity and beauty. When a work of art is as large as this, it is 10m in diameter, and is featured in such prominent social settings, Sydney Harbor, New York 5th Avenue, and London, having been some of its temporary exhibition sites, it is possible to start categorizing it under the title of architecture. This giant concaved reflective stainless steel mirror, encourages the discussion of, society and art. ‘why are we so concerned about our self appearance?’ ‘would we treat the environment better if we saw it as a human?’ ‘nature is art, yet we only take notice when its presented to us so’ ‘is it justifiable to be spending so much public funds on a giant mirror?’ ‘if you were the sky what would you see when you looked down?’ This monumental piece of work, is able to be so thought provoking in its simplicity, and for this it’s a truly great piece of work.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
Plans for Stockholmsporten, by BIG architects
http://www.designboom.com/architecture/big-architects-stockholmsporten-master-plan-winning-design/
“we shape our buildings, thereafter they shape us.” Winston Churchill
Bjark Ingles Group, BIG, had the winning proposal for a new junction of two of Europe’s major Highways, and entrance to Stockholmsporten. Its most defining feature is a giant hovering reflective sphere over the junction, which also provides solar energy for the surrounding town area. This sphere shares a physical similarity to Kapoors Sky Mirror, but it also reflects some of the same social critique ideas, nature as art, architecture as art, society and the environment, and social interactions. The design is more than just a giant floating reflective ball, it creates 580sqm that is divided into pie slices of natural vegetation, wetlands and forests. These are connected via bike paths, which join onto public spaces, residential areas, and infrastructures. The sphere will provide 180˚ views of the landscape, whilst also providing enough energy to support itself and for the 235 residents. These two works of art/architecture, are both encouraging an individual interpretation, and emphasize the importance of social space. However it is the reception and response of these works, which will dictate how successful they are in achieving their goals.
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COMPUTATIONAL ARCHITECTURE Computing and its affects on the design process, have lead to a new ‘speed’ of design, a theoretical decrease in human errors, but also a removal of humans from the design process. The ability to use computer generated design software, allows for the architect to make important decisions regarding, cost, construction, and design latter on into the project. A benefit, as the architect will have a deeper understanding of what the consequences of these decisions will be. Unlike using traditional methods, where the architects ability to change the design with ‘ease’ decreases the further into the design process, using computing methods, the architect is able to lengthen this process, and continue to make important decisions towards the cutoff date. Computers respond to facts, controlled messages, and respond accurately. They do exactly what they are told to do and as a result, their results are accurate, thus reducing the impact of human error in the design process. However by removing the ‘human’ from the equation, the benefits of humans are also lost. Computers are only able to understand what we tell them, but they lack the innate knowledge that people have. A computer will do what its told to do, where as a human will do what its told to do, but will understand why its doing it, and will implement boundaries without having to be told. For example, if you instruct a computer to ‘draw a line’, it will draw one that goes on for infinity, however a human would draw one that has a start and an end. Communicating to a computer is different to that of communicating to people, and accurate language is required, in order for it to understand EXACTLY what it is you require it to do. “but while they can follow instructions precisely and faultlessly, computers are totally incapable of making up new instructions: they lack any creative abilities or intuition.” Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design
Introducing computing in to the design process has increased the architects importance in the construction of the design. In what is almost a return to the ‘master builder’ phase, architects are now being more involved in the construction of the build. As new styles of architecture emerge, so too must new ways of construction. As a result, architects are no longer able to leave the project once the plans of the building are finalized, instead they are involved in new and innovative ways of fabricating the design. These new innovative ways of fabrication are a result of having to respond to new and more complex geometries. With computa-
• ID52 • • Belgium • •Wannes Lernout • This prototype inflatable tent, has been designed using the Rhino plugin Kangaroo, enabling the designer to understand what the affect of the pressurized air will have when it inflates the tent. This allows for the final form to be visualized and constructed to work with the air force.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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COMPUTATIONAL ARCHITECTURE tion, there’s an ability to create using non regular geometries, Euclidean geometries, using control points and NURBS. The ability to ‘blobify’ designs has led to an increase in curves in design. The introduction to curves and blobs has lagged in architecture, having been seen first, in airplanes, boats, cars and other household objects. These forms respond to rules, functional influences, and reject historic style, urban and structural norms. Computation, allows for new forms to be generated, based on rules and requirements, away from traditional geometry. To be able to create these shapes, cutting, subtractive, additive, and formative fabrication have to be used. However, though fabrication processes have been advanced, not all forms are able to be constructed fully, and adaptations or compromises may be needed to allow for the design to be realized. Computation allows for performance-orientated designing. These buildings are constructed with limitations and criteria that must be met, thus limiting and specifying their shape and properties to meet the demanded requirements. “in parametric design, it is the parameters of a particular design that are declared, not its shape” (Kolarevic, Branko, 2003). Computers are able to analytically find which forms are most practical and respond to the desired needs, based on a set of rules that has been given. By narrowing the infinitive possibilities, to those that meet the criteria, designers are able to ‘select’ the superior computer generated design through a process of elimination. These performance criteria are not an ‘after thought’ that is included into the design, but rather shape and build the design through their specifications and limitations from the outset. Computation offers unique opportunities and innovations. Geometries are able to ‘breed’ creating hybrid forms, an almost ‘evolutionary’ design process. “the designer essentially becomes the editor of the morphogenetic potentiality of the design system” (Kolarevic, Branko, 2003). Designers are being brought back into the construction and fabrication of their creations, and a new time frame and designing process has been implemented. The importance of drawings and traditional methods of representation is declining, and the importance of digital modeling will become more useful to the construction and visualization of the form. New forms and shapes can now be conceptualized and represented, leading to a new possibility of ‘blobifying’ architecture. Computation has many advantages, however the computer is only able to do what you tell it to do. As a result, it is dependent on the skill and knowledge of the designer to use the computer effectively. Unlike a pen and paper, a pre understanding of how to use it is required. With the rapidly changing technologies, and constant new opportunities, the design world and its ability to create will be forever evolving, and new styles will be emerging, and designers will always be learning.
• Xtra Moenia • • NewYork City • • Softlab • Entry to the san Gennaro Festival. A site specific installation constructed using the Rhino plug-in Kangaroo, enabling the designers to understand how the final piece would work in the site, and under the pressure of gravity. The entire structure is in tension, with each individual, 4224 laser cut panels working together to keep the structure stable. Its final form is only possible when installed on site.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
“in contemporary computational approaches to design, there is an explicit recognition hat admittance of the unpredictable and unexpected is what often paves the way to poetic invention and creative transformation.The non-linearity, indeterminacy and emergence are intentionally sought out.”
Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing
The two previous precedents I selected, are dramatically different to the following two. Their shape and function have a strong simplicity, where as these following precedents are based on functionality and site specifics. The differences in these precedents, is not what their finished appearance looks like, but what they are (in my opinion) are trying to represent. The two mirrored works, are an attempt on the reflection of society, and thus it seems right that constructed from ‘human’ forms, basic circular curves. Whereas these following works, are an attempt to show the complexities of our futuristic lives, and in doing so, the use of computation enhances this essence of modernity. Computation holds a specific dominion on architecture, but so does more traditional design methods.
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PARAMETRIC MODELLING Parametric modeling it seems has not just one definition, but many. Its been used to describe a style and computer generated designs. But from my limited understanding, it comes down to designing based on a set of parameters, rules, or equations that must be met by the design. In this sense, its useful for performance based architecture. A specific demand must be met, and incorporated into the designs functioning/ programing/design from the get-go. Because of this, parametric modeling is not explicitly computational, as demonstrated by Luigi Moretti, who’s designs of the 1960s are parametric, without the use of a computer. Parametric modeling has also come to represent a specific ‘style’, one that Patrik Schumacher in his article has suggested is the way forward. A move towards curves and a universal style. Zaha Hadids work, he
http://theverymany.com/constructs/11-art-basel-miami/
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
•MARC FORNES• •THEVERYMANY• •Labrys Frisae• •indoor pavilion• •2011•
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PARAMETRIC MODELLING
http://cita.karch.dk/Menu/Projects/Behaving+Architectures/Slow+Furl+(2008)
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
suggests are perfect examples of this new era, a new world of design that has been created, delivering ‘all the components for a high performance contemporary life process, ordered texture.’ Parametric modeling in the architectural design process is another tool to be used. Those who master it will be able to create buildings of unimaginable brilliance, and the others will be left struggling to grasp the maths involved. Some of the difficulties with parametric design, relate to the fact that remembering what was created or presented even just moments ago, isn’t easily recalled. As such, monitoring the differences in the design development are difficult to retrieve, limiting the design development enhancement. They also become very difficult to change, though they allow for many more instantaneous changes and experiments than working pen to paper. As they become more complex, often the work involved to change these algorithms may be to difficult and time consuming to do, and the best design option may be allowed to slide by due to other restrains. These model codes are also very complex, difficult to share, and difficult to understand from an outsider. Making them very individual, and specific. However, the digital era that has accompanied the spread of parametricism, has also allowed for the sharing of peoples definitions, allowing for ‘copy cat’ designers, to use these algorithms and create their own interpretations. Both a positive and a negative, by allowing second-rate designers to enhance their work, but also reducing parametricism to the same repetitive style as more and more people borrow one another’s work. It is in this sense that parametricism has not yet, I believe, reached its full potential. If parametricism is recognizable by its façade, then the complexity that should be achievable has been lost, with the acceptance of a seemingly complex skin. However, as more and more people explore and voyage into the unknown world of parametric design, new possibilities will emerge, which will hopefully address more social, and environmental needs than just an aesthetic skin, and it will be here that the parametricsim will truly shine as the way forward for modern day architecture.
•CITA• •slow furl• •2008•
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PARAMETRIC MODELLING MARC FORNES - THEVERYMANY Labrys Frisae & CITA Slow Furl The two chosen precedents that ive selected, both represent the possibilities of parametric modeling. Slow Furl by CITA, is a slow moving skin wall, somewhere between a cloud and a sheet of ice. It moves on its rhythm and patterns, making its behavior unpredictable but more importantly self driven and independent. The uniqueness of its movement, is enhanced by its ability to respond to touch. The surface is covered in areas of sensory alertness, which cause the surface to react to those who wish to interact with it. This architectural engineering, has created a ‘living wall’, it has no specific purpose in life other than to move and react, and for now is just a taster of what will eventually be possible, with further initiative and creativity. This is an example of a performance based design, with an ingrained sole objective of seemingly being ‘alive’ and can only bring great enthusiasm for what potential possibilities lie ahead. This is compared to Marc Fornes and Theverymany’s pavilion installation the Labrys Frisae, a static representation of computational ingenuity. This structural sculpture, of some 10,322 parts and 202,290 cut out holes, has been designed to respond to the “evolution of society as it becomes more complex and faster and faster. A simple box cannot respond anymore to the need of people” (Marc Fornes on Labrys Frisae during Miami Art Week). Though it may resemble coral, and other natural elements, this design was not based on any biomorphic principles. Instead Fornes explains that what the scientist discovers about nature, the computer scientist develops into a program, and the designer uses this for efficiency in their work. As such this stepping stone of innovative research, results in efficient buildings resembling nature, even though their was no intention to do so. Its efficiency in design, is showcased by the utilization of cheap flimsy material, that when placed in specific
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
geometries becomes rigid. The created pavilion, though delicate, and lightweight in appearance, holds the strength to support a human being. The cut out stars featured on the design, also responds to its fabrication process. The holes are used to allow for someone to put their fingers through and apply pressure to the connecting parts. This is an efficient, computer generated design, that intends to respond to a complex environment, with one that is both simple and complex in appearance at the same time. Similar to that of CITA’s Slow furl. These two ingenious designs, showcase the possibilities of parametric modeling. These apparent simplicity and complexity of these designs provide something new to our human life experience, and represent a possible future architectural landscape for our way of life.
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Week One Challenge My lack of documentation falls from the fact that I recently partitioned my hardrive and am now running and working on windows for the first time in my life, and didn’t understand that when you ‘printscreen’ it doesn’t save to the desktop or your files, but rather to this mysterious place called ‘clipboard’ which essentially means ‘paint, but then you paste your picture and save it from there.’ As a result, I lost a lot of my experimentation.
After watching the videos and experimenting in Rhino, I’ve become really aware of just how much I’ve forgotten from first year! To begin, I practiced lofting some closed curves together and then in grasshopper used to move the points around to create some changed shapes.
I also experimented using the curves and triangulation to create contours. . instead I was able to triangulate between the points on the individual contours but not between the curves themselves.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
I then moved on to using the populate 3D tool and the voxipop, using the number slider tool to create more spaces, this was actually a lot of fun to do, and created some interesting shapes deleting these forms. I attempted to follow the video in creating a wire frame, but got lost along the way, you can see in the grasshopper screenshot that there was incorrect information along the way between the explode function and the edges tool.
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Week TWO Challenge Following the instructions supplied on the LMS, I was able to successfully create ‘driftwood’. The form I used however was hollow, and as a result, the area where the two openings met, was not translated into surfaces but into lines.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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Week THREE Challenge
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
For this weeks challenge, I manipulated points on a surface, their size and direction. What became interesting about this algorithm, was that you could insert attractor points that would change the position/size of an element based on its location. Further exploration of this tool could see heights or shapes defined by their location to these points.
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CONCLUSION Parametric modeling is the tool of the future. It is a way of meeting specific criteria, whilst utilizing the accuracy and capabilities of the computer. Both complexity and simplicity are achievable, and the range of possibilities endless. As such, individuality is a key feature of parametric modeling, and site specifics further help to create this uniqueness. The design approach for the following section should be explorative, investigating the possibilities that parametric modeling offers, and in utilizing these new capabilities, almost impossible to achieve with traditional methods, an innovative, smart design will be delivered. It will be innovative in the sense that no two designs should nor can ever be identical, where each has individual parameters set. This move to design with parameters in place, is a move in creating functional, and performative designs. Parametric modeling, allows designers to create buildings and structures that can provide something much more than just a pleasing aesthetic façade, they enable us to let it perform, and function in a way that was once very difficult to achieve. My first four weeks of Studio Air, has as always (as studios are) been rather intense. But there is no doubt, that what I have learned, I didn’t think possible. I have a greater appreciation for mathematics, and engineers who create such intricate software to allow for the likes of myself, to explore such complex programs and designs, with the click of a button. After finally understanding what ‘parametric design’ is, having originally only understood it as computational architecture, I believe that though it may not be to everyone’s capabilities, it is in the interest of the whole community, for the possibilities it holds to be explored, learned, and taught to those who might one day be able utilize these new found skills, and create something that is beyond the ‘façade of complexity’ and is something quite simple and delivers more than is currently thought possible. I believe that by using parameters in design, one day someone somewhere, will be able to solve so many problems, and the answer will be so simple and transcendent that everyone everywhere will look like fools for not have being able to answer it. But the computer will. It is for this reason that, in a somewhat scary image, that computers will be the only design tool needed. An efficient move, that now I think may be a step to far for our current mankind, but with our advances in understanding these tools that we’ve created, will indeed lead to a new world of possibilities, a new lifestyle for man.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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DESIGN FOCUS Our team (Ailie Miller, Lola Digby-Diercks, and Thomas Chiew, have decided to utilize sectioning as a form of parametric manipulation for this project. Sectioning was selected for the following main reasons:
• flexible views, ability to manipulate these (hide them, showcase them) • • ability to represent a solid form, ability to imply something that isn’t fully there, • • gives an essence of invisibility and lightness • With these possibilities we hope to create a design that is able to be manipulated by control points to promote/ hide specific views, or with these voids be able to communicate a message or meanings. Sectioning’s greatest strength is in its ability to symbolize something larger than itself. Contours on a map are 2d lines, close together or far apart, the relationship between one another is its strength, and this void between the lines is the real information we seek. This ability for empty spaces to be as important as the solid forms, is why sectioning was chosen, it gives meaning to the apparent emptiness, and voids are just as important as the physical form. This is a subject called ‘air’ and we’re attempting to utilize air in our design form.
http://www.grayflannelsuit.net/blog/wp-content/uploads/2012/04/ how-to-sleep-life-32.jpg
http://onlyoldphotography.tumblr.com/image/25908769768
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
Levente Gyulai http://www.behance.net/gallery/parametric-design-works/6676831
It also has the ability to represent
• speed • • a movement • • a captured moment •
Much like stroboscopic photograohy, this process can be cut down into specific intervals and within these spaces we’re able to fill these gaps in our mind, fast or slow. These still frames when spaced accordingly provide the viewer with a reference to the pace, again placing importance on the emptiness between physical forms to enlighten the observer. A fleeting movement moment, can be frozen dissected, observed, and interpreted at a slower speed, or vice versa. This interest in speed and perception is of great interest to our group, and we wish to further explore it.
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BANQ RESTAURANT
http://www.archdaily.com/42581/banq-office-da/
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
• BANQ • • OFFICE DA • • 2008 • • BOSTON, USA • Banq restaurant, uses a contoured hung ceiling to hide the restaurant’s fittings from view. By using the contours office da were able to control the view of the dinners in the restaurant, emphasizing the horizontality and openness of the space. The wine cooler is hidden within one of the ceiling to floor fixtures, giving the impression that it is suspended from the ceiling, and ‘dropping down’. The floor space remains flexible as the ceiling dances above in fluctuating heights. From Banq, the effectiveness of light and shadow, and the flexibility of form are demonstrable. In case study one, we manipulated two definitions provided based on the Banq design, to create our own forms and structures.
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Baker D. Chirrico
http://www.designboom.com/architecture/march-studio-baker-d-chirico/
March Studio has designed a functional and pragmatic interior space for the boutique bakery, Baker D. Chirico in Carlton. The design was inspired by the idea of ‘carrying bread in a basket’ this idea lead to the use of plywood contours and shelves forming a wall and ceiling design, that dips and dives creating a modern and cosy atmosphere. The shelves are largely flexible, allowing rearrangement of the display of produce, one of the benefits of using the design.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
• BAKER, D. CHIRICO • • MARCH STUDIO • • 2011 • • CARLTON •
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Life Bench
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
Life Bench: Lukas Mateja This bench designed in grasshopper and rhino is a bench that responds to varying stages of life. It develops from playground to bench, providing different heights and depths for varying needs in life. This precedence reflects the benefits of using parametric tools in designing, as the bench is controlled by control points, and moving these generates a new and upgraded form, taking only a few moments. Controlling all aspects of the design from the computer.
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Blaze
http://www.designboom.com/design/mcchesney-architects-blaze-installation/
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
• BLAZE • • IAN McCHESNEY• • MIDDLESBROUGH, ENGLAND • • 2007 • The brief for this project is very similar to the one for wyndham, to provide the A66 highway its unique identity, by populating the roadside with sculptures. It originated from the proposal to create a gateway feature on a roundabout, and was further developed to spread further down the road. It was to integrate the landscape. In 2007 blaze, constructed of gold anodized aluminum, designed to catch the light during dull grey days, was the winning entry. The design, consisting of multiple curves of these angled rods, curves around the round about creating different densities and views for the driver. The rods stay at a fixed spacing only changing when they come to meet one another at a focus point. The rods though they appear to be statutory, don’t have a fixed fitting and thus slightly move, creating more of the ‘blazing’ fire affect for the observer.
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Case study one 1
2
3
4
5
6
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
For case study one, we were provided with two definitions from Banq restaurant. One used sectioning derived from a lofted surface, what could be manipulated is as follows:
• base surface form • • number of sections •
• distance between sections •
• angle of section, and extruded section • • direction of section, and extruded section • • length of extruded section • The other definition created sectioning from a plane and a black and white image that then extruded contours based on the depth of the colour. What could be manipulated is as follows:
• base surface form • • number of sections •
• distance between sections • • angle of section, and extruded section •
• direction of section, and extruded section • • lengths of extruded sections – based on the colour • These two different definitions were manipulated and explored to create different forms of geometry.
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Case study one We manipulated the provided definitions from Banq to create the following matrix.
1. 2. 3. 4. 5. 6. 7. 8. 9.
Change in density of number of sections Change in density of number of sections Changes in surface base structure Changes in direction of the section cuts Sections derived from a non linear curve Changes in height of extrusions of sections Different surface geometry, changing density of sections Changing direction of extrusion of section Different black and white images extruded from square plane, two different experiments with ‘doubling up’ design, one internally, and one mirrored underneath 10. Changing base geometry, and shape of cutting section line 11. Change in base geometry, and shape of cutting section line 12. Change in base geometry, and shape of cutting section line These forms we were able to generate, once further refined could be used for many applications. There have been many benches, tables, and ceiling structures created from sectioning manipulation. They are all very expressive, the denser the section cuts, the more refined the form is, the further apart the more ‘skeletal’ the structure appears, but the form is not lost in this process. The base structure so far has had the most impact on the final design, giving a sense of form, and curvature to the final shape. The use of curved versus linear sectioning lines also creates a different affect, something to be further experimented with.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
7
base threshold
8
changi are ext
different surface
9
10
11
12
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Case study two
• STATION 20 PROPOSAL • • SOFIA, BULGARIA • • PETER RUGE ARCHITEKTEN • This proposed train station connecting the city center, airport and hub of major commercial development plan, it seeks to form an active connection and harmonize architecture and landscape. The sectional design was inspired by the neighboring high density housing blocks, and the angled direction reflects the natural landscape, the design finding its inspiration from its location. It works to guide pedestrian flow to and from the station. The majority of the design is found underground, with the sail like canopy pulling the structure up whilst simultaneously pushing the plaza down into the ground. We were inspired by this design, to look at simple forms and structures that incorporated sectioning that focused on light and shading patterns in our designs.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
http://www.archdaily.com/198764/station-20-proposal-peter-ruge-architekten/
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hed out
Case study two
1
ect
ct d
2
Case study two called for us to analyze and to reverse engineer a selected project, Station first step was to break the project down into its main components.
20 proposal in Sofia. Our
Our first attempt involved creating a lofted curved surface which was uniform in shape. We then divided an edge line into a series of points, and insert a plane at these points. The curve was then sectioned. These curves were extruded at an angle to create the ‘overlapping effect’. Our second stage involved trying to curve the line as the Sofia train station is based on a doubly curved surface. We were able to curve the sections along a point controlled line, and after much difficulty, were able to make them extrude not in a uniformed ‘x’, ‘y’ and ‘z’ planes, but relative to their position on the curve, again allowing for a successful ‘overlapping effect.’
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info on this first step
http://www.archdaily.com/198764/station-20-proposal-peter-ruge-architekten/
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Case study two 3
t
4
5
Our third stage involved creating a lofted surface which was more similar to the original structure. It was lofted in grasshopper, cut using a line divided into points, the sections were then extruded. The next step was to section the surface at an angle, as the Sofia station curves lean back onto them selves, and are not simply perfectly vertical. The third image shows where we ran into difficulty. By changing the orientation of the plane the sections were being cut in, we were successfully able to create this ‘leaning’ effect, as shown in the top view, where the sections lean back compared to the orthogonal lines in the second image. This was then neatened up to include more sections, further angled again to create a structure that more closely resembled the station. Our fourth attempt to reverse engineer the station, saw us combining these two elements of the curved form, with the angled section lines, to create a structure that
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
curves around itself. This was ultimately our most successful attempt. Our fifth digital model was able to capture the general shape and the angled sections, of the station, the two most prominent features of the design. However, the overall form of our model was derived from a lofted curve, and though changeable, it is limited in its movements and shapes. We also weren’t able to capture the thickness of the sections, which taper down at the edges to provide interesting lighting effects internally. It would be interesting to be able to more accurately control the section widths and dimensions, rather than providing a standard value for all the sections, but having them fluctuate, decreasing, or increasing, or just varying in some form. This would provide more control over the design, and the internal lighting effects.
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technique: development 1
2
3
4
5
Kayla’s “search” techniques involves two steps • •
producing candidate solutions for consideration choosing the “right” solution for further consideration and development (page 18)
it involves • depth, promising candidate is explored to its logical conclusion, it succeeds or fails in its goals. • Breadth, several solutions are developed and explored before one is selected • Best, all possible solutions are analyzed, and the one that appears most promising is chosen and developed further (p19) Under this guidance, we went for a ‘breadth’ approach in developing our designs. As a result, we have multiple algorithms that provide different functions which we can further explore. This was because at the time we were unsure of what form we were interested in, and decided to invest our time in creating formulas that we could eventually integrate into a final design.
Yehuda E. Kalay, Architecture’s New Media : Principles,Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25;
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6
7
8
9
10
Our first developmental stage involved creating different planes that were extruded from a curve and angled towards a control point to provide different viewing options. Our second stage involved taking this further, to angling the entire surface plane towards a control point, not simply the edge. Our third stage, moved in a different direction by working to extrude lines between two curves. The width, direction and angle of these ‘sticks’ is therefore determined by the relationship between the two curves.
fourth development, took this idea in relation to the potential ‘width’ of our extrusions. The fifth development took this further, by taking these lines created between the curves, and Our
then angle in towards a direction based on control points.
The sixth experiment, looked into using evenly spaced extrusions and their relationship with surfaces.
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technique: development
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The seventh development built of case study two, by putting a surface pattern on the form. These patterns were based of provided algorithms in the LMS. We used image patterning in different styles and relationships to create forms that were derived from points on the surface, a provided image, and a combination of both. The circles created (though they could be any shape) were either angled towards the surface, or planar. The eighth stage saw us utilizing surfaces to create an arrangement of sections. These were experimented with, cutting, and curving these forms. The ninth stage looked into placing an image into the extruded form. More angular shapes worked best, as they are more clearly read of the surface rather than curved shapes, which get lost in the sections. This has the potential for further development. Our tenth experiment saw us using solids, intersecting with other solids, and finally sectioned with a curve to create interesting forms. It was with using this technique that we created the following form. Though the form doesn’t achieve the angled view points that we had achieved in previous explorations, it is a base point that can show our future direction. We’re interested in having varying heights of extrusions, and using this ‘cutting’ technique allows us to accurately model the form rather than relying on black and white images to determine heights, as used in the BanQ restaurant case study one. We will look into ways to incorporate all of our possible outcomes.
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technique: prototypes
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design inspired by BLAZE
technique: prototypes
design inspired by Station 20 Proposal
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
As our design focuses predominately on sectioning, there is likely to be few connecting parts. As such individual parts will be connected to the ground either with fixed or flexible joints allowing for movement. The models we created were easily assembled with flat edges, tabs and glue. This suggests that for our final model unless the shapes change dramatically, or our material choices do, constructing our design from simple measures should be feasible. If the material or design choice we selected results in curved surfaces, we may need to triangulate the form to allow it to be a simpler construction process. Alternatively, a change in materials may be needed
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technique: prototypes Two animations were created in exploring the relationship between sectioning and peripheral vision/ time manipulation. The first animation explored the affect of time perception in relationship to the peripheral vision. It was concluded that speed perception was a result of objects moving in ones peripheral vision. The second animation explored how varying sectioning distances would impact on ones sense of speed.
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MATERIAL TESTING
Wind Choreography, Janet Echelman, 2012 http://www.the-curator.net/wp-content/uploads/2012/08/1.26_Denver_Biennial_Sculpture.jpeg
http://www.superbwallpapers.com/photography/water-drops-ona-mesh-14807/
Lift Architects, Project One
http://www.liftarchitects.com/journal/2011/6/14/projection-one.html
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
We’ve a strong interest in the use of mesh. Mesh has the ability to be layered on top of one another creating a level of depth and transparency at the same time. This use of mesh also relates to our original ideas on sectioning, as the form itself is largely constructed of voids and air. Some of the forms achievable with mesh have been achieved by Janet Echelman, an installation artist who uses large amounts of coloured wire mesh to form floating invisible transparent structures. The transparent and layering possibilities of mesh have been explored in Project One, by Lift architects, which uses multiple sections of mesh to project light onto, this results in a dancing delicate display of light, which is constantly moving in depth and position on the transparent surfaces. Mesh also interacts with the environment in quite an interesting way. It captures rain droplets in its surface, affectively creating a reflective naturally forming sparkling surface when it rains. Mesh has been used in drought stricken areas, which also experience high levels of fog, to capture rain droplets as the fog passes through the mesh. The design possibilities of this material are something we’d like to explore further.
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MATERIAL TESTING
http://www.bushman.cc/photos/Copper_Water_Pipe_Corrosion.jpg
http://good-wallpapers.com/places/4876
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
Anish Kapoor, CLoud Gate, Chicago
http://4.bp.blogspot.com/-LfHDDaO5UJc/UHaVKMgTcEI/AAAAAAAAAkc/Wn3qC9zntyc/s1600/ DSCF2726.JPG
Other material interests are found in the use of: Copper, the oxidization of this metal is particularly striking. It’s reminiscent of old im-
portant buildings, and the transition in colour from golden bronze to a matt grey/green, will be interesting to watch. Its interacting with the environment at a slow time rate, interacting again with our idea of ‘time’. The transition in reflective quality of this metal will also provide another evolutionary element to the design.
Steel has interest for the opposite reason. Its ability to remain in a pristine state, reflective
or matte, it will remain in a constant state of perfection. The reflection possible in this material would relate back to the choice of sectioning as it would almost render itself ‘invisible’ between reflecting itself and the environment around it. This could create quite surreal reflections and projections onto the viewer, particularly at night with headlights moving.
Stone could potentially be seen to be ‘growing’ or ‘emerging’ out of the ground. A poten-
tial modern day Stonehenge. The weathering process of these rocks, and the potential natural growth of plant materials and the landscaping surrounding the site could unleash further design possibilities.
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MATERIAL TESTING Material testing was an important part of our design. We explored ‘copper’, Perspex, ‘resin’, and ‘perforated aluminium’. What was of interest, was the changing densities of transparency, reflection, and changing lighting affects. Though all materials had their benefits, perforated aluminium was selected for its ability to reflect light, be transparent, and have changing lighting and shadow effects.
COPPER
PERSPEX
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RESIN
PERFORATED ALUMINIUM
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MATERIAL TESTING Copper had a very beautiful sheen to it when tested. It reflected a golden glow, casting gold shadows. The reflection created beautiful patterns on its surface. However, the density of the material was an issue, it enhanced a solid characteristic of the design, which was less desirable.
The Perspex when tested, was interesting in that it became invisible when viewed from above and on its direct side. The transparency affect of this material, was great, except there was no ‘grip’ to the material, and the density that we were searching for was lost.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
The resin when tested created soft and hazey shadows when layered close to one another, except when located further apart the depth and transparency was lost. This was an interesting and smokey material that would have probably created quite an interesting final design.
The mesh encompassed all the qualities we were searching for. It reflected light at angles, it created patterns, it demonstrated the depth and density of the design, whilst also showcasing a beautiful transparency.
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technique: proposal The brief called for an eye-catching proposal that would make Wyndham recognizable. Our original thoughts started with making Wyndham recognizable for its own qualities, but after considering this idea, we came to the conclusion that Wyndham needed something more, as it currently didn’t have its own ‘recognizable trait’ and thus one needed to be created for it. We plan on creating a new definition for Wyndham. The site for the project, is located on a highway, where most viewers will be traveling at 100km per hour. This we felt was the most important aspect. When the site is driven through, it is directly engaged for 30-40 seconds. We want to make this longer. Either by making it feel longer, or by instilling a strong presence into the viewers mind so that the continue to recollect it, thus making it ‘unforgettable’. A new experience for Wyndham. This speed of travel and interaction became our main focus. Stuck in a bubble of a car, traveling at a constant speed, there is little experience difference between traveling at 100 km and a slower pace.
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1&3*1)&3"- 7*4*0/
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Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
)"-' "3$) 4)"1& 8*5) )00% "5 &7&/ INTERVALS. Thus by engaging the viewer into being aware of their speed, or in attempt ‘slowing time down’ we felt we could extend this experience, by manipulating their perceptions of speed, and by creating an intended lingering thought. To do this, we researched into the perception of time/speed travel, and came to the conclusion that elements needed to be perceived in ones peripheral vision, standing at a fixed rate and then gradually getting closer together (to ‘speed up’) or further apart (to ‘slow down’). This technique has been utilized in Virginia America, by the Department of Transportation, by placing optical speed bars at regular intervals along the road. The intervals between the bars decreases giving the driver the optical illusion that they are ‘speeding up’ and thus they slow down, becoming safer drivers and reducing accidents on the roads. This is based on the Kappa effect, which is a tem453&5$)&% "3$) "5 &7&/ poral illusion which can alter ones perception of time. The observer tends to base their judgment INTERVALS. of time based on the interval between two stimuli. This can be derived from the fact that time itself is immeasurable without the use of motion, the rotation of the earth for example. With this information as to how to ‘manipulate the perception of time’ we were able to create a variety of algorithms that dictate the spacing between sections. we tested these in motion graphics and though they were only fleeting, they seemed to work. We need further explorations to refine our design. With this notion of speed, time and sectioning, we hope to be able to create a refined piece of installation work, that will propel Wyndham to being a city recognizable on the map.
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http://www.britannica.com/EBchecked/topic/311805/kappa-effect http://www.sciencedaily.com/videos/2006/1003-slowing_down_speeders.htm
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LEARNING
OBJECTIVES
The feedback from the mid semester presentations, has lead us to consider the kinetic possibilities of the design, and other ‘time frames’ not just the 30-40 seconds the one would drive through it. These are two very exciting directions are project will start to take. In regard to what I’ve learned so far in this subject, I still feel very much daunted by the computing world. Much of my time has been spent staring at a computer screen with bloodshot eyes trying to figure out how to do very simple basic tasks, and googling things only turns up complex solutions and problems beyond my understanding. Overall though, now that we have a few algorithms that work, and we understand how, we will start to explore more with forms, which should hopefully lead to some interesting design possibilities. Computation in the design process has been a big challenge; I’ve no doubt that it has a place in the designing world, I just doubt that that world and I coexist.
&
OUTCOMES
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DESIGN INSPIRATION
The following projects inspired our final design, HAZE
We were inspired to explore the relationship between mesh and the appearance of solids and changing densities, and the relationship of mesh with light. The following projects are all referenced with additional video footage.
• Immaterials: light painting WiFi •
“explores the invisible terrain of WiFi networks in urban spaces by light painting signal strength in long-exposure photographs” http://vimeo.com/20412632
http://www.flickr.com/photos/timo/5481668272/sizes/l/in/set72157626020532597/
• Lift Architects Project One •
Exploration of the affect on a curved mesh screen, connection between movement and light http://www.liftarchitects.com/journal/2011/6/14/projection-one.html
http://www.liftarchitects.com/journal/2011/6/14/projection-one.html
• Mesh portraits, Seung Mo Park •
Demonstrating the affect of lighting on layered mesh, illusion of depth http://weandthecolor.com/wire-mesh-portraits-by-seung-mopark/8149
http://hypenotice.com/hyped/wp-content/uploads/Portraits_Made_of-Layers_ of_Wire_Mesh_Seung_Mo_Park_Hypenotice-1.jpg
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
http://vimeo.com/67286719 inspiration montage of all projects
• blaze by Ian McChesney •
a highway installation piece which showcases the affect of layered elements interacting with the driver http://www.youtube.com/watch?v=p9RetutNlcA
http://www.domusweb.it/content/dam/domusweb/en/news/2011/12/28/blazeby-ian-mcchesney/big_370354_3473_MCA-CFRS-0010.jpg
• Light and Soehne •
Layers of mesh which create the perception of a solid, http://lichtundsoehne.de/2011/10/2-30at3-05-3/
http://lichtundsoehne.de/2011/10/2-30at3-05-3/
• Li Hongbo – pure white paper •
Art works created from thousands of layers of paper, together they appear to make a solid, http://vimeo.com/54967505#at=0
http://www.designboom.com/art/flexible-paper-sculptures-made-up-ofthousands-of-layers-by-li-hongbo/
DESIGN CONCEPT: HAZE The brief for the Western gateway design project in Wyndham, called for an ‘exciting, eye-catching’ design which both ‘enriches and inspires’, it must have longevity in its appeal, and encourage further reflection beyond first glance. Our design response is HAZE. HAZE is an interactive design, causing the driver to respond emotionally after its viewing. Its landmark qualities are reflected in its height and width, extending 14m high and at its widest 75m, encompassing the whole site. The issue of time was the most prominent feature in the creation of the design. The limitations and explorations of having the design viewed at such high speeds, led to the exploration of the visual affects speed and the apparent ‘time manipulation’. HAZE is a reflection of this research. By referencing the Kappa affect and the use of peripheral vision on the perception of speed, sectioning became our main tool of representing and creating this illusion. The sectioning intervals manipulate a drivers sense of speed, thus causing their own knowledge of their rate of speed to conflict with what they are experiencing. As such creating a lasting impression on the driver, one which they will be able to reflect on as an EXPERIENCE beyond their own interaction. The size of the design evolved to both be on a human scale in height, but on a site scale in width. The maximum section heights had to be both monumental, without being overwhelming, they had to extend above ones peripheral vision, but be viewable from low heights and from far away. The sections lowest points in the middle rise to 1.5m, which when in a car should reach the drivers/passengers eye heights, creating an unusual and vary affect on ones peripheral vision and thus sense of time warp. To create a connection between both outbound and inward bound traffic, these sections were extended across the site connecting the two. HAZE is intended to manipulate the driver/passengers sense of time, thus creating an unusual and interactive piece of work that will create a discourse for the city of Wyndham, upon further reflection of their experiences. Three sites were available for the construction of the design. HAZE is to be constructed on the largest site, Site A. It is located in the land between the divergence of the inward bound and outward bound traffic from Geelong/Wyndham and Melbourne. Site A was selected due to its size. For the time manipulation illusion to be successful when the viewer would be traveling at high speeds, a large amount of space is required. As such, the design is site specific to the viewers needs. A viewer on a bike or walking would not experience the same affects that the driver at 100km experiences. Nor would the user be able to experience the time affect, if the site were so small.
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DESIGN DEFINITION both Rhino and Grasshopper were used to create the design. The FIRST step was to create the form of the design. This was achieved in Rhino, were one form was intersected with the designed curved surface. It was then trimmed, creating a solid that had a flat base with curved edges. The SECOND step was to reference this into grasshopper. The details of the algorithm used are on the following pages. Rhino was used for the first stage rather than Grasshopper as we felt it allowed for a quicker visual manipulation, as it allowed a more ‘human’ interaction with the form, as it was being manipulated directly through the designer, rather than being manipulated through an additional computer system. This enabled us to create simple variations, and allowed a deeper understanding of the relationship between the form and the drivers experience. Once the design had been sectioned in grasshopper, it was again manipulated in rhino. This step involved the manual deletion of sections to create the slowing down and speeding up time affect. Again rhino was used rather than grasshopper to allow for multiple variations that were easily and quickly comparable. It allowed us to follow and create varying patterns until the finished and approved design was created.
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DESIGN DEFINITION a straight line was referenced into the design, the focus of the design is on the altered perception of time, as such, excessive and unnecessary design elements, such as curved sections were eliminated as they did not improve the desired effect and may only have served as a distraction
this series component, references the distances between each offset curve, 9.3 meters and the number of curves to be offset, there is a total of 67 sections in our final design, once additional sections had been removed
the curves were extruded in the y direction, by a set distance. The site at its widest, is roughly 90meters wide as such the curves were extruded further than this to encase the entire site
The beginning half of the definition creates a series of curves that are then extruded in the Y direction to create surfaces
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
the surface split component, separated the new surface to solid intersections and the extruded curves, enabling them to be baked and further manipulated with in rhino
the brep referenced into the algorithm was a solid form that was to be sectioned up this brep to brep intersection component solved the intersections between the extruded curves surfaces and the brep.
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HAZE The following is a link to an aerial perspective of HAZE on site: http://vimeo.com/67286718
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HAZE
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SEQUENCE OF EXPERIENCE HAZE utilizes the entirety of Site A, the only way to be able to achieve the desired Time manipulation’. At parts it moves away from the sites boundaries to create a varying degree of intensity of the time manipulation affect, this also works to play on the density and transparency of our chosen material. The form dips and dives, as it slowly emerges from the landscape, working with the driver as you ‘grows’ with the structure.
as the section heights decrease, they simultaneously start to be further spaced apart from one another, providing a ‘slowing down sensation’ combined with a ‘loss of monumentality’
the sections reach their maximum height of 14meteres, where they playfully dip up and down on either side of the freeway,
the height of the sections slowly increase as they seem to emerge out of the landscape. this is intended to ‘ease’ the driver into the experience,
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
the slow steady apparent rise of the height of these sections is intended to highlight the decrease in perceived speed as a result of the increase in distance between the sections
the heights of the sections then steadily decline after having reached their peak height - intentionally designed to provide a reference point from a distance, as well as creating a monumental effect
the sections then tapper to an end, mimicking the ‘beginning’ of the experience, having returned to the ‘fast paced’ sectioning interval, heightening the drivers awareness of their 100km per hour speed
at the sections lowest points are at 1.5meteres, this ‘sea of sections and waves’ is heightened by the increase in sections from 1 per second, back to 3per second. it also provides some time to be made aware of the upcoming dramatic height increase of the design, along with the sudden change in apparent speed
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SEQUENCE OF EXPERIENCE HAZE is designed to highlight the perceived change in the speed of time. The driver/commuter who interacts with the site, is intrinsically aware of the knowledge that they are traveling at 100km per hour. However, there is little point of reference to make this speed known. Time is only measurable through the motion of constant objects, such as the rotation of the sun, movement of the moon, HAZE uses sectioning to manipulate the perception of time in relation to its vertical sections. The kappa effect is a psychological phenomenon related to the speed of time, speed and distance, it is a temporal illusion that is able to alter a persons judgement of time. It occurs when the distance between two stimuli are shortened or lengthened. This became the base for our design. The apparent ‘slowing down’ of time is only achievable when the increased distances between the sections are in direct comparison to the shorter distances, and vice versa. For the manipulation of time to be successful, the driver must be aware of an interchanging in speed and thus needs to be able to contrast their experiences. As such, both the ‘fast’ and ‘slow’ sections of the design are repeated twice to complement and contrast one another. The heights of the sections were also pre determined by the design intent in having a monumental and focal point aspect. As such it was required to have areas of substantial height, to allow for the design to be perceivable from a distance. The middle ‘sea’ sections, where the heights of the sections drop to 1.5meteres and the section spacing increases to 3 per second, is intended to give a ‘breath’ or a ‘silence’ to the design. A short 3 seconds, where the driver can contemplate the apparent time manipulation they have just experienced, as well as being made visually aware of the growing form to which they are moving towards. As the design is viewed on either side in opposite directions by both inward bound and outward bound commuters, the design required some sort of symmetry to it, resulting in a harmony between commuting experiences.
HAZE components 1)
time manipulation this was only achievable through the use of the whole site
2)
Maximum section height of 14m, 14m was seen as a practical choice, large enough to be perceived fro ma distance, give a sense of monumentality, yet not too high to be intimidating, or non constructible.
3)
Each section may be an individual piece, but is part of a whole. The relation position of each section determines the perceived time manipulation
4)
The finished material will be selected based on the short term experience, creating a level of depth whilst maintaining transparency, reflecting the capabilities of sectioning, whilst also having changing long term experiences, the changing perceptions at different times of the day.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
9.3m 9.3m
THREE SECTIONS PER SECOND THREE SECTIONS PER SECOND ONE SECTION SECOND ONE SECTION PERSECTIONS SECONDPER THREE PER SECOND
THREE SECONDS THREE SECONDS THREE SECONDS
ONE SECTION PER SECOND
28 m
28 m
780 METERS
780 METERS
28 SECONDS
780 METERS 28 SECONDS 28 SECONDS
FAST
SLOW
FAST
SLOW
FAST
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SEQUENCE OF
CONSTRUCTION
One of the many benefits in the use of sectioning, is that the construction process and assembly process should be relatively simple. HAZE is constructed from 53 individual sections, ranging in heights and widths. Perforated aluminium will be used to construct the sections, creating a transparency through the design. A support system encasing these sections will connect to concrete footings, which will be hidden in a trench, creating a seamless finish.
Perforated aluminium is able to be purchased either in set dimensions or customized sizes. It is also comes in a range of patterns, again in set styles or customizable. For HAZE to have the level of transparency, and yet still depth to the design, openness of around 50% is desirable. 50% is achievable via multiple small holes, or fewer large holes. Due to the scale of HAZE, larger open areas are desired.
The LOCKER GROUP produce customizable and pre designed perforated alluminiums, one of their in stock designs would be suitable for use in HAZE. Perforated aluminium RO9551 Perforations at diameters of 9.50, 12.70 centres. 51% open area.
9 Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
THREE SECTIONS PER SECOND ONE SECTION PER SECOND Perforated aluminum will be used for the construction of HAZE. The perforations allow for light and a sense of ventilation and illusion. Custom sheets will be used and cut into the designated individual sections.
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The design, as intended, uses the entire space of site A. Landscape will play a crucial part in execution of the design. HAZE relies using not only the land that each section will be situated in but also the spaces in-between to convey and accomplish our concept of time manipulation. This is effectively placing a new ‘sectioned’ topography over the existing site. For the purpose of HAZE, the mound situated within site A will be cleared in order to have a level ground to place each section within and also so that the drivers experience is not disrupted. Each section will need to be broken down into smaller pieces in order for them to be trans- ported to site. They are then able to be reassembled on site before the assembly process. This can be achieved using a flush bolting system or something similar.
780 METERS
28 SECONDS Due to the nature of HAZE, each individual
section can be treated as a separate element. This means that the assembly process is significantly simplified, as each section can be erected one by one in a process that is deemed the most appropriate. The finish of the entire structure will be that of perforated aluminum in a matt finish so that it becomes less reflective and more responsive to drivers.
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TECTONIC ELEMENTS
1) trench
2) section of preforated aluminum and suport frame
3) supported by concrete pad footing and fill
Steel support framing
Concrete pad footing and fill
Steel stave
HAZE’s use of one materiality, with few connections, means that the construction should be relatively simple and cost effective. The perforated aluminium sheets will be supported by steel posts that will be connected to concrete pad footings. The depths and spacing’s of these support pads will be dependent on the height and weight of each section. These support systems will be hidden in trenches that will need to be dug during the initial construction phase.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
An alternative tectonic system investigated involved a frameless structural support system, supported by bracing and bolts. However this was deemed unsuitable for larger sections, and thus could only be used on smaller sections that don’t require extra support for their weight or size.
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FABRICATION PROCESS Two models were made, one at 1:500 made out of boxboard and ivory card representing the general form of the design on the site. The second model at 1:200 was constructed out of wire mesh and boxboard, this represented the desired layering and density affects that would be achievable through the use of perforated aluminium. The card and boxboard was sent to the Fablab to be cut, whilst the mesh was cut by hand. The construction of the models, involved a mimicking of the real life process of digging a trench, and hiding the support system. In the model case, sections were scored out of the boxboard, and tabs were attached to the sections, which were then folded under these sections and glued, creating a streamline finished affect.
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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technique proposal
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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technique: proposal
Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly
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THE HAZE EXPERIENCE
HAZE has been designed with the sole focus of achieving a time manipulation experience, highlighting the drivers current speed and their inability to judge the realities of their speed. An animation can be found on the link below demonstrating the drivers experience, and the slowing down and speeding up affect achieved. http://vimeo.com/67286720 HAZE is innovative in its design and ability to directly interact with the driver/passengers. It creates an emotional response and will encourage further contemplation thus creating an effective discourse for Wyndham. It is an eye-catching and engaging piece that makes use of the site. Its use of perforated aluminium provides an interesting instantaneous experience, watching the densities changing, but further a longevity experience, as the lighting effects will change during the seasons and the day, further engaging with returning audience.
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LEARNING
OBJECTIVES
&
OUTCOMES
The feedback from the final crit was very positive, the tutors and the guest crits appreciated that we had one single goal and were able to achieve it. I think this was our main success. As a team, we worked very well together, dividing up tasks, working efficiently and sharing the same goals and work ethic. Our strongest achievement was in recognizing that being successful meant responding to the brief, and not in creating some gigantically complex final design. We recognised our limitations and worked around them, focusing instead on what we wanted to achieve, and what we could achieve. The brief called for something eye-catching, exciting, and which calls for further reflection, HAZE achieves this by engaging and interacting with the user. Our design is simple, but effective. Our fabrication method was simple, but realistic. Our grasshopper algorithm, though small, was successful. The highlight of the design is in its ability to manipulate the perception of time, this knowledge came from research and our own explorations. The concept is interesting and engaging, and instead of being a feat of engineering, questions drivers awareness, and will create a discourse for Wyndham. Our final design, responded to the brief, our own limitations, and the reality of construction. We restricted the maximum heights, chose a material that is engaging and widely accessible, and created a design that is constructible. For HAZE to be more successful, more research would have been needed on the tectonic section of the design, and perhaps further exploration of the yearly/daily effects natural sun/moon light would have on the materiality of our design. HAZE is just one of a plethora of infinite design possibilities that would respond the Wyndahm gateway brief. Our final design in itself, has infinite possibilities, the changing form through the use of parametric modelling and computer tools could result in a never ending number of variations, that when sectioned correctly would be just as effective in the time manipulation affect as our current design. The choice of perforated aluminium though a design response, also reflects one of the learning objectives, in engaging with the relationship between architecture and air. HAZE is constructed out of sections, the space between these sections is just as important as the sections themselves, as it is this ‘air’ space which creates the changing interval and time manipulation affect. Likewise the mesh, creates a density changing and lighting affects, but results in the sections being lightweight and transparent. HAZE is truly engaging with the air, becoming a transparent form that disappears at the edges, an invisible form. “when everything comes to an end, all that will be left is the sun”
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