Architecture Design Studio: Air - Journal [complete!]

progress journal

// A R C H I T E C T U R E D E S I G N S T U D I O _ AIR the university of melbourne, 2012.

[ 338495 ] YU-JIA ANNIE DU tutors: gwylim jahn + andy yu [1]

// _ introduction Architecture Design Studio: Air was a studio run at the University of Melbourne in Semester 1, 2012.

Studio Leaders:

Stanislav Roudavski (Subject Coordinator) Gwylim Jahn (Senior Tutor) Andy Yu (Tutor)

Project | Smap Group Members: Annie Yu-Jia Du Terence Ho Peter Wang James Johnstone

// _ studio aim “To introduce the teaching of digital architectural design. The faculty, the accreditation bodies and the teaching team all agree that the teaching of contemporary technologies (including computation) needs to be considerably improved.�

- Stanislav Roudavski.

[2]

CONTENTS

PART I. EXPRESSION OF INTEREST (E.O.I) I.1 _ CASE FOR INNOVATION

I.1.1. Architectural Discourse

I.1.2 Computing in Architecture

I.1.3 Parametric Modeling I.2 _ RESEARCH PROJECT

(Scope of Possibilities)

I.2.2. Input/Association/Output Matrix

I.2.3. Reverse-Engineered Case-Study

I.2.4. Materials Effects

I.2.5. Assembly Methods I.3. _ E.O.I CONCLUSION: GROUP EOI DOCUMENT I.4. _ LEARNING OBJECTIVES AND OUTCOMES: INTERIM

PART II. PROJECT PROPOSAL II.1. Project Interpretation II.2. Project Delivery II.3. Project Presentation II.4. Project Proposal Conclusion

PART III. LEARNING OBJECTIVES AND OUTCOMES: FINAL

[3]

PART I [4]

_ EXPRESSION OF INTERST.

[5]

.1 [6]

_CASE FOR INNOVATION.

[7]

1.1

EOI: advancingARCHITECTURAL DISCOURSE.

NATURAL LIGHT PERSONAL; ANNIE YUJIA DU, WAITING PLACE /VS. STATE OF THE ART PROJECTS; LOUIS KAHN, EXETER LIBRARY / VS. TADAO ANDO, CHURCH OF LIGHT

The discourse between architecture & natural light occurs inevitably, with or without human interference. Natural light illuminates, clarifies, & stimulates our senses but it also dazzles, confuses or shocks us.

Through the manipulation of filtering of this natural light through different materials; both organic and man-made, are we able to create a discourse with the space user, evoking a response, whether it be emotional, spiritual, intellectual or physical.

The “Exeter Library” designed by Louis Kahn in 1965 (but was not ready for occupancy until 1971), almost resembles a box on the exterior, but within lies a wonderful world of Natural Light manipulation. The study booths along the perimeter are all fabulously illuminated by sunlight from the windows just above the user’s eye level, as well as screened windows at desk level whcih allows the user to control the amount of light entering into his/her immediate environment.

The “Church of Light” designed by Tadao Ando in 1989 for the Ibaraki Kasugaoka Church in Osaka, Japan is of a similar cubical shape, consisting of a series of three in-situ reinforced concrete cubes sliced by crucifix cut into the wall behind the altar. Through the manipulation of sunlight & specific orientation of the building, Ando is able to create an “aura” symbolising God’s presence behind the priest as he stands at the altar basking in the morning sunlight, whilst the stark reality of the hard reinforced concrete walls remind the congregation their own secular state.

[8] Khan, Louis. PHILLIPS EXETER ACADEMY LIBRARY, New Hampshire USA, 1965. Source: http://www.mydstudio.com/blog/buildings-we-love-kahns-exeter-library.html

“THE DISCOURSE BETWEEN ARCHITECTURE & LIGHT OCCURS INEVITABLY...”

// PRECEDENT STUDIES

Visually, the “Church of Light” is a stark contrast to the elaborately decorated predecessor European churches & cathedrals, yet the design is still relevant to religious architecture in its own sense.

The “Waiting Place” designed by myself in 2009 for Designing Environments (BEnvs), is influenced not only be the works of Ando and Kahn, but also a Dr. Seuss quote.

- “time is of the essence... we must not linger too long“.

I used the manipulation of natural light and shadows to create a sense of shelter, but also a sense of entrapment to show how a structure is able to control the behaviour of the user and the time spent within my design.

WAITING PLACE

From this precedent, we are able to draw from it the specific placement of perforations along surfaces to create a sense of interaction with the space user through the filtering of light and the manipulation of certain conventional materials such as concrete, in regards to achieving a sense of interconnectedness through the materiality of the Gateway project.

CHURCH OF LIGHT EXETER LIBRARY

[9]

//EOI. advancingARCHITECTURAL DISCOURCE: Natural Light - IMAGES SOURCES; 1. Du, Annie (Yu-Jia). Waiting Place, Designing Environments, BEnvs - University of Melbourne 2009. \Author’s photograph.

2. Ando, Tadao. Church of Light, Osaka JAPAN,1989. \Source: http://tadaoando.wikia.com/wiki/Churches 3. Ando, Tadao. Church of Light, Osaka JAPAN ,1989. \Source: http://patrickmullen.wordpress.com/2007/10/26/tadao-ando-churches/ 4, 5 & 6. Khan Louis, Phillips Exeter Academy Library, New Hampshire USA \Source: http://www.mydstudio.com/blog/buildings-we-love-kahns-exeter-library.html

3

4

5

6

EXETER LIBRARY

2

CHURCH OF LIGHT

[ 10 ]

WAITING PLACE

1

“EVEN A ROOM WHICH MUST BE DARK NEEDS AT LEAST A CRACK OF LIGHT TO KNOW HOW DARK IT IS.” - LOUIS KAHN

Khan, Louis. PHILLIPS EXETER ACADEMY LIBRARY, New Hampshire USA, 1965. Source: http://treyfla.tumblr.com/post/1105916553/conceptexecute-hows-this-for-plasticity-louis

[ 11 ]

1.2

EOI: Computing in Architecture.

[ 12 ]

COMPUTATIONAL DESIGN

“SO, WHAT IS COMPUTATIONAL DESIGN?�

To put it simply, computational design is just another way to solve design problems.

The solutions created from computational design incorporate the massive processing power of computers to perform millions and millions of mathematical equations to create multiple outcomes.

These solutions would take decades, if not centuries if solved by the creator alone, therefore showing how time efficient computational design can be.

However, time efficiency isn’t the only benefit.

Since computational design is processed through different sets of data - data (parameters) which determine for example, the design performance, this data may be sent to a range of fabrication companies, allowing exact fabrication of the design.

able to see how one decision ripples through the entire project, bringing all members of the design team together to make joint decisions throughout the design process, creating more DYNAMIC designs, allowing innovation to happen at a much faster pace.

The technique of computational design fabrication is already employed in the boat-making industry, automobile industry, commerical industrial design industry, and finally the architecture industry is catching on to the phenmoenon.

Through computational design, the final design of the Western Gateway will be innovative, collaborative and cost efficient, as all the required parameters may be pre-set in order to remain within the required budget, whilst also carrying out the requirements setout on the brief.

As computational design incorporates all facets of a project. Instead of one designer acting independently to produce certain STATIC design solutions then passing it on the the engineer, who then passes it on to the builder for fabrication; the designer is now

[ 13 ]

1.2

EOI: Computing in Architecture.

Computational Design Innovations

The “Packed Pavilion” designed and produced by a team of Masters students (Michele Leidi, Min-Chieh Chen & Dominik Zausinger) at the EHT Zurich for their final project in the Deparment of Computer Aided Architectural Design is a pavilion composed of 409 variable truncated cones made from layering perforated cardboard, and together these cones create a structural system.

Similar to the concept of a voronoi, these cones were designed so that the parameters of their size was determined by that of their immediate neighbour as well as their position within the entire structure, meaning that each invidual cone was able to adapt according to other changes in the structure.

The main goal of the EHT design team was to achieve “overall stability, shape, illumination, views and spatial quality”. And through this experiment they were able to demonstrate how computer aided design could potentially be beneficial to architects on a financial level; through [ 14 ]

source: http://packed-pavilion.blogspot.com.au/

Packed Pavilion - Masters students at EHT Zurich // c a s e s t u d y Through the development of selfmade computer programs, the group was able to create optimized solutions in regards to efficient production and packaging as the final product was to be produced in Zurich, then sent and assembled in Shanghai for the World Expo 2010.

This process is an example of how computer aided programs may effect the final design proposal for the Wyndham Gateway design, not so much in the logistical sense but more on how the design is able to not only interact with its surroundings and users but also with the structure itself (as the cones negotiate their parameters through adapting to the location and position of their neighbouring cones.).

[ 15 ]

1.2

EOI: Computing in Architecture.

Culture of Scripting

[ 16 ]

http://blogs.curtin.edu.au/computational-design-laboratory/files/2011/06/DoubleCurvedWall_Perspective01.jpg

[ GRASSHOPPER - A VISUAL SCRIPTING PLUGIN FOR THE 3D MODELER RHINOCEROS 3D ]

Computational design has extended the geometry of architectural designs so that it no longer maps the old conventional linear styles but employs digitally facilitated programs to create organic parametric designs. It offers the possibility of producing solutions on a somewhat more advanced level; generating designs from algorithmic codes and set parameters, so that as the design progresses, details may be fine-tuned, ideas can be added, but all within the set constraints.

As modern day designers become increasingly computer savvy, there will be relatively less significance on the techniques engaged but rather on the use of these techniques to optimize performance and result of the final design. The computation of design as such, is not only a technique, but most importantly a modern TOOL used to solve present and future challenges.

Therefore, computational design has brought a paradigm shift in design representation and thinking from the static object model to vibrant system models from the linear to abstract designs.

POTENTIALS OF SCRIPTING [ 17 ]

1.3

EOI: Parametric Modeling.

Innovative Scripting

[ 18 ]

source: http://code.algorithmicdesign.net/AgentSense

A g e n t S e n s e - instructed by Ezio Blasetti // c a s e s t u d y

This project was to create a digitally enabled mesh which responded to the dimensions and existing conditions of the site; the Bartlett School’s Wates House (Architecture School). Through the process of writing a specific algorithm (using Grasshopper scripting) that allowed points of the site to interact with a mesh surface concentrating on the façade of the building, the design team was able to script an almost organic structure; which was referential not only to itself, but also to specific allocated points on the chosen site (the façade).

“The resulting surface treatment is a high resolution mesh, providing complexity, detail and practical protection from the elements…the solid block that was once Wates House becomes more human and a representation of the humans existing within: diverse, weird whimsical and maybe a little crazy.”

The concept behind this project is similar to that of the Western Gateway project, where the focus has been placed on the Bartlett’s building’s entrance: a high traffic area, which was often ignored as a place of interest. Therefore, this project can be used as a significant predecessor of the Western Gateway design, as an example of how digitally enabled designs are able to not only attract and interact with visitors, but also become a representation of the technological advancement of the City of Wyndham.

[ 19 ]

[ 20 ]

source: http://code.algorithmicdesign.net/AgentSense

[ 21 ]

1.3

EOI: Parametric Modeling.

Innovative Scripting

“...the glass-like fragility of thiss artificial forest, built of an intricate lattice of small transparent acrylic tiles, is visually breathtaking. Its frond extremities arch uncannily towards those who venture into its midst, reaching out to stroke and be stroked like the feather or fur or hair of some mysterious animal.

Beesley’s Hylozoic Soil stands as a magically moving contemporary symbol of our aptitude for empathy and the creative projection of living systems.”

- Fundacion Telefonica Jury, 1st price, VIDA 11.0 [ 22 ] image source: http://2.bp.blogspot.com/_8hlTy6vXCZg/THUjVRRFMHI/AAAAAAAAAM4/aSGgwsDGmbI/s1600/Philip+Beesley+Hylozoic+Ground+5.jpg

“Hylozoic Ground Project” - Philip Beesley // c a s e s t u d y

The Hylozoic Ground Project by Canadian architect and sculptor Philip Beesley demonstrates the potential of architectural designs in the future, and what a building may be capable of.

After attending Beesley’s lecture on parametric design at RMIT, I felt that he thought of buildings almost as an organism, an object which moves, feels and possibly thinks; through the effects of environmental influences and user interactions.

“Hylozoic Ground is an immersive, interactive environment that moves and breathes around its viewers. This environment can ‘feel’ and ‘care’. Next-generation artificial intelligence, synthetic biology, and interactive technology create an environment that is nearly alive.”

This precedent is an example of amazing scripting innovation, turning mathematical algorithms, biological and chemical equations into something that appears to have sprung from nature, something which we could strive towards for the Western Gateway project. Obviously, time and financial restraints would not allow us to create something so technologically advanced, but the theory behind the design would be useful for future consideration when it comes to our final design.

PRECEDENT CASE STUDY [ 23 ]

[ 24 ]

“floated like a waking dream suspended in an opalescent membrane”

- Robert Everett-Green, GLOBE & MAIL

“symphony of pure sensation”

- Ben Lensink, SCHREEF DE TWENTSCHE COURANT TUBANTIA

“hard to believe it was designed by a person and not born of nature” - SHAPE & COLOUR World Press

“the power to be the dominant aesthetic of 21st century landscapes” -Hannah Devlin, LONDON TIMES

[ 25 ]

.2

[ 26 ]

_RESEARCH PROJECT.

[ 27 ]

[ 28 ]

EOI: Scope of Possibilities.

Input/Association/Output Matrix

yellow

black

scale 4

cyan

cyan

scale 6

scale 8

scale 10

cyan+magenta

cyan+yellow

black

using surface normals_curve attractor_data driven shading

scale 2

curve intersection_image sampler_data driven shading

overlapping patterns_multiple maths functions_data driven extrusion

2.1

cyan + yellow

yellow + magenta

cyan + yellow

extrude rec grid: y = 0.234

extrude hex grid: y = 0.682

extrude rec grid: y = 10

extrude hex grid: y = 7

scale 0.21

scale 0.67

scale 0.99

explicit grids_maths functions_data driven extrusion

surface grids_image sampler_data driven components

scale 0.12

combine rec+hex grid: y = 5

combine rec+hex grid: y = 10 [ 29 ]

2.2

[ 30 ]

EOI: Research Project.

Reverse-Engineered Case Study

DIOR GINZA, Office of Kumiko Inui // c a s e s t u d y

In order to complete the task at hand, and increase brain power for the final part of the assignment, a group of four is formed consisting of myself, Terence Ho, James Johnstone and Peter Wang.

Born out of a spelling error, we are named Team SMAP (later changed to Project|SMAP).

The group chose Dior Ginza façade as the case study to reverse engineer due to the conclusions made through our individual exploration of precedents. From Ando’s Church of Light, we had made the decision to explore perforations, and from Ezio Blasetti’s Agent Sense Project, we were interested in the idea of layering and interconnectedness.

The moire effect created by the overlapping patterned panels of the Dior façade was the main effect we were attempting to replicate. This particular effect resulted in an almost ghostly flickering presence of the building at night through backlit panels and optical illusions throughout the day as to the depth of the perforations. To achieve this desired effect in Grasshopper, we used the image sampler and surface divide cut definitions.

In order to successfully replicate the moire effect, the outer layer of the façade consisted of perforated circles mimicking the “Lady Dior” pattern, and the inner layer the circles was printed onto tracing paper (to mimick the screen printed panels in the real life Dior Ginza building) at decreased scaled of 30%.

REVERSE ENGINEER PRECEDENT

[ 31 ]

2.2

EOI: Research Project.

Case Study Grasshopper Explorations

image multiply 0.70

overlapping patterns_image sampler_data driven shading

[ 32 ]

using surface normals_image sampler_Data driven extrusion

image 1

image 2

combine: 1 at front

combine: 2 at front

all: colour = cyan +yellow

radius =1

Through the use of the principals described in the Kalay reading, the Grasshopper explorations began with the process of “search”; attempting to find a suitable candidate in relation to our case study of Dior Ginza from our previous explorations.

New combinations were also tested as evident on this page, but only after parameters had already been set in regards to what was necessary for the reproduction of the Dior Ginza facade, which Kalay describes as the “depth first” approach.

boolean patterning_image sampler_data driven shading

radius = 2

radius = 5

Through these explorations using the Grasshopper Plugin for Rhino 3D, we were able to quickly and easily manipulate the original parameters by simple alterations.

The first experiment (surface normals + image sampler + data driven rotation) explores the potentials of extruding panels and projecting them onto a curved surface instead of a flat one.

The effect is a different sense of depth, thus creating a gradient a shadows instead of the intended moire effect of the Dior Ginza Building.

The second experiment (overlapping patterns + image sampler + data driven shading) looks at how the placement of overlapping panels with the addition of colour may affect the final effect.

radius = 8

radius = 10

The third experiement (boolean patterning + image sampler + data driven shading) explores the effects of distortion as the viewer’s angle is changed. This last experiment, I believe, is the most relevant in regards to the Wyndham Gateway design, as motorists will be passing by/through the installation at very high speeds. [ 33 ]

2.2

EOI: Research Project.

Case Study: Prepare for Fabrication Below is the Grasshopper definition we used to replicate the “Lady Dior� pattern as seen on the Dior Ginza Facade. After observing the facade, we figured out that the front panel was perforated, and the panel behind was screen printed with the same pattern but reduced 30% to create the moire effect. There was also a slight gap in between the two panels, to allow for the light to diffuse from the back panels to the front, creating the glowing ghostly effect of the Dior Ginza Building.

[ 34 ]

[ 35 ]

2.3

EOI: Scope of Possibilities

Material Effects/ Physical Model Making

We explored the use of three different materials: white perspex, clear perspex and plywood to determine which material would replicate the moire effect most successfully.

Whilst we were putting together the pieces we had collected from the FabLab (laser cutter), we noticed that the pattern on the perforated panels were very faint and hardly noticeable unless seen through the camera lense.

This phenomenon we found to be quite interesting as it tied in with our theme of creating a design which changed through different perspectives.

[ 36 ]

Experiment 1 Overlay + distortion

[ 37 ]

Layering + texture

Experiment 2

Overlay Depth

Experiment 3

[ 38 ]

Experiment 4 Tiling Construction

Overlay Light Shadows atmosphere

Experiment 5

[ 39 ]

Overlay Depth Doir ginza Mock Up

Experiment 6

Experiment 6 Overlay Depth Doir ginza Mock Up

[ 40 ]

3

4

[ 41 ]

2.4

EOI: Scope of Possibilities

Assembly Methods

During the process of reverse-engineering the case study, we examined how the two panels were connected together and explored the notion of creating a set of hinges which would allow the outer panels to become interchangeable. This was successfully achieved through a design Peter engineered, whereby a series of clips were attached to the inner and outer panels. This type of interchangeability follows on from the precedents as well, when we looked at the Eiffel Tower and the Hylozoic Ground Project, where we came to the conclusion of wanting to create an adaptable structure for the Wyndham Gateway; a structure that would be able to change with time.

[ 42 ]

Below is the Rhino File which was sent to the Fablab in order to fabricate the hinges. To the right is a stand I designed which allowed us to further explore the reverse engineer design, where we converted the clear perspex panels into a cube, and through the use of this stand, we were able to explore the interaction of light and air as the cube rotated whilst suspended in mid air. We found this experiment to be quite successful in that it created the optical illusion of non-existence during the day, yet created spectacular shadows when lit from below at night. I believe this ties in very well with the representation of growth we wanted to achieve in our design, as the structure literally grows from nothing during the day to something spectacular at night.

[ 43 ]

.3

[ 44 ]

_ EOI CONCLUSION: GROUP EOI annie. terence. peter. james

[ 45 ]

Eiffel Tower Gustave Eiffel

Perceptions of the tower have changed over time in regards to its purpose and contextual surroundings. The tower originally designed as a temporary installation for the Exposition Universelle in 1889 to celebrate the centenary of the French Revolution, has evolved over time to become the landmark and icon of not only the city of Paris, but also of France.

From what was initially seen as a structure of controversy by the general public, to being perceived as a case of innovation to engineers and architects, and presently as a symbol for the “city of love�. This attachment of romantic notions to the wrought iron structure shows how fluid the meaning and original design intent of the structure can vary in regards to its contextual surroundings and discourse generated through time. If the tower had been static in meaning, it would have become obsolete and would most likely cease to exist today.

[ 46 ]

ARCHITECTURAL DISCOURSE

This relates to the Gateway project in that our design shouldn’t have a static meaning, it should initiate discourse, potentially be controversial, and perceptions changeable depending on the user’s interaction with the Gateway. It is because of such discourse and different perceptions that allowed the Eiffel Tower to adapt over time to its surroundings, and similarly we want to achieve this for the Gateway design, allowing the Gateway to grow and evolve with its contextual surroundings.

[ 47 ]

Church of Light

Tadao Ando

[ 48 ]

The discourse between architecture & natural light occurs inevitably, with or without human interference. Through the manipulation of filtering of this natural light through different materials, we are able to create a discourse with the space user, evoking a response, whether it is emotional, spiritual, intellectual or physical.

Through the manipulation of sunlight through particular perforations in the walls & specific orientation of the building, Ando created an “aura” symbolizing God’s presence, whilst the materialistic quality of the reinforced concrete served as a reminder to the congregation of their own secular state.

From this precedent, we are able to draw from it the specific placement of perforations along surfaces to create a sense of interaction with the space user through the filtering of light and the manipulation of certain conventional materials such as concrete, in regards to achieving a sense of interconnectedness through the materiality of the Gateway project.

ARCHITECTURAL DISCOURSE

[ 49 ]

Port Authority Bus Terminal: Greg Lynn

NEW YORK CITY

[ 50 ]

The Port Authority Bus Terminal is a prime example of how computational design can be used to translate intangible information into an architectural response. It was used to map the movement of people and population at the site to determine the parameters of the design and aid in the development of the structure. It shows that computational design software is not just a medium of representation but also a tool for form generation. “The dynamic simulation takes into consideration the effect of forces on the motion of an object or a system of objects especially forces that do not originate within the system itself.�

- Branko Kolarevic This approach to design could be used to great affect in the Western Gateway project. By being able to represent intangible forces and information, we will be able to transform it from a mere roadside sculpture to an installation with true meaning and relevance to its context.

It will enable the exploration of an unique set of forms that will help to create a design that is representative of Wyndham as a fast growing international City.

COMPUTING IN ARCHITECTURE

[ 51 ]

A research project by CITA Knippers Helbig Engineers and Trebyggeriet.no

_ LAMELLA FLOCK

[ 52 ]

Through the use of computational design, the research team was able to design an intricate structural element to which a “skin� was able to mold over. The computational design of the structural element through CAD programs pushed the limitations of otherwise conventional materials, such as timber; which is originally used to create rigid linear structures, to create instead a more fluid abstract form.

This idea of morphing the materiality of conventional materials could potentially be explored in our design for the Western Gateway, utilizing familiar materials indigenous to the area, yet bringing about new meanings and forms through the use of computational design.

COMPUTING IN ARCHITECTURE

[ 53 ]

[ 54 ]

As modern day designers become increasingly computer savvy, there will be relatively less significance on the techniques engaged but rather on the use of these techniques to optimize performance and result of the final design. The computation of design as such, is not only a technique, but most importantly a modern TOOL used to solve present and future challenges.

Therefore, computational design has brought about a paradigm shift in design representation and thinking from the static object model to vibrant

POTENTIALS OF SCRIPTING

[ 55 ]

[ 56 ]

AGENT SENSE Instructed by Ezio Blasetti _Encoded Matter

This project was to create a digitally enabled mesh which responded to the dimensions and existing conditions of the site; the Bartlett School’s Wates House (Architecture School). Through the process of writing a specific algorithm (using Grasshopper scripting) that allowed points of the site to interact with a mesh surface concentrating on the façade of the building, the design team was able to script an almost organic structure; which was referential not only to itself, but also to specific allocated points on the chosen site (the façade).

“The resulting surface treatment is a high resolution mesh, providing complexity, detail and practical protection from the elements…the solid block that was once Wates House becomes more human and a representation of the humans existing within: diverse, weird whimsical and maybe a little crazy.”

- Ezio Blasetti The concept behind this project is similar to that of the Western Gateway project, where the focus has been placed on the Bartlett’s building’s entrance: a high traffic area, which was often ignored as a place of interest.

Therefore, this project can be used as a significant predecessor of the Western Gateway design, as an example of how digitally enabled designs are able to not only attract and interact with visitors, but also become a representation of the technological advancement of the City of Wyndham.

PARAMETRIC MODELING

[ 57 ]

[ 58 ]

Without knowing what Grasshopper combinations could lead to an outcome that offers rich potential for representation, the team inevitably has to undergo the process of “search”, which is in line with one of Kalay’s proposition of design methods. This implies the assumption that suitable candidate solutions exist within the current pool offered by the known possible combinations of Grasshopper operations. Hence the team tested each combination from its start to the very end, examining the final outcome before drawing a logical conclusion to a combination’s success or failure.

New combinations were tested only after a conclusion was made for the combination being tested at the moment. This falls into the sub-division of “depth first” approach under the method of “search”, as stated by Kalay.

With continuous trial and error, the team gradually understands the potential and characteristics of each Grasshopper operation and progressively gains the ability to select components that are more likely to generate more powerful and sophisticated outcome. In the end, the team was able to choose more promising options for further development among a wide range of candidate solutions. Here, the team adapts another method of search – “best first”, which is also defined under Kalay’s view of design methods.

MATRIX

[ 59 ]

DIOR GINZA

Kumiko Inui

[ 60 ]

Reverse Engineering We selected to reverse-engineer the Dior Ginza facade as we believed that it had the more interesting concepts that we wished to investigate. This is because at this stage we had a decided to focus on the use of perforation and layering as our method to design.

To achieve the desired result the image sampler and surface divide cut definitions were utilised. These gave the outer layer of the building, with the interior simply being a printed image of the design at a smaller scale.

Through this method of reverse engineering, we were able to achieve an understanding of the potential uses for these techniques to create optical illusions.

The main aim of this process was to try and recreate the Moire affect. This was achieved and helped to direct our design proposal to the use of optical illusions.

Further to this, we experimented with how whe the size of the circles are changed, there will be a dramatic change in effect.

This method of approach will help in future work as it will allow for a more integrated approach to design. It allows for the quickl analyses and refinement of design.

[ 61 ]

Design Intent A design, which would adapt to the changing context of its surroundings over time, whilst representing the rapid growth of Wyndham as an international city through exploring the interconnections between Wyndham and its sister cities: Chiryu, Japan and Costa Mesa, California.

[ 62 ]

Architecture has long been more than just the built object; it represents and communicates ideas as well. In view of the discourse of architecture’s “multiple reading” and “ability to interact”, we propose that computational design would be the most powerful response to the challenge of developing an exciting, eye-catching proposal for Wyndham that inspires and enriches the municipality.

The emergence of digital morphogenesis in architectural design, after all, is already challenging the practice and norm of the profession, offering unimaginable design potential ranging from an unprecedented non-linear approach, to the finding of fluid form and solution, and to the generation of complex relationships.

All these innovations have pushed the boundaries of design space to an unprecedented dimension. New ways of designing space, affect and experience are rendered possible only with contemporary design and technologies. However, it is not just the extravagant outcome that makes computational design an obvious choice.

The engagement of latest design approaches is also the most solid and direct response to the most highlighted statement in the design brief – generation of new, inspiring and brave ideas that advance discourse.

EOI CONCLUSION [ 63 ]

[ 64 ]

_ LEARNING OBJECTIVES AND OUTCOMES: INTERIM

I think I have come a long way from the start of semester when I was faced with fear and panic at the thought of tackling learning Rhino and Grasshopper, design something using the newly learnt software, whilst studying four other subjects. But as 8 weeks flew by, my persistence with trying to learn the programs the best I could has paid off as the group successfully repoduced and fabricated the Dior Ginza facade.

I was rather skeptical of the course structure initially, having been programed in my previous studies to the standard design process of “here’s a brief, now research, develop a parti diagram, refine, refine, check dimensions, refine, check functionality and then bam! there’s your final design”.

The course structure of this subject was just so new to everyone, but I think it provided for a refreshing change and allowed me to focus more on the discourse behind design, as well as learn a lot from precedents.

In regards to the software, the step-by-step learning process each week through the tutorials on the LMS, the aid of the tutors and the Grasshopper Forum, allowed me to learn Grasshopper with ease and confidence, knowing where I could go for help if I ever got stuck with a definition.

I’m rather glad that we were finally taught some computational design in the B.Envs Architecture course (when I completed Virtual Environments, it was about how to model in sketchup, so I’m glad to see that’s changed since Stanislav has taken over as subject coordinator, but quite sad that I wasn’t exposed to computational design in first year like most in the class).

[ 65 ]

PART II [ 66 ]

_ PROJECT PROPOSAL.

[ 67 ]

1.1

PP: PROJECT INTERPRETATION

DEFINING THE BRIEF

“ Provide an entry statement and arrival experience, and become a new identifier for the municipality. The installation should create a focal point of iconic scale and presence and encourage a sense of pride within the local community.

The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse. “ - Wyndham Council [ 68 ]

DESIGN INTENT: Our group aimed to create a design, which would adapt to the evolving context of its surroundings over time, whilst representing the rapid growth of Wyndham as an international city through exploring the interconnections between Wyndham and her sister cities: Chiryu, Japan and Costa Mesa, California.

The design will aim to become a part of the branding of Wyndham, acting as an icon/symbol of innovation, similar to how the Eiffel Tower represents Pairs.

The design will be innovative as it will be designed to push the limits of conventional structure and perceptions that an object must only have one meaning. The fluid form, generated through computational design, takes reference from the common prominent feature of Wyndham and her sister cities - the ocean wave. The structure may also be seen as an emerging cloud, hovering over the freeway at what appears to be an structually impossible angle, challenging the conventional “arch” or “tunnel” style gateway design, therefore not only contributing to the discourse of the innovation of the city but also to innovative architectural, artistic, engineering discourse.

The structure will offer an unique interactive experience for motorists driving towards, through and past it.

WESTERN GATEWAY BRIEF

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1.1

PP: PROJECT INTERPRETATION

DISSECTING THE BRIEF

WYNDHAM: Prominent location of the site at the entry to metropolitan Melbourne.

PROJECT|SMAP: The “Gateway” has been positioned at a location to be viewed from the inbound traffic lane towards the Melbourne CBD (to be viewed mainly for motorists driving on the freeway eastbound).

WYNDHAM: Back dropped by a large service centre.

PROJECT|SMAP: As we didn’t want the service centre to become a distraction from our instalation, we have deliberately situated our installation away from the service centre.

WYNDHAM: Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape.

PROJECT|SMAP: Elevated off the ground to gain further visibility as you approach the gateway.

WYNDHAM: Iconic feature.

PROJECT|SMAP: Through the use of computational design (Rhino + Grasshopper), we aimed to create an innovative installation demonstrating the advances of modern technology towards ease of fabrication and installation, which aided us in creating an eye catching installation.

WYNDHAM: Appropriately scaled.

PROJECT|SMAP: Large enough to allow for visibility at a distance, but at the same time small enough to allow for interaction at a close range.

WYNDHAM: Dialogue between sculture and landscape to compose the Gateway.

PROJECT|SMAP: The gateway will appear as if it is emerging/growing out of the ground.

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“Exciting, eye catching installation...”

- Wyndham City Council

“Wyndham now wishes to establish another innovative and prominent indicator to provide a focus to the Western Interchange entry to the city” - Wyndham City Council

DESIGN PROCESS

[ 71 ] image source: http://www.wyndham.vic.gov.au/freestyler/files/generated/river_4d6fbfa7bb39f_4e6ea66a9145b_w800_h445.jpg

1.2

PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

SITE B - WYNDHAM

SITE A - COSTA MESA

SITE c - CHIRYU

Initially, we explored the possibility of having three components in representation of the three sister cities - Chiryu, Costa Mesa and Wyndham.

The diagram above shows the eight bridges on Site C representing the “Tale of Ise” for Chiryu Japan, the Fuschia flower (the city’s regional flower) at Site A representing Costa Mesa, and the wave representing the city of Wyndham and also representing the shared physical property of all three cities.

However, after consulting Gwill in regards to the design, we realised this would end up being too literal, busy and complex for an installation which was to be viewed at high speeds. Therefore, we retained the wave idea, and Gwill introduced us to the possibility of designing something that is cantilevered (sketch to the right).

Our initial interpretation of Gwill’s sketch resulted in a series of cantilevered structures placed at different angles to create a wave effect as the motorists drove past, but we soon realised this would not be very innovative and would end up looking like a bunch of sticks on the side of the road, instead of the empheral floating structure that we were trying to achieve. [ 72 ]

Sketch - Gwyllim Jahn

DESIGN PROCESS

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1.2

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PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

Using Gwill’s sketch as inspiration, we aimed to create a similar base structure and surface in Rhino, to which we could alter and add perforations to with Grasshopper. Unfortunately, instead of some amazing design, we somehow ended up with these mushroom/hot air balloon/atom bomb explosion cloud looking things.

From here, we realised the the structure would have to be a LOT more cantilevered, in order to achieve more of a “floating” effect, instead of being just a blob on the side of the road. Here, we also experimented with the Fabrication definitions provided on the wiki, and began exploring two way waffles as a means of how we could fabricate such an oddly shaped structure eventually, and as you can see above, due to algorithmic constrants of the irregular shape of the structure, the waffle was not successful on the design with the most tapering base.

At this stage, PROJET|SMAP had decided that we wanted a singular structure, as we believed this would have a greater impact, and would tie in more with the “icon� effect we were after.

In order to create a more fabricatable structure, we experimented with cantilevered forms in Rhino, manipulated using another external plug0n [T-Splines]. Using T-Splines, we were able to easily manipluate control points, edges, faces and verteces of our cloud like surface.

The surface below is the one we decided on in the end for its contoured, cantilevered shape and ability to be fabricated using the two way waffle definition.

DESIGN PROCESS

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1.2

PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

Above is the nested Rhino fabrication file sent to be lasercut in order to create our 1:50 scale model.. Nesting a file, means flattening each component of the two way waffle, and placing it onto one or multiple sheets of material in the most efficient way. *(in real life, this could be rather environmentally friendly, as you would be able to calculate very accurately the amount of material required, therefore minimising waste and off cuts)

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PHYSICAL MODEL FABRICATION

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1.3

PP: PROJECT PRESENTATION

VECTOR DRAWINGS

Construction Process Summary: 1. Rhino Design File sent to CNC/Laser Cutting Machine to be pre-cut.

2. Individual cut pieces, ready for assembly, are transported to the site.

3. Fast & Efficient on site assembly using pre-defined connection details.

CROSS-BEAM CROSS-BEAM EARTH

FOUNDATION

For such a cantilevered structure, we made sure that the foundations were deep and solid to counter balance the force of pull, using pile footings to anchor the base of the structure as well as large pad footings to ensure structural stability. [ 78 ]

This connection detail illustrates how the waffle structure will be connected together in real-life situations, as no piece of wood would be large enough to create a waffle (don’t think there would be a machine large enough either), therefore in real life construction, the structure would be fabricated in sections/panels, and connected together using clamps and bolts.

CONSTRUCTION PROCESS

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1.3

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PP: PROJECT PRESENTATION

VECTOR DRAWINGS

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TO GEELONG

Following the set requirements in the brief, we aimed to create a design, which would adapt to the evolving context of its surroundings over time, whilst representing the rapid growth of Wyndham as an international city through exploring the interconnections between Wyndham and its sister cities: Chiryu, Japan and Costa Mesa, California.

The “Cloud of Growth” will be an exciting and eye-catching installation, which will inspire and enrich the municipality of Wyndham, as well as generate discourse in the field of architecture and design. The Wyndham Gateway project follows on from the “Seeds of Change” installation, located at the close-by Eastern Interchange of the Princess Freeway, and “House in the Sky”, located at the interchange with the Western Ring Road. The “Cloud of Growth” will be situated at the Western Interchange of the Princess Freeway, acting as a Gateway into Metropolitan Melbourne, but also as a signpost signalling the location of the city of Wyndham.

The “Cloud of Growth” becomes a part of the branding of Wyndham, acting as an icon or symbol of innovation, similar to how the Eiffel Tower represents Paris.

The design proposal is innovative and provocative as it pushes the limits of conventional structural integrity and laws of physics, contributing to the discourse for cases of innovation. The design also challenges the notion of perception; perceptions that an object or sculpture must have one set meaning.

The fluid form, generated through the aid of computational design, is influenced by the prominent features of Wyndham and her sister cities - an ocean wave. But keeping with the notion of different perceptions, the form can also be viewed as an emerging cloud, a more fluid form that pushes the boundaries of the rigid waffle structure, suggesting a new innovative way of interpreting conventional construction methods using solid materials such as wood.

“The Cloud of Growth” is both structural and sculptural, offering multiple meanings to different peoples under various circumstances. It offers a unique interactive experience to the motorists taking into consideration the high-speed movement of traffic along the Princes Freeway as you approach the Melbourne CBD. The visibility and clarity of the structure will change according to time of the day, as well as different weather conditions. As a motorist driving towards the Melbourne CBD, the installation will appear to emerge as you approach, undulating as you drive under and then gradually vanishing as you drive into the distance.

PREFABRICATION & TRAN B A

During daylight the “Cloud of Growth” will be viewed as a solid timber structure, the high visibility allowing motorists to view the structural connections to the landscape. In contrast, at night, the installation will be lit from below, creating the optical illusion of the “cloud”, where the installation will appear to float as the motorist approaches.

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CNC

Prepare for fabrication

CLOUD OF GROWTH

WYNDHAM WESTERN GATEWAY PROPOSAL

1. TRANSPORT TO SITE, CONDITION WOODEN PAN

WERRIBEE, VICTORIA

4. ATTACH BASE PANELS TO FOUNDATION (DETAIL

JOINERY DETAILS CROSS-BEAM CROSS-BEAM EARTH

FOUNDATION

FIG 1. STRUCTURE TO FOUNDATION

Following a simple grid system, the p according to a specified X axis a

PROJECT|SMAPTM

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_ THE A1 POSTERS. TO MELBOURNE CBD

TO GEELONG

rowth” is both structural and sculptural, e meanings to different peoples under tances. It offers a unique interactive e motorists taking into consideration the ement of traffic along the Princes Freeway he Melbourne CBD. The visibility and clarity will change according to time of the day, as weather conditions. As a motorist driving bourne CBD, the installation will appear u approach, undulating as you drive under ly vanishing as you drive into the distance.

PREFABRICATION & TRANSPORT B A

he “Cloud of Growth” will be viewed as a cture, the high visibility allowing motorists ctural connections to the landscape. In ht, the installation will be lit from below, tical illusion of the “cloud”, where the ppear to float as the motorist approaches.

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CNC Cutting

Prepare for fabrication

1. TRANSPORT TO SITE, CONDITION WOODEN PANELS

2. SITE EXCAVATION

3. FOUNDATIONS AND BACKFILL

4. ATTACH BASE PANELS TO FOUNDATION (DETAIL FIG. 1)

5. CONNECTING PANEL TO PANEL (DETAIL FIG. 2)

6. CONTINUE CONNECTING PANEL TO PANEL

CONSTRUCTION PROCESS JOINERY DETAILS CROSS-BEAM CROSS-BEAM EARTH

FOUNDATION

FIG 1. STRUCTURE TO FOUNDATION

FIG 2. PANEL TO PANEL

Following a simple grid system, the panels are attached according to a specified X axis and Y axis order.

7. CONSTRUCTION COMPLETE!

PROJECT|SMAPTM

PROJECT|SMAPTM

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1.4

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PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

After taking in the criticism from the tutors and critics at the Final Presentation, we embarked on an emergency rescue mission to salvage our final design and final model in the short timespan of one week.

Following the advise of the tutors and critics, we proceeded to “clad” our rather soiid and clumsy looking waffle structure to create the empheral and light-weight effect we were originally after.

We searched low and high for materials to clad the original waffle structure, experimenting with the possibility of weaving material through the waffle structure, or cladding it with metal strips similar to that of the facade of Hill’s Place by Amanda Levette Architects but realised that this was not the way to go as the structure was simply too big and too thick.

Previous to final submission, we had also been working on another design, which unfortunately we failed to fabricate in time (we had sent the model to Melbourne Laser Cutter to be cut from white ivory card, but due to the strength of their lasers, the model returned looking rather burnt and definitely not “exhibition quality”). After consultation with the tutors, we decided to push this design further, using our knowledge of the two way waffle structure, we made two light overlapping light weight structures, to originally be clad in perforated fabric. However, due to scale calculations, we realised that the perforations would be impossible at 1:50 scale, and would not represent the structure in real life, so instead we chose to tie-dye the fabric (100% silk) to show the effects of the overlapping on the cladding.

Luckily this time round, Peter had gotten a job at Makethreeofive (another laser cutting place in Melbourne), so we were able to fabricate a new model, otherwise this would not have been possible due to the large queue at Melbourne Uni’s FabLab.

DESIGN PROCESS

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1.4

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PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

Now we were faced with a few options appropriate for fabrication. The first was to make the structure from wire, but we realised this would not be the most viable or efficient option to produce in the span of one week, therefore we were with the second option, but altered the final surface to be more smooth and fluid, and the internal structure was changed to a two-way waffle grid for ease of fast fabrication.

Initially, these perforations were going to be added to the cladding to add to the sense of “lightness”, and provide for interesting effects during different lighting conditions. As mentioned previously, we soon realised the scale of 1:50 would make it rather difficult to fabricate the perforations correctly, and financial constraints meant that we were only able to make one more final model (at this stage we’d spent about $500-600 on the subejct already).

Luckily, we chose not to perforate the fabric, because the moire effect created by the tie-dyed overlapping fabric created a more “ghostly” effect, similar to that of the Dior Ginza building, helping us achieve the effect of the “floating” cloud.

OPTIONS

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1.4

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PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

This time round, the two way waffle structure was made a lot thinner as we would be overlapping two layers, this made it rather structurally unstable at the base, and we had run out of funds to fabricate another model, so we decided to improvise and worked out the solution of using tension cables which would be used in real life construction as well, instead of or in addition to deep foundations to structurally support the cantilevering structure.

The tension cables were attached to the two way waffle grid at certain control points, and then hidden underneath the silk cladding to ensure the structure still appeared to float like a cloudy mist.

SOLUTIONS

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_ LEARNING OBJECTIVES AND OUTCOMES: FINAL

“ Recently, I’ve been looking at international and local internship programs, and have noticed that most firms require some level of competence with computational design, so it is great to see that this course is not only educational theoretically, but is also aiming to prepare us for future employability.

These 13 weeks have been time consuming, challenging, sleep depriving, and stressful, but in the end, I really benefited from the course and feel a great sense of achievement having learnt so much in such a short timespan. It has definitely made me more aware of time management, an area which I think I could improve more in.

I also enjoyed that we completed this course in groups instead of individually, meaning that we not only learnt from the material provided, but also from each other. At times, the groupwork was advantageous, at other times, possibly adding more stress as we fight over ideas and final decisions, but then again, I guess this mimicks real life situations as well.

So, to that note, I believe this subject has allowed me to develop not only my design and technical skills, but has also provided a stepping stone for me into computational design; an area which I would definitely be interested to explore further in the future. “ - Annie

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THE END. [ 92 ]

_ THANK YOU FOR YOUR TIME.

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