Architecture Design Studio AIR by Audrey Tan

ARCHITECTURE DESIGN STUDIO AIR ABPL30048 SEMESTER 1 2013 AUDREY TAN 539919 TUTOR: GWYLL & ANGELA STUDIO 8

Introduction About Me 1 Case For Innovation Architecture As A Discourse 5 Computational Architecture 14 Parametric Modelling 17 Algorithmic Exploration 19 Conclusion 21 Learning Outcomes 22

CONTENTS

Design Approach Design Focus 26 Case Study 1.0 28 2.0 31 Technique: Development 33 Prototypes & Proposal 35 Algorithmic Sketches 40 Learning Outcomes & Objectives 41 Project Proposal Gateway Project: Design Concept 45 Tectonic Elements 45 Final Model 47 Algorithmic Sketches 49 Learning Outcomes & Objectives 57 References 61

I came into this course with little computer skills and no understanding of CAD or 3D modelling programs. I have always been passionate about hand drawing, often sketching and painting buildings and landscapes. During my 1st year in Melbourne University in 2011, the design subject Virtual Environments introduced me to one of the architectural programs: Rhino. It was tough trying to produce work at the start when I hardly knew any commands or functions. But slowly I began to enjoy working in the digital realm and the efficiency the program. Throughout 1st and 2nd year, I also developed other computer software skills such as Sketch Up, AutoCAD and Revit. Studio Air will be another opportunity to take on new software skill: Grasshopper. It will be a rewarding learning curve, understanding the integration and role of new technology in architecture, as well as how it changes architecture as we know it.

AUDREY TAN B.Envs 3rd Year MAJOR Architecture

ABOUT ME

PART A

CASE FOR INNOVATION

A.1

ARCHITECTURE AS A DISCOURSE

Architecture as a discourse, can be understood as a network tool to communicate, generate, represent, construct ideas - in both the built and social environment. Much of what we know and understand of our life, is based on what we see around us. The built environment plays a crucial part in shaping yet reflecting the social and cultural discourse. Architects holds the power and responsibility to harness this relationship between people and place, to create designs that benefits society. As global communication become increasingly accessible and widespread, the more interactive societies are becoming. Cultures from across the world are sharing and interacting. Then, is it possible that the architectural discourse is creating a universal architectural language, that may lead societies away from their own culture and traditions? Driven by today’s consumerism culture, people want the ‘newest’, most ‘cutting edge’ technology and designs. We are seeing a large amount of shiny, high-tech, modern buildings developed in a short amount of time. How can we engage in new technology, without discarding tradition? Can future architecture be modern and culturally identifyable at the same time? With the rise of modern technology, how does it affect the role of the architect? In Part A of Studio Air, I will research and analyze the issues currently debated in the discourse, from the balance and tension between modern and tradition, to the affect of technology in architecture.

Wang Shu recieved the Architecture Pritzker Prize in May 2012, for his work the Nimbo History Museum. This piece of architecture speaks of a deep understanding the architect has of his own country - his people and their history. The Museum was designed with thoughtful sympathy to the original use of the land, and respect for the traditional methods of building in China. It was received well by his people as well as the architecture society, deemed as innovative combination of new and old, identifiable with its environment and people. After the China’s cultural revolution, the surge in development began to affect the country’s culture, natural environment and way of life. Wang Shu foresaw the difficulties his people will experience and the challenges Chinese architecture will face. The need to catch up with the rest of the world had set off a rapid pace that offered no time for self development, in turn losing traditional architectural practices to western modern building methods.

“WE SHAPE OUR BUILDINGS; THEREAFTER THEY SHAPE US.” - WINSTON CHURCHILL

WANG SHU NIMBO HISTORY MUSEUM

image source: artfoundout.blogspot.com

“My favourite Chiniese tradition is to use common and natural building materials. This tradition should not be forgotten.” - Wang Shu

“TIMELESS, DEEPLY ROOTED IN ITS CONTEXT AND YET UNIVERSAL” - PRITZKER PRIZE JURY CHAIR, LORD PALUMBO

The Nimbo History Museum is a reminder of a lost culture. Wang’s two-part construction methods are not only innovative, but also highly in tune with tradition and the environment. Part 1 Wa Pian Qiang- clay tile wall. A mixture of stone, tile and brick fixed with cement to the wall, creating a natural texture, grain and colour, that sits harmoniously with the surrounding environment. Part 2 Zhu Tiao Mo Ban Hun Ni Tu A bamboo strip concrete mould is Wang Shu’s own invention, successfully mastered after years of experimentation with his fellow collegues. Wang Shu addresses the problem of his people’s perception of architecture, and what they see as ‘modern’. He explained in an interview that “in present day China, many people find it hard to accept materials that look old or even dirty.” An indication of how the architectural discourse is becoming widely influential, to the point of becoming a universal style that people deem a ‘must-have’ in order to be modern.

Wang’s design confronts this societal conformity, and identifies this as an issue that all developing nations will face - an issue of identity and cultural preservsation. The re-use of existing rubble on the site, creates a strong emotional element, that breaks through the public’s original doubt of the museum’s design. The materials used for the tile wall facade was actually salvaged from the rubble that once deserted the original site - the rubble left from the deconstruction of many villages that gave way to a modern Ningbo CBD. This act of re cycling gives a sense of purpose to the materials, instills an element of place, history and memory, Wang Shu offers the people of Ningbo a place of remembrance and identity. He reminds the people of China the beauty of their homeland. paying tribute to the craftsmanship and local landscapes. The museum is a piece of architecture that is globally recognized for its authentic design, innovative construction techniques and social contributions. Wang Shu asks us to question ourselves when we design for the future - how will ‘modernity’ affect our culture and identity?

image source: archinect.com image source: architecturelinked.com

KUWAIT INTERNATIONAL AIRPORT

“...a new environmental benchmark for airport buildings” - Forster & Partners

FORSTER + PARTNERS

7 image source: www.fosterandpartners.com

Similar to Wang Shu’s Ningbo Historic Museum, the Kuwait International Airport by Foster & Partners is simple in form but innovative in its design and construction process. The airport demonstrates the capabilities of new technology and its benefits in aiding environmentally responsive buildings. But it also shows how there is still room for the creative and cultural aspects that underpin a space. This design finds a harmonious balance between the new and the tradition. The airport design process heavily engaged in CAD programs and softwares. Through using computational methods, Foster & Partners were able to explore geometry and symmetry that became the basis of the design form. Through computational architecture, they were also able to accurately model complex topological issues, conduct studies and produce solutions.

An international airport being a frequently used place of interchange, the design needed to represent Kuwait - old and new. Thus the challenge of finding the right balance of ‘modern’ and ‘hightech’. Despite its major computational apprroach, the airport manages to resonate the local vernacular architecture in its grounded, sleek shape. Still culturallly identifiable, the design respects the traditional Kuwait, but welcomes the new future. I think this project has managed to find this delicate balance, between tradition and technology. It is a quiet celebration of the progress in modern architecture and its capacity to open up new design possibilities, without fore-going cultural roots. Technology will constantly grow and evolve. Architects can only design with the methods that are available to them in their time. However, the concepts behind designs should be understood and appreciate by all generations, contributing to the ongoing discourse, provovking thought and questions. Design should not strive to be ‘modern’, as ‘modern’ inevitably becomes outdated.

â&#x20AC;&#x153;IT IS NOW BECOMING POSSIBLE TO INCORPORATE THE TOPOLOGICAL CONSIDERATIONS OF DESIGN USING DIGITAL TOOLSâ&#x20AC;? - KRISTOFFER JOSEFSSON, SPECIALIST MODEL-

LING GROUP at FOSTER & PARTNERS

There is no doubt tradition and culture is important. It gives societies a sense of place and identity. However, the world is changing. Thus identities change and emerge. There is a need for technology to accomodate and manage this change approprietly - the growth in population, the changes in lifestyles and more importantly the changes in our natural environment and resources. Architecture holds a responsibility to strive for systems and buildings that are environmentally and socially beneficial. This puts much power in the hand of the architect. Our built environment both reflects history and leads discussions regarding future ideals. It is life as we know it, as well as the life we envision. With the rise of globalisation, the exchange of architectural ideas grows wider and more accessible. The discourse should continue to challenge us, question the intent behind every design, and question our architectural direction.

image source: www.fosterandpartners.com

THE SEROUSSI PAVILION PROJECT by Biothing

image source: www.biothing.org

A.2

COMPUTATIONAL ARCHITECTURE

The Digital Age introduces a new architectural discourse about the role of contemporary computer and fabrication technology. These new methods bring profound changes in architecture, from how architects think about form to how the form is constructed. It brings a whole new realm of possibilities and challenges to architectural practice. Digital technologies such as CAD (Computer Aided Design) allow more intelligent and responsive designs to evolve from experimentations, and to be realized through CAM (Computer Aided Manufacturing). Not only is the design process shifted, but Architects need to find forms and expressions that embody this revolution, which might not be so easy given the endless possibilities that digital technologies offer. Computer technology is changing the sequence of design approach, becoming more integrated in the design process and used even before the final form has been specified. Focusing less on representing a superficial external form or spatial distinction, but rather ulilizing the spatial interrelations as form-generating. A model that is dynamic, shifting and contextually responsive. The Seroussi Pavilion project by Biothing was a study on the movement of electro-magnetci fields, resulting a series of design prototypes based on probability. Although more like an art piece rather than an architecture project, the Pavilion demonstrates the digital process of form-finding based on relationships within a space.

Originating from patterns of electro-magnetic fields, the plan maps out the attraction-repulsion movements, creating interesting and organic shapes. The design parameters also included topoligcal adapations, in response to the different environment context. The series of prototypes were produced to show the ability to rewrite the digital script and explores theartistic possibilities. At first thought, digitally derived architecture brings to mind smooth shapes and the curvilinear forms. Indeed, these â&#x20AC;&#x2DC;blobbyâ&#x20AC;&#x2122; forms are becoming more present with the rise in advanced technology. However, modern architecture is moving futher away from the superficial external form or style, to a more functional focus on design. The aesthetics is secondary to the relationships and flow within the design space. This change is driven by the increasing capabilities of computer technology to map out and represent what was once not achievable - the intangible spatial conditions. Computational methods enable a representation and fabrication of dynamic and unpredictable structures, constantly transforming and updating with its contextual influences. The journey of design moves away from a linear fashion: from the conceptualization of form, form making, to form construction. This is because digital media allows a far more complex and capable structure to be conceived, through a more integrated and interdisciplinary process of design. The digital model is cohesive package of the information required for making a building: information on design, analysis, fabrication and construction.

image source: www.biothing.org

THE PRIZMA BUILDING,

BUDVA MONTENEGRO

by Biothing

“A CLASS OF HIGHLY PARALLEL EVOLUTIONARY, ADAPTIVE SEARCH PROCEDURES” - JOHN FRAZER In parametric design, the geometry of the design is determinable by the given values and equation - all of which are changeable, which means the geometry continually morphs. This initially caused concern to think that a design result can be achieved by just plotting in some values, with no thought to the expression. True, as mentioned before, the external aesthetics of design is becoming secondary in architecture. However, the optimum form can be determined through inputting the associative values of influencing factors such as the environment and the socio-economic context. Hence, generative design is used to find and describe relationships and ultimately the most functional design. The Prizma Building in Budva Montenegro (shown in pictures on the RIGHT) by BIOTHING, is an example of environmentally-responsive architecture explored through digital technology. A residential apartment building with a highly dynamic tectonic facade, itis designed to make most of the surrounding environment and elements. Rich in angles and geometries, the location and direction of each window and terrace are all different, algorithmically derived to obtain to best views and exposure to sunlight. Each apartment is individually unique. As sustainability grows more in priority in society and especially the building industry, digitally based architecture has great potential to drive change for sustainable buildings and cities. Digital techniques that considers quantitative and qualitative aspects of a design, and selects the optimum solution through performance based experiments.

This approach can be described as almost evolutionary. According to John Frazer, buildings designs should parallel with the concept of ‘survival of the fittest’. The development and evolution of a building is a set a codes, much like DNA, and this forms a database of instructions that can be altered to create the most successful design solution. This design process is the genetic algorithm approach to architecture. Frazer states that it is “a class of highly parallel evolutionary, adaptive search procedures”. So, does this mean advanced architecture is at the same time organic? Nature always provides the best ideas that combine efficiency and deceivingsimplicity. Perhaps, we are finally reaching a level of technology that is capable of understanding and replicating the principles of nature. Where does this put the role of the architect? Do we just pick and choose the most aesthetically pleasing from the output of prototypes? We are seeing an increasing capacity in technology to take on more complex tasks that are unmanageable by humans, will architecture grow into a stream of Artificial Intelligence? Digital technology is leading us in a discourse about the possibilities of architecture, architecture that is intelligent and adaptable to changing factors and environmental context. Innovative architecture that is changing with the course of technology and society and maybe one step ahead.

SKYLINK BRIDGE,

FRANKFURT GERMANY By Legfield & Wilisch, Bollinger & Grohmann Enigneers

TEMPORARY ART PAVILION SALZBURG

By soma Architects

images source: www.soma-architecture.com 19

A.3

PARAMETRIC MODELLING

Parametric modelling is a revolutionary design tool that allows a more computational approach and control over the design form, that is based on a finite set of algorithmic instructions. A tool that aids form generation and performance research, addressing both the asesthetics and funtionality of the design. Parametric modeling widens the range of possible design solutions, by being able to efficiently solve complex computational and contextual problems. It has the power to deduce the best design solutions from large quantities of iterations. With the integration of performance based analysis, designs can be evaluated, modified and re-evaluated. It is a tool that allows the designer to explore the widest scope of concepts, then narrow down to best solutions based on performance evaluation and optimisation. An example of parametric design is the Skylink bridge in Germany, which links Frankfurt Airport with a 300m distant carpark. Designed by Legfield & Wilisch with Bollinger & Grohmann Engineers, the Skylink is composed of a complex and random arrangement of trusswork throughout the bridge. Parametric modelling is used to calculate the best arrangement, angle and placement of trusses, given the cost of joinery and strength constraints of the steel. The scope of variants were large, roughly 200,000 different layouts were experimented. The Temporary Art Pavilion in Salzburg 2011, by soma Architecture and Bollinger + Grhmann Engineers, also adopts the parametric modelling their design procress. A mobile pavilion constructed of oscillating aluminium rods, intersecting and layering in a seemingly rangdom configuration. The mass of individual rod formation is dependant on the angle of inclination with neighbouring rods and the load placement throughout the structure.

The parameterisation of the geometry was constructed in Grasshopper, that offered various solutions that considers the aesthetics, structural integrity and performance quality. As more emerging computer technology integrates with architectural design, architectural discourse should continually critique and evaluate new design tools such as parametric modeling. To use it to its full potential, designers should understand its weaknesses as well as its strengths. It is important not to mistake the resultant architecture of computational methods as a new form of architecture, or a new emerging style. It is merely an additional design tool, though a powerful one. And though it offers a new realm of forms and possibilities, it is not limitless. Parametric modeling aids form generation, however, there needs to be design direction before parametric exploration. It requires the architect to write the script to level of detail that can then be explored and iterated. Therefore, despite increasing advance technologies infiltrating the design process, the architect still remains very much the driving force behind the overall design intent. Scripting also raises issues within the collaborative design team, without the author of the algorithm, it is hard to share parametric models, a problem that my I may face later in this course when working with groups. Parametric modeling would be an exciting design tool for the Wyndham Gateway Project, as it represents the capacity and advances in architecture. It is an opportunity to create more interesting and complex forms, dynamic and innovative designs that are highly functional and context responsive and adaptable. It marks a promise to a future of designs that can support and facilitate increasingly complex and connected conditions. A tool that increases exploration and understanding, greater precision and ease of application.

A.4

ALGORITHMIC EXPLORATIONS Here are some of the more successful algorithmic explorations done in Grasshopper and Rhino. FIG 01 - A study of iterations, the lofted forms shows the speed of producing and transforming a geometry, by simply altering curve points.

FIG 02 - A brief exploration on how points create curves, which forms a surface. The images shows the process and the reversal of the steps. FIG 03 - A patterning algorithm, useful for creating patterns efficiently. The image demonstrates a gradient pattern using hexagons on a square grid base. This pattern making method can also be re written to form pat terns that is deduced from a reference image. The power with working with algorithmic scripts, is the ability to revisit previous explorations and iterations, and the efficiency in producing and replicating models. It also demonstrates the capacity to hold a great amount of information and data, like a storage space for design values, always available to the design for evauluation and reconfiguration. However, it was also apparant that a design direction was required in order to create the algorithms. Furthermore, sharing of the scripts amongst design teams would be complicated for those who did not understandthe program well.

FIG 01

FIG 02

FIG 03

A.5

CONCLUSION

Advancement in technology is aiding architecture to reach new potentials, creating more innovation and capable designs. Methods such as parametric modeling allows for more creative geometries, greater understanding of design performance, increased intergration of different disciplines during the design process and higher precision and speed in fabrication and construction. Computation techniques has maximised architecural innovation, from form generation and fabrication to material and performance optimisation. There is a sense of growth in architecture. Something about the emerging forms that is created by the new technologies, that seems almost organic - much like Greg Lynnâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;blobitectureâ&#x20AC;&#x2122;.

Building systems are becoming more intelligent and dynamic. Similar to natural systems, buildings and space are increasingly adaptive and responsive to its environment and people, making it unique to its site. Maybe this new method of design is the key to sustainable cities - a sustainable future that can support life for generations to come. It marks an exciting step, for the Wyndham Gateway Project, as well as architecture, as it represents an optimistic future and its possibilities of a community, a society and an era. Not only does it bring many benefits, it also contributes to the architectural discourse, challenging the fundamental questions of design. Like the Industrial Revolution, we are at another movement of change - the Information Revolution. Another leap in technology, another leap in society.

A.6

LEARNING OUTCOMES

Before starting this course at Melbourne University, my concept of architecture was shamefully shallow. I thought it was just about physical buildings, loads and materials. This idea has changed a great deal during the little time I’ve been exposed to the architectural realm. I now see architecture not just for its structure and tangible values, but also the intangible, such as it’s effects and impacts on society. Architecture represents history, culture, values and ideas. We construct what we envision our world to be and in turn we are shaped by our built environment. This perpetual cause-effect dynamic is the root of the architectural discourse. We are constantly evaluating and re-evaluating our understanding of the world. With this new understanding, I walk through the city with a better appreciation. After the research and explorations done in Part A of this project, I have a bit more understanding of the role of computer technology in architecture and how it is being integrated into the design process. Working with 3D modelling tools, such as Rhino and Grasshopper has certainly changed the way I think about form and space, as well as how I approach a design task - next being the Wyndham Gateway Project.

Creating a form based on spatial qualities, material properties and relationships is completely new to me. Before this subject, I would had no concept of how these intangible values can be represented or explored. Knowing this now, I am keen to explore and experiment further with parametric modeling in the Wyndham Gateway Project. However I am aware of the limits and weaknesses in such methods. For example, the issue of sharing parametric models between designers, or the need to have a design direction in order to write the algorithmic script. The most important point I’ve learnt from Part A is the difference between Computerization and Computation, architecture that is enabled versus architecture that is driven by computer technology. It is no question that modern technology has influenced architecture, in terms of style and method. But it only serves as a tool that aids design, an instrument that amplifies our abilties and enhances the designer’s creativity. Therefore as architects, I think we should always be up to date with the latest and best technology. This way we possess the most resourceful toolbox that supports the freedom of creativity.

PART B

DESIGN APPROACH

B.1

DESIGN FOCUS: Recursion

After forming a group with 2 other students, our focus turned to the possible design methods we could use for the Wyndham City Gateway design. We want to create a design that attracts people to Wyndham City, or give travellers something different to remember the City by, a memorable experience. To generate public interest to this new project, the team decided to create an imaginative back story to the design brief. The Wyndham City Gateway will be named ‘The Rabbit Hole’, after the children’s fiction ‘Alice in Wonderland’. The aim is to produce a threshold into the City, that evokes a sense of absurdity and hallucination to the travellers. It serves as a space in time that transports people from one place to another, to Wyndham City, a place of curiosity and wonder. So, now the task is to experiment with a design technique capable of achieving that ‘wow’ factor in our design, to replicate the same experiential qualities Alice underwent as she tumbled down the Rabbit Hole. Our areas of interest revolve around the themes of:

We began exploring the method of Recursion, which is the process of making iterations in a sequence that produces output in relation to its preceding version. After researching precendents that used this design technique, such as The Morning Line by Aranda Lasche and Yayoi Kusama’s mirror installations (explained later in the journal), we thought this would be an interesting and relevant design technique to explore and experiment with. Reflective iteration also brought to mind the role of architecture in our lives. First, how we design is always derived from previous methods, or is a reaction to the predecessors. Each movement of architecture is in some way related to its previous era. Secondly, the world as we know it is intrinsically based on the physical environment. And in turn as architects, we build according to what we know and understand of our built world. It is an ongoing loop, that recycles ideas and concepts. And only the ideas that transcend time (cycles) are deemed universal and timeless.

visual paradox and visual deception space and depth recursion and infinity

THE MORNING LINE By Aranda Lasche

image source: flickr.com

B.2

CASE STUDY I: The Morning Line Algorithm

Recursive algorithm is an expression where each terms incorporates the seed value of its preceding term. It describes the next term of a sequence in relation to its preceding term. The team thought it to be an interesting technique that might produce in some interesting designs that embodies the ideas of continual growth and limitless generation, the theme of a closed loop. At first, recursive algorithms brought to mind maths and equations, where the resultant design is formed from a set of codes with less regard to design. However, after some research on Aranda Lasche’s work, a whole new understanding and view on codes dawned on us. Lasche’s works demonstrates how vast the possibilities can be with design through rules and codes. Lasche’s work revolves around his fascination in the natural order of things, the hidden codes of nature - such as the golden ratio- form the fundamental universal rule by which life abides by. Rather than generating designs that replicates natural form or function, Aranda Lasche tries to develop design ‘tools’ that has the same concept or technique that is seen in the natural world. Order, rules, instructions are all instilled into our way of life. Lasche is interested in this fundamental order, and through parametric and algorithmic techniques, he creates design scripts which leads to exciting and unpredictable forms - forms that can express the relationship within a space, much like Greg Lynn’s ‘blobitecture’.

This sequence of technique before form generation contributes to the discourse on digital architecture, the role of parametric modelling in the design process - thanks to the growing digital technologies, architects can better investigate and represent the relationships within the space, as opposed to the formal distinctions of a space. The Morning Line is an installion-pavilion created for the Contemporary Art Biennial of Seville, based on the geometry of a truncated tetrahedron. The structure is made out of laser cut aluminium, coated with aggregated epoxy paint. This project was an exploration into a code for growth, whereby the tetrahedron geometry forms iterations in a recursive manner, creating copies in 4 different scales. It creates an architectural language that combines structure with content, static with dynamism and decomposition with composition. Due to this self-referential algorithm, the installation is capable of being put together in different ways, a script that is dynamic and offers freedom in the design to conform to a site or brief appropriately, without straying from the design intention. It has a systematic approach in its generation of form, that leads to the endless variation in its configuration.

image source: flickr.com

Our team explored The Morning Line algorithm, hoping to find elements of the technique that was relevant or useful to our design intention. We found that the script runs the same code over and over again, using some part of the output algorithm into the input of the new algorithm. The script made endless iterations of the starting geometry (truncated tetrhedron), with no changes except in its scale. We produced a matrix of the different results (see Figure 1) after changing numerical inputs in Grasshopper. Most of the changes occured in the geometric principles (number of sides and vertices), each aggregation of geometries vary in its three dimensional arrangment. The different variations were surprisingly beautiful. It leads back to Lasche’s idea of code and order. Just like how a snowflake is individually unique and

still abides by the rule of six; the matrix too demonstrates the capacity for variation within one script. Figure 1 is showing a second series of ‘mutations’ that are derived from the first series. We ran the recursive algorithm with the 5 most interesting geometries from the first series, and created an array of complex configurations. The X axis represents the number of sides of the shape (from previous series), and the Y axis represents the scale. The complexity of the confirguration of iterations in one output is far greater than what is shown in Figure 3, which is only viewed from the top. The next stage is to explore the different possible ways of presenting these geometries, to use an algorithm to layout the shapes in organized (or spontaneous) configuration.

FIGURE 1. Matrix exploration of numerical changes in The Morning Line algorithm. Iterations were made from 5 basic geometries achieved from the first trial (shown on the top row). Running the algorithm the second time round produced more elaborate configurations of geometries

30 33

B.3

CASE STUDY II: The water cube

The National Swimming Centre of China, aka The Water Cube was built in preparation for the Beijing Olympics in 2008. We thought this building was an interesting precedent to attempt the reversal engineering, as it shows certain qualities that our design aimed to achieve. Water as its theme, the building structure imitates the fractal patterns of bubble formation. As though the whole building is a box full of soap bubbles. We liked it use of parametric methods to represent the its design theme through the structural expression. Simple but effective, a technique we hope to achieve in our design process.

The building also had an element of public interaction. The water molecules are able to change colour according to its usersâ&#x20AC;&#x2122; moods and seasonal fluctuations. This dynamism through user input may be interesting to incorporate into our Gateway design, to create greater visual effect and public curiosity. How we approached the reverse engineer: We began by creating a box through a set of control points. Then forming voronoi meshes on each of its six sides. To give it dimensionality, the mesh was offsetted. The matrix (see Figure 2) shows the changes in the thickness of offset, piping, the number of cells and morph cells.

image source: beijingwatercube.com

Curve Offset

Piping

Cell Size

Box Morph

FIGURE 2. Matrix of results achieved through reversive engineering, investigating the parametric approach in the Water Cube Project for the 2008 Beijing Olympic Games.

B.4

TECHNIQUE DEVELOPMENT

Leading on from the Morning Line algorithm experiment, we concluded that it was not fitting our design requirement, in terms of the resultant form. The iterations only occured in the spatial designation of the repeating forms. So we attempted to another recursive script which generated a geometry that is easier to fabricate. The aim was to find a form that can be placed in front of a panel of mirrors, to be repeated in the reflection. A geometry that is interesting and demonstrates the fundamental concept of recursion. The matrix on the right shows a series of results using the Fractal Patterns algorithm. It is a much simpler script which uses ‘clusters’ to repeat an algorithm numerous times, with the same set of inputs. So we began with the starting algorithm. Set two curves: first curve as starting curve and the second curve to be repeated via ‘PerpFrame’, with the

changing factors:‘Rotate’, ‘Orient’ and ‘Scale’. This forms one ‘Cluster’, which is then repeated, form ing a series of clusters using the one set of inputs. The resulting geometry is quite simple: a fold-out of circles (curves), pivoting on one point. Settling on one version from the matrix collection, we used it for further skin and structural explorations. We experimented with lofting the resultant curves, dividing curves to produce points, and using the points to create meshes. We created a clam-like form, that repeats itself in a unfurling motion. This was done through lofting the outer curve to the inner curve from the previous plane. The resultant geometry resembles something quite orgnanic, and holds a sense of movement through its repetition.

FIGURE 3. A series of explorations using â&#x20AC;&#x2DC;clustersâ&#x20AC;&#x2122; in Grasshopper, that creates a recursive algorithm.

B.5 & 6

image source: Sherry Ng

TECHNIQUE PROTOTYPES & PROPOSAL PRECEDENTS OF RECURSIVE TECHNIQUE: ARANDA LASCH YAYOI KUSAMA

I. CREATE A GEOMETRY THAT FORMS THE BASE FOR ITERATION.

TWO PART APPROACH

II. CREATE ITERATIONS OF THE GEOMETRY THROUGH MIRROR REFLECTIONS.

AIM: THE SENSE OF DEPTH AND SPACE, INFINITY AND RECURSION, VISUAL PARADOX AND HALLUCINATION

The next step was making a physical model of the preliminary form. The Rhino model proved to be difficult to make once fabricated. We experimented with a number of materials, plywood, and different card thicknesses. The first trial indicated that we need to revisit Rhino and make a number of changes to allow each ‘clam’ structure to stand properly in its position. We also found inspiration from an artist, whose bizzare art installations gave us another approach to the theme of recursion - the use of reflection recursion.(see next page) Yayoi Kusama is a Japanse artist with an fascination for dots and its ability to create space and depth. 35

She uses methods such as repetition and reflection to create an almost obsessive illusion that goes on forever. We found Yayoi’s work to be quite qurirky and absurb, but her mirror technique is quite relevant to own design direction. The carefully planned placement of dots in relation to mirrors create reflections in angle or lines that generates a visual paradox: an illusion of a space or depth that is not real. The team agreed to incorporate the use of mirrors, to enhance the sense of depth that can be created in recursion. So we developed a two-part approach to our design.

FIGURE 4. Views of the Preliminary form in Rhino

FIGURE 5. The fabrication file of the Rhino model. 36

FIGURE 6. Different possible orientation, position and layout of the mirrors on site, to create different rescursive effects through its reflections 37

INFINITY MIRROR ROOM By Yayoi Kusama

image source: Lucy Dawkins Tate Photography

The main source of inspiration for the use of mirrors comes from Yayoi Kusama’s Mirror Room of Infinity. An art installation that uses visual deception, transforming a small room into horizons of space, glittering with red, blue, white and green lights. The key to her illusion is the crucial orientation of the mirror planes. The Mirror Room is actually hexagonal shaped, undetectable by the audience of in the photos. We were really intrigued with this technique, so we began testing our model with mirrors to see the possible effects (see Figure 7). We explored ways of reflecting, playing with the angles of mirrors and to produce the most interesting reflections. From the various configuration of mirror angles, we found the most effective result came from the basic parallel layout, where 2 mirrors face each other plane to plane. Placing panels of mirros, oriented towards each other and on either side of the highway forms the threshold. People will travel through this passage of mirrors, the space immediately expands and this sense of depth is aided by the sculptures on the site, strategically placed to be iterated through the layers of reflections. Just as Yayoi Kusama used dots, we are using these mini sculptures to give an empty space definition and dimension.

Considering the effect from the traveller’s point of view in a moving vehicle, the element of speed adds a dynamism to the still scultpures. Space, light and movement. Together they create a moment of illusion, blurring the boundary between physical space (real) and the infinite space (virtual). So our two parts technique is aimed to create a hallucinatory experience through visual illusions, as though on a hypnotic journey down the rabbit hole. We want Wyndham’s Gateway to embody the willingness to embrace future technology through the use of parametric design, a forwardness of the society that had the capacity and potential for innovations and change. Futhermore, we want our design to tell a story of adventure and imagination, that will attract people with a non-conventional ‘shock value’ tactic.

B.7

ALGORITHMIC SKETCHES

Graph Controllers

Evaluating Fields

B.7

ALGORITHMIC SKETCHES

Point Charge

A crucial part of the development of our design is the exploration in Grasshopper. With the help of online tutorials and discussion forums, we were able to better understand the principles of computational design. And this brief familiarization contributes to our argument for the Wyndham City design, that it signals a societyâ&#x20AC;&#x2122;s capacity for change and advances and a readiness to embrace technological innovations which aids the progression of, not just architecture, but in all aspects of life. 40

B. 8

LEARNING OUTCOMES

After a mid-semester presentation to our tutors, the feedback we received helped the team re-evaluate our approach and consider other ways of achieving the main design effect of The Rabbit Hole. The next few things to consider are: The placement of The Rabbit Hole on the site. Where would it go? How much distance would it cover? Will it flank the highway entering Wyndham City, or exiting? Or both? And how will the existing topography of the site influence the placement of scultures in relation to the mirrors. The Preliminary Model will need to be explored further, to allow an easier fabrication. Also, take into consideration the materiality and scale of the mini sculptures.

How will certain materials enhance its visibilitiy on location. And should we keep the scale of all scultures the same, or different? Research Greg Lynnâ&#x20AC;&#x2122;s Korean Presbyterian Church in New York. Use this architecture as a precedent for further mutation in our Preliminary Form. And experiment with the use of light in The Rabbit Hole. Because our design consists of a number of smaller objects (instead of one main scultpural piece), it will lose its presence at night when visibility decreases. Thus the need to include the use of lights. Not only does it solve the problem of night visibility, but it may also create more interesting visual effects.

PART C

PROJECT PROPOSAL

C .1 & 2

GATEWAY PROJECT: Design Concept & Tectonic Elements

After the mid semester presentation, we further developed our design with the feedback received from the jury. It was mentioned that our form for the mini sculptures were too simple, and did not embody the idea of recursion enough. And furthermore, using mirrors with a one way aim to reflect would definitely be too simple - resulting in an almost billboard function or effect. So the next steps were: 1. Further explore the form generation within grasshopper, 2. Consider the possible ways of incor porating reflection on site, in relation to the mini sculptures We returned to our previous reverse engineering task, and used the same voronoi function as a method of determining placement of mirrors on site. From a 3D box of voronois, a number of connecting prisms were selected and extracted. Then, the cluster of prisms are exploded, which gives a random arrangement of modules that can be placed

FIGURE 7. Steps in creating scattered voronoi prisms.

on the site. We decided to directly use the given shape of the prisms, and having its whole exterior in a highly reflective metal compound - for instance high polished steel. This would act as a mirror for the mini sculptures on site. The points of contact between each prism before they were separately acts as the parallel, plane-facing mirrors, where the sculpture would be placed in between. These two perpendicular planes are marked in Figure 8 in red, with its matching plane connected by a line. Intersecting at these red lines are the sculpture. During this process, we needed to change the positions of each prism, in order to sit well with the site topography and existing features - such as the highway that runs through the land. From the previous mirror experiments, itâ&#x20AC;&#x2122;s important to note that the plane of the iterating sides must be perpendicular to the ground, to ensure the best angles for the reflection iterations to be produced.

FIGURE 8. Diagram of prism connections on site, intersecting with the mini sculptures that’s to be reflected, creating ‘moments’ of recursion at specific points.

FIGURE 9. Diagram of the prisms (filled dot) and sculptures (circled dot) on site, marking out the recursive reflections.

C.3

GATEWAY PROJECT: Final Model

We continued to generate possible forms with the mini recursion sculptures in grasshopper, experimenting with attractor points, mesh manipulations, lofting curves and surface patterning. We wanted to settle on a form that was also easy to fabricate, transport and put together. So in the end, we decided to stick with the circle motif that’s been reoccuring in this model, representative of the theme of recursion, loops and cycles. We used a web of connecting rings for each ‘fold’. The size of rings increases in each sequential ‘fold’. The resulting form is a far more complex form, the arrangement of circular rings gives a greater depth and tactility than the planar folds from the previous version. The arrangment of circle also reflects the design theory seen in Yayoi Kusama’s work: that circles are a universal shape. It remains the same at every scale and angle one views it in - a recursive consistancy. Although our form doesn’t demonstrate this universality in viewing angles, it does evoke a sense of repetition and optical illusion. Especially from a distance, the unfurling ‘folded’ of rings create a strange little spot of curiosity, that repeats itself through the mirroring prisms on either side.

We believe that our technique is a simple but highly effective. The design is not structurally significant or large in scale. It relies on its experiential qualities to create interest amongst the passing travellers. With cares travelling at such a high speed down the highway, commuters can only catch glimpses of these ‘moments’ of endless reflections. These short flashes will hopfeully create public interest, inviting them to stop by and actually visit the site in person. This curiousity will generate discourse, and hopefully propel Wyndham City to the forefront, attracting people and growth to the place. Although the Rabbit Hole narrates a whimsical children’s story, the theme and design technique of recursion speaks of a much deeper message: that every change, era, movement in society is essentially a product or reaction to its predecessor. The architectural discourse is a closed loop, forever recycling ideas and concepts. It is a way of moving forward without foregoing history and identity.

C.4

Algorithmic Sketches

C.5

Learning Objectives and Outcomes By utilizing computation design techniques for the Western Gateway Design Project, ideas of iconic gateway can be established from the beginning through to fabrication. Parametric technology can also be used as a system of assembly. With parametric design, it is very easy for one to take something existing and change come constraints and achieve a solution. However, that will never be an ideal to oneâ&#x20AC;&#x2122;s specific problem. When looking through problems to solve, oned needs to be able to identify key factors and operators which is characteristic of the problem. Most real world problems have too many factors to consider in one solution, so in terms of design, the factors and operators are defined accordingly with the given brief. Programs like Grasshopper, can allow for a visualisation of these factors, operators and constraints, but also produces an outcome. These outcomes can also be optimised through ways of organizing how the program reads input data through operation and outputs it produces to the desired result of the users. This allows for multiple solutions to the one problem, each of which can be further explored and developed. This research project shows ways in which grasshopper can generate different outcomes in a quick amount of time. Attempting the reverse engineering of the Water cube design, allowed an integration of the skills learnt thus far, and to apply and combine different grasshopper definitions to create the desired effect.

To design with the aid of computation programs like Grasshopper, has had a big influencce on how oneself can think about designing. However, the time frame to do this is, plus also juggle other subjects and commitments, contribute to the lack of explorations. Being able to engage in these programs at an early stage of education opens many avenues for exploration and experimentation. Like the first project shown in this journal, there was always intent to design with such tools, but because of the lack of knowledge and exposure, one can only produce work of a certain quality. Initially, the thought of scripting algorithms to drive the form finding process was on top of the list to achieve. Having no knowledge of the compuater jargon necessary, it soon became apparent that producing such works was out of reach in the time frame that we had. I found that being able to read the data output from the Grasshopper component became important as this would allow one to easily manipulate it to suit the design. Then being able to manipulate the data became a challenge in itself. This studio has been a big challenge, not just the workload, but being able to manage group dynamics. Too often when critical decisions had to be compromised due to the absence or lack of third party.

To not continue using computation in design would be a step backwards, as computational architecture is becoming more and more sought after, as a skill set within the industry. Being able to apply these tools with a certain level of judgement is critical in how one is able to select an outcome to further develop. Learning to script is definitely a future goal, and also further research into the philosophy of parametric design and how it is changing the current paradigm of design.

REFERENCES

Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), Yehuda E. Kalay, ‘Architecture’s New Media : Principles, Theories, and Methods of ComputerAided Design’ (Cambridge, Mass.: MIT Press, 2004),

PART A.1

Jubani Pallasmaa, ‘Newness, Tradition and Identity: Existential Conent and Meaning in Architecture’ (Architectural Design p14-21, May 2012) Kristoffer Josefsson, May 2012, ‘Symmetry as Geometry: Kuwait International Airport’ (Architectural Design Mar/Apr 2013, p28-31 Ed, Vol 83 Issue 2) Edward Denison and Guang Yu Ren, May 2012, ‘The Reluctant Architect: An Interview with Wang Shu of Amateur Architects Studio’(Architectural Design Nov/Dec 2012 Ed, p 122–129, Vol 82 Issue 6) Kuwait International Airport, Fosters and Partners <www.fosterandpartners.com>

Kolarevic, Branko, ‘Architecture in the Digital Age: Design and Manufacturing’ (New York; London: Spon Press, 2003), Yehuda E. Kalay, ‘Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, Mass.: MIT Press, 2004),

PART A.2

Antonio Pacheco, Nov 2012, PRIZMA High Density Urban Housing in Montenegr/Biothing, eVolo, < http://www.evolo.us/architecture/prizma-high-density-urban-housing-in-montenegro-bi othing/> SEROUSSI PAVILLION/PARIS 2007, Biothing|Respository of Computiation Design, March 2010, < http://www.biothing.org/?cat=5> PRIZMA/BUDVA MONTENEGRO, Biothing|Respository of Computiation Design, March 2010, < http://www.biothing.org/?cat=26> Seroussi Pavilion, Ezio Blasetti.net, < http://portfolio.ezioblasetti.net/Seroussi-Pavillion>

Vague Formation, soma, < http://www.soma-architecture.com/index.php?page=vague_formation&parent=2> MUSIC PAVILION – SALZBURG BIENNALE 2011, KARAMBA3D, < http://www.karamba3d. com/music-pavilion-salzburg-biennale-2011/>

PART A.3

SKYLINK SQUAIRE METRO, KARAMBA3D, <http://www.karamba3d.com/skylink-squaire-metro/> Clemens Preisinger, ‘Linking structure and parametric geometry’, (Architectural Design Mar/ Apr 2013 Ed, p110-113, Vol 83 Issue 2) Jeroen Zuidgeest, Sanne Van Der Burgh and Bas Kalmeyer, ‘Planning by Parameter’, (Architectural Design Mar/Apr 2013 Ed, p92-95, Vol 83 Issue 2)

Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line CAAC, Seville Thyssen-Bornemisza Art Contemporary, accessed 12 April 2013 <http://www.tba21.org/pavilions/49/page_2?category=pavilions>

PART B

Clarke, Nick , Aranda/Lasch ICON 066 | December 2008, accessed 12 April 2013 <http://www.iconeye.com/read-previous-issues/icon-066-%7C-decem ber-2008/aranda/lasch> Holmes, Kevin, Making The Mundane Cosmic: Meet Modular Designers Aranda\Lasch Mar 14 2013, accessed 12 April 2013 <http://thecreatorsproject.vice.com/blog/making-the-mundane-cos mic-meet-modular-designers-arandalasch> McGuirk, Justin, Aranda/ Lasch: Cracking architecture’s code ICON 056 | February 2008, acessed 19 acessed April 2013 <http://www.iconeye.com/read-previous-issues/icon-056-%7C- february-2008/aranda/-lasch-cracking-architectures-code>