D E S I G N
ABPL30048 Rebecca Warren 388103
S T U D I O A I R
Initial Project Selection
Form Finding as an Architectural Discourse
Studley Park Boathouse, Semester 2, 2011 Design Studio: Water
Headpiece, Semester 1, 2010 Virtual Envrionments Initially I chose my design studio water project and focused on the design rather than how it may be advancing architectural discourse. Certain design features were highlighted, this included: the iconic nature of the cantilevered design, its materiality, how it integrates into the natural landscape and how it utilises space. Relevant precedents were then identified such as the cantilevered Johnson Wax Research Tower (Frank Lloyd Wright) and the spacious twin Petronas Towers (Cesar Pelli). However, these were used to reinforce the design concept behind my project. Thus, no architectural discourse was really addressed.
Modern Art Museum of Fort Worth, 2002 Tadao Ando Texas, USA One contemporary project I looked at was the Modern Art Museum of Fort Worth. Again I predominantly identified design features with much focus being on its simple construction. To some degree this precedent could be used to address the architectural discourse of form finding which I intend to explore in depth. Unlike most contemporary buildings the Modern Art Museum of Fort Worth explores the use of simplistic, euclidean forms. With its glass box-like units supported by ‘Y’ shaped columns overlooking a water feature. This type of form finding goes against the present day norm with much of the architectural discourse surrounding this topic heading towards dynamic, non-euclidean forms where new geometries are being explored. Regardless of this fact Tadao Ando chose to go against this notion, yet has been successful in creating an eye catching piece. This raises the point that sometimes more complicated is not always better. When considering the expression of interest (EOI) it will be important to ascertain what the design is trying to convey as this will have a bearing on the final form.
In this particular project I explored asymmetry and undulating surfaces. This lead to the formation of a rather dynamic headpiece as shown below. Form finding was an inherent part of this project, with the design itself requiring numerous modifications. By using the program Sketch-Up it was possible to explore the different geometries that made up the digital model and manipulate them as required. Furthermore, it shows how tessellated surfaces can be utilised to produce a curved structure. With the introduction of 3D modeling programs the realisation of curvilinear forms in present day architecture is becoming a reality. As technology becomes more sophisticated it can be expected that the architecture discourse of form finding will be further pushed to the forefront.
http://www.thecityreview.com/newarch.html
As illustrated by my project, it is possible to translate a more complex form from a digital model into a real-life construct. The applications of this design approach can therefore be utilised in the EOI to show how a dynamic, eye-catching form can be created.
Cattermole, Paul, Architectural Excellence 500 Iconic Buildings, Modern Art Museum of Fort Worth, 2008 pg 472
Form Finding as an Architectural Discourse
Advances in Computational Design Techniques Federation Square, 2002 Dan Bates and Peter Davidson Melbourne, Australia
http://melbournecurious.blogspot.com.au/2010/08/madamebrussels-interview-with-fabulous.html
Like my headpiece Federation Square is made up of several triangular pieces. By using a tessellated structure the architects and engineers involved have been able to explore different geometries which has resulted in these irregular shapes. Whilst it does not exhibit curvilinear features it does push the definition of architectural innovation. For example it combines different surface types and geometries through the use of uniformly sized triangles made out of various materials resulting in this unique collection of buildings. When considering the discourse of form finding it is clear that it should be inclusive of contemporary non-organic buildings such as Federation Square.
Guggenheim Bilbao, 1997 Frank Gehry Bilbao, Spain Nowadays architecture is exploring new forms that previously may have not be attainable due to the lack of computer modelling software. A good example of this is the Guggenheim Bilbao. Using a program called CAITA initially designed for modeling aeroplanes, it was possible to create these complex organic forms (Cattermole, 2008). Whilst the actual design itself is somewhat grotesque, you cannot help but be captivated by its irregular form. This innovative building is all about form finding as it demonstates a multitude of geometries, with much of it being experimental. Perhaps a more bold design such as Gehry’s could potentially be addressed in the EOI. Cattermole, Paul, Architectural Excellence 500 Iconic Buildings, Guggenheim Bilbao, 2008 pg 447
http://picasaweb.google.com/lh/photo/QqvUsR0Iy8I5BK5i7KtifQ http://www.interiordesign.net/article/475078-Outside_The_ White_Box.php
Wellington Airport International Terminal, The Rock, 2010 Studio Pacific Architecture Wellington, New Zealand The Rock exhibits unusual geometries both on the inside and outside of the building. This type of fabrication is made possible by the advent of 3D modelling software. For this particular project the design was developed with Revit software (Beca, 2012). This enabled the designers to work out the feasibility of the structure, and correct any problems prior to the construction process.
3D modelling software such as Revit has enabled the develop of more complex building designs such as the Rock. Typically these unusual curvilinear shapes are achieved by one of two methods. Firstly, there is the tessellated approach where individual triangles are put together to form a cohesive whole. With 3D modelling they can then be assembled in such a way to produce curved geometries. In the Rock’s interior this approach is utilised with the intention of creating a cave like experience. The next method that can be implemented is ruled surfaces which allows for double curved structures to be produced (Kolarevic, 2003). The 3D model is unfolded into flat two-dimensional sheets that can then be easily cut out of the desired construction material and assembled to form the finished product. This application of ruled surfaces can be observed on the exterior of the Rock.
Beca, The Rock - Wellington Airport’s Dramatic New Terminal, 2012 http://www.beca.com/projects/buildings/airports/the_rock.aspx#.T2qPZ9lIvwl http://architecturenow.co.nz/articles/wellington-airport-terminal/#img=1 Kolarvic, Branko, Architecture in the Digital Age: Design and Manufacturing (New Yor; London: Spon Press, 2003) pp. 44 http://respeak.net/articles/wellington-airport%27s-new-terminal http://www.studiopacific.co.nz/?sn=64&st=1
Advances in Computational Design Techniques Zlote Tarasy, 2007 Jerde Partnership Warsaw, Poland
Contemporary Scripting The Helix Bridge, 2007 Cox Architects Marina Bay, Singapore
http://www.arup.com/Projects/Zlote_Tarasy.aspx http://www.oasys-software.com/casestudies?id=17/
The roofing structures of the Zlote Tarasy and Southern Cross Station are composed entirely of triangular panels resulting in these dynamic, undulating surfaces. The exploration of such complicated geometries would not have been achievable without the necessary 3D computaitonal modelling software.
http://www.evolo.us/architecture/helix-bridge-in-singaporesmarina-bay-cox-rayner-architects/
The firm Arup designed Zlote Tarasy’s complex roof by using a sophisticated modelling program called GSA (Oasys, Zlote Tarasy, 2011). This allowed the engineers to determine the best roof structure needed to ensure the building’s structural integrity would be maintained. It also meant the feasibility of such a design could be realised. GSA enables users to explore more elaborate forms and determine the appropriate geometries needed for fabrication (Oasys, GSA Suite, 2011).
The overall design concept has been successfully conveyed. Looking at the design it would appear it initially started out as a series of circles and curves which were then developed further through direct manipulation and by applying scripting definitions. I think one part where the design intent is clearly expressed is in the even spacing between the steel members adjoining to the curved steel components. Furthermore, the bridge form captures the essence of a twisting motion that is associated with a DNA helix. This highlights the usefulness of a scripting program such as GC.
3D modelling was utilised throughout the design process of Southern Cross Station, this meant that any complex structural aspects could be readily resolved. Engineers from Winward Structures were involved in the project thus, it is most probable that building information modelling (BIM) was used (Winward Structures, 2012). A BIM model can provide a wealth of information including detailed information about structural components and key structural interactions (Australian Steel Institude, 2012).
Southern Cross Station, 2007 Grimshaw Architects Melbourne, Australia
As the name would suggest the Helix Bridge design was inspired by a DNA molecule. To achieve a bridge design that was representative of such an intricate molecule meant that a scripting program needed to be implemented during the design process. In this project GenerativeComponents (GC) was used (Bentley Communities, 2012). This allowed designers to experiment with more geometries resulting in an array of twisting steel members and glass panes that appear to curve around with the structure.
http://leisurenharmony.blogspot.com.au/2010/06/double-helixbridge-at-marina-bay.html
Bentley Communities, GenerativeComponents, Marina Bay Bridge, Singapore, 2012 http://ftp2.bentley.com/dist/collateral/docs/case_ studies/cs_marina_bayfront_pedestrian_bridge.pdf
Being such a curved structure makes the inclusion of a roof somewhat difficult and it has the potential to detract from the design itself. However, the Helix addresses this problem very well. Firstly, the roof follows the curvature of the steel members, thus making it inconspicuous. Secondly, blue coloured glass panes are used. This acts to put less emphasis on the roofing and it casts interesting reflections, making it more eye catching form. Each component has been cleverly integrated into the design which has been made possible by the use of scripting. http://grimshaw-architects.com/project/southern-cross-station/ http://elibrary.steel.org.au/shadomx/apps/fms/fmsdownload.cfm?file_uuid=0906A6D1-1E4F-17FA-CD0A-4F7 B68010F09&siteName=asi&CFID=1241123&CFTOKEN=83331992
Contemporary Scripting
Cut Definitions
Overlapping Circle Patterns
Looked at ways to alter the circle diameters. This involved duplicating domain, remap and slider components. When the sliders are moved dynamic overlapping circle patterns result.
http://www.evolo.us/architecture/helix-bridge-in-singapores-marina-bay-cox-rayner-architects/
To a certain extent the design is quite literal with its spiralling steel members spanning the bridge in a helical fashion. In saying that, it would appear that the design has perhaps evolved from the basic concept. This is achieved by combining two layers of spiralling steel members resulting in a dynamic tunnel-like structure. Whilst the actual composition of the structural elements is quite straight forward, it is the intertwining nature of the design that conveys this idea of complexity much like a DNA molecule. In regards to the EOI it would be advantageous to show how simple forms can be resolved into something more elaborate through the use of scripting. Another key aspect of the design is its blue lighting. It allows pedestrians to use the bridge at any time. It would appear that there is a blue colour theme associated with the helix. This could perhaps have something to do with the surrounding water. Blue lighting reflecting off the water surface has a calming effect and it most likely makes the walk across the bridge a much more enjoyable experience. It would seem that water features and lighting choices greatly influence night time ambience. This will need to be highlighted in the EOI.
It is also interesting to see that the bridge curves around. This probably acts to enhance the overall viewing experience and it also reinforces this idea of a continuity which can be observed along a DNA strand.
The addition of an extrusion component in the Z direction provided the circle patterns with three dimensional depth.
The only aspect of the design that I am not so sure about are the viewing platforms found along the sides of the bridge. There is no real cohesiveness with them and the main structure. Its almost like they were added to the design as an after thought. In my opinion Cox Architects have been successful in creating a unique structure evocative of a DNA helical form. It is apparent that GC scripting has enabled them to push the design envelope further. It is innovative and eye-catching piece that clearly conveys its design intent.
Our group is focusing on generative design therefore this task is highly relevant. We were able to experiment with different rules leading to a diverse range of geometrical forms. I mainly focused on the multiple functions definition. Using grasshopper I was able to manipulate the circle grid by applying various scripting rules. Through trial and error I was able to produce a series of planar and three dimensional shapes.
Circle Extrusion
These particular definitions illustrate the ease at a which simple shape such as a circle can be utilised to produce more abstract forms. A similar approach could therefore be utilised in the EOI.
Line and move components were introduced to the definition. This resulted in this undulating pattern. Using the sliders linked to the circle grid it is possible to alter the overall form.
Line Patterns
Initial Cut Definitions
Initial Cut Definitions
Using the arbitrary points definition I looked at ways to produce a form somewhat representative of the twisting action observed along the Helix Bridge. I added circles to the definition and utilised the perpendicular frames component to divide the circle. Using line and plane components I produced a spiralling form. The intention was then to connect the circle grid to the introduced object with a similar set of rules. However, I was unsuccessful in applying new rule that would reduce the number of Arbitrary Points on Circles lines generated. Everytime I completed the definition a complex network of joining lines arose.
Multiple Atrractor Points
Curve Attracters
With the addition of rotate axis components and the linking of the two multiple function defintions I was able to procure these curved forms. I also tried to add further rules allowing for other parts of the grid to be rotated in a similar manner, but I was unsuccessful. I found this shape to be quite interesting as from different viewpoints it appears to generate a new form altogether.
Rotate About Axes
Boolean Function
Polygon Output
Voronoi Pattern
Lofting Outputs
Using the line patterns defintion I implemented a polyline and loft component. This made it possible to create this dynamic surface. It shows how complex curvature can be achieved through scripting techniques.
Polylines and Lofting
Case Study: Hills Place
Case Study: Hills Place
Case Study: Hills Place
Case Study: Hills Place
Fabrication of Models
Fabrication of Models
EOI Argument
Ornamentation Precedents
Throughout history ornament has been used in architecture to reflect the cultural values of the time. It is a way for architecture to communicate with the wider public in an easily accessible manner. While the concept of ornament has altered throughout history, it has always embodied the values and ideals that define culture, and constructs symbolic meaning. Ornament creates buildings that are representational and socially and culturally reflective.
NOTRE DAME, VIOLLET-LE-DUC
HISTORICAL O Previous to th century decor was applied to in a fairly liter spread stories and increase a religion.
Previous to the twentieth century decorative ornament was applied to structures in a fairly literal manner to spread stories, create power, and increase awareness of religion. During the modernist movement in the twentieth century, interest was paid more closely to using the structure as ornament as opposed to applying extra decoration to the structure. Contemporary views on ornament in architecture have meant that ornament must serve a function, and has also become a component of the design intent, allowing for exciting and unexpected results. This contemporary ornamentation can be created through the use of generative, or bottom up design approach. Ornamentation as a design approach is relevant to the Wyndham Gateway projects because it will reflect social values, change cultural outlooks and create an influential and recognisable structure. Generative design is a bottom up approach to architecture, in which the parameters of the design are defined, as opposed the outcome. Consequently, infinite and unexpected possibilities can be created. Reviewing projects by companies such as Biothing and Kokkugia, it can be seen that a generative approach allows for a new perception of ornamentation that is complex, organic and exciting. As a relatively new discourse of architecture, a generative approach will not only produce an interesting and intricate structure, it will also be at the forefront of contemporary design, and hence a highly influential structure.
GENERATIVE ORNAMENT
GROUP MEMBERS: REBECCA WARREN, SAMANTHA MOFFLIN, DANIEL HAZMY REBECCA WARREN, DANIEL HAZMY, SAMANTHA MOFFLIN
HISTORICAL ORNAMENT Previous to the twentieth century decorative ornament was applied to structures in a fairly literal manner to spread stories, create power, and increase awareness of religion.
Ornamentation Precedents
Ornamentation Precedents
STEINER HOUSE, ADOLF LOOS
THE CUBE, ELECTROLUX
MODERNIST ORNAMENT The approach to ornament changed, with an emphasis on the structure of the design, as opposed to adding decoration.
MODERNIST ORNAMENT The approach to ornament changed, with an emphasis being on the structure elements of the design, as opposed to adding decoration.
CONTEMPORARY ORNAMENT Recently it has been necessary for ornament to have a function for it to be accepted. We are suggesting that in the future there will be a move away from this type of thinking. Ornament will be added in a purely decorative manner to create visual focal points in an urban fabric.
Generative Precedents
Generative Precedents
HAROLD COHEN
KOKKUGIA
GENERATIVE ART Generative design defines the parameters of the design as opposed to the outcome itself
GENERATIVE ARCHITECTURE Kokkugia employ generative design processed to create structures in which the decoration becomes the construct of their designs
Generative Precedents
Generative Precedents
FABWARE, BIOTHING
GUSTAV MEYER
GENERATIVE ARCHITECTURE Biothing create generative designs based on patterns found in nature. This particular example reminds me of dense greenery.
GENERATIVE ARCHITECTURE Gustav Meyer's project conveys this idea of space changing with time, it cleverly shows this progression.
Generative Precedents
Matrices Constraints Concentrating on these outcomes, we developed a matrix that explored these outcomes, using techniques such as attractor points, curve attractors, and image samplers. There is a direct aesthetic relationship between the matrix outcomes, and the projects that were studied.
JACKSON POLLOCK
1. LINEARITY
The complex arrangements that make up the generative precendents are all set out in a linear fashion
2. ORGANIC NOTIONS
There is a sense of fludity in all of the artworks that have been studied so far. All of the elements that make up these compositions appear to have a degree of curvature about them.
3. INTERSECTING LINES
The use of intersecting lines seems to be a key underlying feature in all of the selected generative artworks
4. POSITIVE/NEGATIVE SPACE
By using vibrant colours and overlapping abstract shapes the notion of positive and negative space is achieved. Unfortunately, within the constraints of the program employed, creating a truly generative design will not be possible. Studying generative ornamentation however, several linking qualities are common to all outcomes, regardless of specific approach. Hence, we have decided to concentrate on the qualities of the outcomes of generative design, and replicate these in as close a process as can be effectively implemented in Grasshopper. Analysing works by Harold Cohen, Biothing, Kokkugia, Gustav Meyer, and Jackson Pollock, six major similarities appear in their outcomes. These qualities are linearity, organic notions, intersecting lines, positive/negative space, dynamism/movement, and a bottom-up or generative approach.
5. DYNAMISM/MOVEMENT
Due to the complex nature of these arrangements a sense of movement is conveyed. One can even go further to say that this movement is experienced over time.
6. BOTTOM UP APPROACH
As expected all of the compositions follow a bottom up approach. This allows for unexpected outcomes typically associated with generative designs.
Matrices
Matrices
These particular matrices are exhibit some of the overlapping qualities that seem to be inherent to generative design as illustrated by all the of generative precedent examples. Therefore, they are a good starting point for pushing our design further.
LINEARITY DYNAMISM/MOVEMENT BOTTOM UP APPROACH
Matrices
Matrices
A real sense of dynamism and threedimesnionality is expressed in these matrices. They also have an aesthetic quality about them. It would be interesting to see how these ideas can be pushed further.
LINEARITY ORGANIC NOTIONS DYNAMISM/MOVEMENT BOTTOM UP APPROACH
In these matrices the notion of positive/ negative space and the idea of movement are explored. Looking at the selected precedents these particular concepts seem to be highly relevant in generative design. It would seem that these outcomes can be attained by numerous methods.
POSITIVE/NEGATIVE SPACE DYNAMISM/MOVEMENT ORGANIC NOTIONS BOTTOM UP APPROACH
Matrices
Matrices
Again dynamism/movement is expressed in these matrices. In addition to this, intersecting lines have been implemented. This acts to reinforce the idea of movement, but it also provides some three-dimensional depth. This could perhaps be applied to our to design to further develop it.
DYNAMISM/MOVEMENT BOTTOM UP APPROACH INTERSECTING LINES
Lastly, this set of matrics looks at ways to combine overlapping lines and various shapes to convey a sense of movement and something that is organic. Furthermore, it is about this layering effect typically associated with generative design. This may provide some insight on how to achieve this in our final design.
ORGANIC NOTIONS INTERSECTING LINES DYNAMISM/MOVEMENT BOTTOM UP APPROACH
Matrices
Hills Place Case Study
We then developed a design based on the Hills Place by Amanda Levette architects. While the outcome was interesting and the project intent was similar to ours, we found that the matrices were more relevant to the concept of generative ornamentation in design.
ORGANIC NOTIONS POSITIVE/NEGATIVE SPACE DYNAMISM/MOVEMENT BOTTOM UP APPROACH
Chosen Matrix
Development of the First Model
1. LINEARITY 2. ORGANIC NOTIONS 3. INTERSECTING LINES 4. POSITIVE/NEGATIVE SPACE 5. DYNAMISM/MOVEMENT 6. BOTTOM UP APPROACH
After much persistance with grasshopper we come up with our first conceptual model. It was during this process that we discovered an unexpected outcome which is consistent with generative design. From certain angles an illusion can be observed. This creates a sense of dynamism and furthermore it is visually pleasing to look at. Thus, this particular idea may be worth exploring further as it could be highly appropriate for the Wyndham Gate Way Project.
Our group found the curvature, overlapping lines and dynamic nature of this particular matrix to be rather interesting. Also, it seems to have a three-dimensionally quality about it. It is for these reasons that we chose this matrix for further development. Furthermore, we felt that this matrix was best representative of our design constraints. This resulted in some unexpected outcomes.
First Model
Render of the Second Model
Fabrication of our first model was relatively straight forward. We were really happy with the final result as we felt it captured the illusion effect that was observed in the digital model. However, considering that this was our first fabricating attempt using Grasshopper, Rhino and a laser cutter, I think the final outcome was quite successful
It is important to point out that whilst the top view was aesthetically pleasing to look, the other views lacked the same visual power. We aim to solve this by potentially creating a curved surface, or allowing the lines to extrude either side of the surface. While the surface was extruded to differing heights, the overall result was relatively boring, only lightly undulating. Setting back some of the extrusions, or changing the placement of attractor points could potentially create a more interesting surface. It may also be possible to further enhance the visual aspects of the model by implementing other materials such as clear perspex.
Second Model
EOI Summary
For our second model we tried to push our design further. This was done by adding more attractor points, extending the surface plane and offsetting the plastic strips. Unfortunately, much of the illusion effect experienced in the first model was more or less lost. Part of the problem was we had to prevent the plastic strips from overlapping due to the constraints of the materials being used. Also, we were unable to use clear perspex due to technical problems that would arise with our particular design. I think that we perhaps became too focused on this illusion idea. In a sense we began diverging away from generative design as we became focused on a set outcome.
Wyndham City Council is looking for a design that is exciting, aesthetically pleasing, recognisable and innovative. A generative ornamentation approach to the structure will achieve these goals. Ornament has been extremely influential throughout history, and reflective of social and cultural values. Generative design is creating new concepts of ornamentation, and is at the forefront of contemporary design. Our outcome is generative, dynamic; linear; organic and innovative. Creating an optical illusion with its multifaceted curvature, the concept is perfect for a site that is moved through at a quick speed. The design uses a contemporary approach and the result is a complex structure that reflects Wyndam’s values of a dynamic and exciting society, and is therefore relevant for this project.
In saying that, I still think that the illusions created in both models can be considered to be ornamentative. As it is a purely decorative feature I do not consider this to pertain to any sort of real function. It simply is something to be admired.
GENERATIVE ORNAMENT
REBECCA WARREN, DANIEL HAZMY, SAMANTHA MOFFLIN