D E S I G N
ABPL30048 Rebecca Warren 388103
S T U D I O A I R
CONTENTS
2
Part 1. Expression of Interest 1.1 Case for Innovation 1.1.1 Architecture as a Discourse 1.1.2 Computing in Architecture 1.1.3 Parametric Modelling 1.1.4 Case for Innovation Conclusion 1.2 Research Project 1.2.1 Initial Research Cut Project 1.2.2 Reverse-Engineered Case Study 1.2.3 Generative Ornament 1.2.4 Matrices 1.2.5 Design Development 1.2.6 Research Project Conclusion 1.3 Expression of Interest Conclusion 1.4 Learning Objectives and Outcomes: Intrim
[3-35] [3-11] [4-6] [7-8] [9-10] [11] [12-33] [12-14] [15] [16-19] [20-28] [29-32] [33] [34] [35]
Part 2. Project Proposal 2.1 Project Interpretation 2.2 Project Delivery 2.3 Project Presentation 2.4 Project Proposal Conclusion
[36-43] [37-39] [40] [41-42] [43]
Part 3. Learning Objectives and Outcomes: Final 3.1 Personal Background and Learning Objectives 3.2 Learning Progress 3.3 Learning Outcomes 3.4 Future Work
[44-48] [45] [46] [47] [48]
PART 1. EXPRESSION OF INTEREST 1.1 Case for Innovation 1.2 Research Project 1.3 Expression of Interest Conclusion 1.4 Learning Objectives and Outcomes: Intrim
3
Initial Project Selection Studley Park Boathouse, Semester 2, 2011 Design Studio: Water
Fig. 1 Boathouse Project
Modern Art Museum of Fort Worth, 2002 Tadao Ando Texas, USA
Fig. 2 Museum of Fort Worth (Cattermole, 2008, p. 472) 4 1.1.1 Architecture as a Discourse
Initially I chose my design studio water project (refer to fig. 1) 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. One contemporary project I looked at was the Modern Art Museum of Fort Worth (refer to fig. 2). 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.
Form Finding as an Architectural Discourse Headpiece, Semester 1, 2010 Virtual Envrionments
Fig. 3 Digital Headpiece
In this particular project I explored asymmetry and undulating surfaces. This lead to the formation of a rather dynamic headpiece as shown in fig. 4. 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 (refer to fig. 3). 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.
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.
Fig. 4 Finished Headpiece 1.1.1 Architecture as a Discourse
5
Form Finding as an Architectural Discourse Federation Square, 2002 Dan Bates and Peter Davidson Melbourne, Australia
Fig. 5 Federation Square Exterior (own photo)
Like my headpiece Federation Square is made up of several triangular pieces (refer to fig. 5). By using a tessellated structure the architects and engineers involved have been able to explore different geometries which has resulted in these irregular shapes (refer to fig. 6). 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.
Fig. 6 Federation Square Interior (Melbourne Curious, 2012)
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, p. 447). Whilst the actual design itself is somewhat grotesque, you cannot help but be captivated by its irregular form (refer to fig. 7). This innovative building is all about form finding as it demonstates a multitude of geometries, with much of it being experimental (refer to fig. 8). Perhaps a more bold design such as Gehry’s could potentially be addressed in the EOI. 6 1.1.1 Architecture as a Discourse
Fig. 7 Guggenheim Bilbao Exterior (Picaso Web Albums, 2011)
Fig. 8 Guggenheim Bilbao Interior (Interior Design, 2012)
Advances in Computational Design Techniques 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.
Fig. 9 Wellington Airport International Terminal Exterior (Architecture Now, 2012)
3D modelling software such as Revit has enabled the develop of more complex building designs such as the Rock (refer to fig. 9). 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 (refer to fig. 10). The next method that can be implemented is ruled surfaces which allows for double curved structures to be produced (Kolarevic, p.44). 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 (refer to fig. 10)
Fig. 10 Models (Respeak, 2010) , Cladding (Studio Pacific Architecture, 2012) and the Interior (Architecture Now, 2011) 1.1.2 Computing in Architecture 7
Advances in Computational Design Techniques Zlote Tarasy, 2007 Jerde Partnership Warsaw, Poland
Fig. 11 Digital Model (Oasys, Zlote Tarasy, 2011)
Fig. 12 Zlote Tarasy Exterior and Interior (ARUP, 2011)
The roofing structures of the Zlote Tarasy and Southern Cross Station are composed entirely of triangular panels resulting in these dynamic, undulating surfaces (refer to fig. 12 and 14). The exploration of such complicated geometries would not have been achievable without the necessary 3D computaitonal modelling software (refer to fig. 11 and 13). 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). 3D modelling was utilised throughout the design process of Southern Cross Station, this meant that any complex structural aspects could be readily resolved (refer to fig. 15). 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 (ASI, 3D Modelling, 2012).
Southern Cross Station, 2007 Grimshaw Architects Melbourne, Australia
Fig. 13 Digital Model (ASI, Market Sector, 2012). 8 1.1.2 Computing in Architecture
Fig. 14 Roof Interior (own photo)
Fig. 15 Roof Exterior (Grimshaw, 2012)
Contemporary Scripting The Helix Bridge, 2007 Cox Architects Marina Bay, Singapore
Fig. 16 Helix Bridge Interior (Evolo, 2010)
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, p. 1). 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 (refer to fig. 16). 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.
Fig. 17 Helix Bridge Exterior (Leisure Lifestyle, 2010)
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 (refer to fig. 17). 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. 1.1.3 Parametric Modelling 9
Contemporary Scripting
Fig. 18 Night Time View of the Helix Bridge (Evolo, 2010)
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 as shown in figure 18. 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. 10 1.1.3 Parametric Modelling
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 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.
Case for Innovation Conclusion The first few weeks of this course provided the background information needed in order to start the design process. By carrying out research on parametric design I was able to formulate an architectural discourse: form finding. Using this discourse I identified relevant precendents which have been successfully created through the application of computational design methods. It is important to note, that my focus shifted from form finding to generative ornament once I was put into a group. Thus, much of this research becomes inconsequential from this point forward. However, it has been a useful learning experience. It was during this time that I began to the understand what the phrase parametric design entails. Furthermore, it is at this point that I start to use the programs Rhino and Grasshopper which become important computer modelling tools throughout the duration of the course.
References Architecture Now. Wellington’s Airport Terminal Gets a New ‘Rock’ Look, 2011. <http://architecturenow.co.nz/articles/wellington-airport-terminal/#img=1> ARUP. Zlote Tarasy. 2011. <http://www.arup.com/Projects/Zlote_Tarasy.aspx> Australian Steel Institute. Market Sector Use Commercial Buildings, Southern Cross Station Redevelopment - Melbourne. 2012. <http://elibrary.steel.org. au/shadomx/apps/fms/fmsdownload.cfm?file_uuid=0906A6D1-1E4F-17FA-CD0A-4F7B68010F09&amp;siteName=asi&CFID=1241123&CFTOKEN=83331992> Australian Steel Institute. 3D Modelling / BIM. 2012. <http://elibrary.steel.org.au/shadomx/apps/fms/fmsdownload.cfm?file_uuid=0908204F-1E4F-17FACD4A-08BF40CA5575&amp;siteName=asi&CFID=1241123&CFTOKEN=83331992> Beca. The Rock - Wellington Airport’s Dramatic New Terminal. 2012. <http://www.beca.com/projects/buildings/airports/the_rock.aspx#.T8tXYFIdy8A> Bentley Communities. Marina Bayfront Pedestrian Bridge. 2012. <http://ftp2.bentley.com/dist/collateral/docs/case_studies/cs_marina_bayfront_ pedestrian_bridge.pdf> Cattermole, Paul. (2008). Ed. Architectural Excellence 500 Iconic Buildings (London: Compendium Publishing Limited) eVolo. Helix Bridge in Singapore’s Marina Bay. 2010. <http://www.evolo.us/architecture/helix-bridge-in-singapores-marina-bay-cox-rayner-architects/> Grimshaw. Southern Cross Station. 2012 <http://grimshaw-architects.com/project/southern-cross-station/> Interior Design. Outside the White Box. 2012. <http://www.interiordesign.net/article/475078-Outside_The_White_Box.php> Leisure Lifestyle. Double Helix Bridge at Marina Bay. 2010. <http://leisurenharmony.blogspot.com.au/2010/06/double-helix-bridge-at-marina-bay.html> Kolarvic, Branko, Architecture in the Digital Age: Design and Manufacturing (New Yor; London: Spon Press, 2003) pp. 44 Melbourne Curious. Federation Square. 2012. <http://melbournecurious.blogspot.com.au/2010/08/madame-brussels-interview-with-fabulous.html> Oasys. GSA Suite. 2011. <http://www.oasys-software.com/gsa-suite.html> Oasys. Zlote Tarasy, Warsaw Poland. 2011. <http://www.oasys-software.com/casestudies?id=17/> Picasa Web Albums. Guggenheim Bilbao. 2011. <http://picasaweb.google.com/lh/photo/QqvUsR0Iy8I5BK5i7KtifQ> Respeak. Wellington Airport’s New Terminal. 2010. <http://respeak.net/articles/wellington-airport%27s-new-terminal> Studio Pacific Architecture. The Rock, Wellington Airport. 2012. <http://www.studiopacific.co.nz/?sn=64&st=1> Winward Structures. Key Personnel. 2012. <http://www.winwardstructures.com/About/key-personnel>
1.1.4 Case for Innovation Conclusion 11
Initial Cut Definitions
Fig. 19 Overlapping Circle Patterns
Fig. 20 Circle Extrusion
Our group is focusing on generative design therefore this task is highly relevant. We experimented with different rules leading to a diverse range of geometrical forms. My other group members looked at voronoi patterns and the effects of attractor points (refer to fig. 25). I mainly focused on the multiple functions definition. Using this 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. I looked at ways to alter the circle diameters. This involved duplicating domain, remap and slider components. When the sliders were moved dynamic overlapping circle patterns resulted (refer to fig. 19). The addition of an extrusion component in the Z direction provided three-dimensional depth (refer to fig. 20). These definitions illustrate the ease at a which simple shape such as a circle can be utilised to create more abstract forms. A similar approach could therefore be used in the EOI.
Line and move components were introduced to the definition. This resulted in this undulating pattern (refer to fig. 21). Using the sliders linked to the circle grid it is possible to alter the overall form.
Fig. 21 Line Patterns 12 1.2.1 Initial Research Cut Project
Initial Cut Definitions
Fig. 22 Arbitrary Points on Circles
Using the arbitrary points definition I looked at ways to produce a form somewhat representative of the twisting action observed along the Helix Bridge (refer to fig. 22). 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 lines generated. Everytime I completed the definition a complex network of joining lines arose. With the addition of rotate axis components and the linking of the two multiple function defintions I was able to procure these curved forms (refer to fig. 23). 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.
Fig. 23 Rotate About Axes Using the line patterns defintion I implemented a polyline and loft component. This made it possible to create this dynamic surface (refer to fig. 24). It shows how complex curvature can be achieved through scripting techniques.
Fig. 24 Polylines and Lofting 1.2.1 Initial Research Cut Project 13
Initial Cut Definitions
Multiple Atrractor Points
Curve Attracters
Boolean Function
Polygon Output
Voronoi Pattern
Lofting Outputs
Fig. 25 Matrices Produced by Other Members of my Group 14 1.2.1 Initial Research Cut Project
Hills Place Case Study
We then developed a design based on Hills Place by Amanda Levette architects (refer to fig. 26 and 27). 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.
Fig. 26 Hills Place Exterior (LMS, 2012)
Fig. 27 HIlls Place Render 1.2.2 Reverse-Engineered Case Study 15
Generative Ornament - EOI Argument GROUP MEMBERS:
REBECCA WARREN SAMANTHA MOFFLIN DANIEL HAZMY
Historically, ornament has been used in architecture to reflect the cultural values of the time. As society has changed there has been a noticeable shift in the use of ornament in architecture, Whilst the concept of ornament has been altered throughout history, it still embodies the values and ideals that define culture. Thus, providing symbolic meaning.
Fig. 28 NOTRE DAME CATHEDRAL, VIOLLET-LE-DUC (All Posters, 2012)
Fig. 29 VILLA SAVOYE, LE CORBUSIER (Wikipedia, 2008)
Fig. 30 THE CUBE, ELECTROLUX (E-Architect, 2012)
16 1.2.3 Generative Ornament
Prior to the twentieth century decorative ornament was applied to buildings in a fairly literal manner to spread stories and convey power. A good example of this is the heavily decorated faรงade of the Notre Dame Cathedral (refer to fig. 28). During the modernist movement the focus shifted towards using the structure as ornament as opposed to applying unnecessary decorative elements. It was during this time that society became exceedingly interested in technology. Hence ornament became reflective of this cultural movement as seen in the Villa Savoye with its strip windows and structural piloti (refer to fig. 29). More recently, ornamentation has been viewed as something that is functional. For this reason, generative approaches to ornament have been met with apprehension due to the unexpected and often purely decorative outcomes. We are proposing that ornament will follow a more generative approach in the future. As technology advancements become more ingrained in our every day life, it is inevitable that ornament will progress into something that is more generative in design. Already this phenomenon is occurring in architecture as shown by the perforated screen on the Cube (refer to fig. 30). This is made possible by the advent of scripting programs which are able to organise complex information. Through exposure to such technology, the concept of generative ornament will become more widely accepted. There will be more emphasis on decorative appeal and it will be more open to personal interpretation. In developed cities of repetitive tall, functional towers, ornament will be used to create focal points and excitement in the urban fabric.
Generative Precedents Generative design follows a bottom up approach in which the parameters of the design are defined, as opposed to the outcome. With scripting software now readily available complex data sets are becoming less of a barrier. Thus, enabling designers to explore the endless and unexpected outcomes associated with generative design. As this is popularised the language of generative ornament will become more representative of a particular architectural style, much like the buildings of the modern movement which lacked decoration. Generative ornamentation can to some extent be functional, but this is often more ambiguous. In Monocoque 2 project the perforated, Fig. 31 MONOCOQUE 2, NERI OXMAN undulating surface appears entirely decorative, and in my view would (Neri Oxman, 2011) look great on a vase (refer to fig. 31). Kokkugiaâ&#x20AC;&#x2122;s Fibrous Tower project also utilises perforated surfaces (refer to fig. 32). However, it has been taken one step further by applying it to a structure. Whilst it is decorative it also forms the exoskeleton or cladding of the building. It conveys a sense of complexity with its dynamic, multilayered mesh-like form. Unlike conventional high-rises, this building would generate a lot of interest if it were to be built. Thus, highlighting the potential for generative ornament in contemporary design.
Fig. 32 FIBROUS TOWER, KOKKUGIA (Designboom, 2012)
1.2.3 Generative Ornament
17
Case Studies
Fig. 33 Analysis of Works by Harold Cohen (Word Press, 2011), Gustav Meyer (BBC News, 2012), Kokkugia (Field, 2012), Jackson Pollock (Visualize, 2012) and Biothing (Biothing, 2012).
18 1.2.3 Generative Ornament
As a group we knew that modelling abilities would careful analysis of gener generative outcomes. Us Jackson Pollock (refer to positive/negative space, set of matrices in Grassh similar outcomes. This w
t our topic of generative ornament would be challenging as program limitations and our own digital d make it virtually impossible for us to create something that was truly generative. However, through rative ornamentation, it is possible to identify certain characteristics which frequently appear in all sing this approach, we chose to analyse works by Harold Cohen, Biothing, Kokkugia, Gustav Meyer and o fig. 33). In total we found six linking qualities which are linearity, organic notions, intersecting lines, dynamism/movement, and a bottom-up approach. Using this as our criteria were able to generate a hopper that embodied these ideas. We also attempted to replicate the processes used in order to reach was mostly achieved through the use of attractor points, curves and image samplers.
1.2.3 Generative Ornament
19
Matrices Constraints Concentrating on these outcomes, we developed matrices that explored these outcomes, using techniques such as attractor points, curve attractors, and image samplers (refer to fig. 34). There is a direct aesthetic relationship between the matrix outcomes, and the projects that were studied.
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.
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 design. 20 1.2.4 Matrices
Matrices
Fig. 34 All of the Matrices 1.2.4 Matrices
21
Matrices
These particular matrices exhibit some of the overlapping qualities that seem to be inherent to generative design as illustrated by the selected case studies (refer to fig. 35). Therefore, they are potentially good starting points for our design development.
Fig. 35 Matrices Set One 22 1.2.4 Matrices
LINEARITY DYNAMISM/MOVEMENT BOTTOM UP APPROACH
Matrices
A real sense of dynamism and threedimensionality is expressed in these matrices (refer to fig. 36). They also have an aesthetic quality about them. It will be interesting to see how these ideas can be applied to our final Gate Way proposal.
Fig. 36 Matrices Set Two
LINEARITY ORGANIC NOTIONS DYNAMISM/MOVEMENT BOTTOM UP APPROACH 1.2.4 Matrices
23
Matrices
These matrices predominantly focus on the formation of positive and negative space (refer to fig. 37). By using an image sampler the dark areas (positive space) and the lighter areas (negative space) are clearly delineated. Also, a sense of movement is conveyed through the use of different shapes.
Fig. 37 Matrices Set Three 24 1.2.4 Matrices
POSITIVE/NEGATIVE SPACE DYNAMISM/MOVEMENT ORGANIC NOTIONS BOTTOM UP APPROACH
Matrices
The intersecting lines act to reinforce this idea of movement, but more importantly they convey a sense of three-dimensional depth (refer to fig. 38). Thus, highlighting that a two-dimensional surfaces can be manipulated in such way to convey dynamism. This concept goes on to form an intrinsic part of our final design outcome.
Fig. 38 Matrices Set Four
DYNAMISM/MOVEMENT BOTTOM UP APPROACH INTERSECTING LINES 1.2.4 Matrices
25
Matrices
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 (refer to fig. 39). Also, a degree of layering is achieved. Through the analysis of the chosen case studies it can be said that this particular quality is typically associated with generative outcomes.
Fig. 39 Matrices Set Five 26 1.2.4 Matrices
ORGANIC NOTIONS INTERSECTING LINES DYNAMISM/MOVEMENT BOTTOM UP APPROACH
Matrices
The organic qualities commonly associated with generative design is explored in these matrices (refer to fig. 40). The degree of curvature is somewhat uniform in comparison to the case studies. However, they do provide insight into how curves may be applied to a design in order to influence other important outcomes such as dynamism.
Fig. 40 Matrices Set Six
ORGANIC NOTIONS POSITIVE/NEGATIVE SPACE DYNAMISM/MOVEMENT BOTTOM UP APPROACH 1.2.4 Matrices
27
Chosen Matrix 1. LINEARITY 2. ORGANIC NOTIONS 3. INTERSECTING LINES 4. POSITIVE/NEGATIVE SPACE 5. DYNAMISM/MOVEMENT 6. BOTTOM UP APPROACH
Fig. 41 Chosen Matrix
Our group found the curvature, overlapping lines and dynamic nature of this particular matrix to be rather interesting (refer to fig. 41). 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. Intially, we looked at ways to show as many of the generative ornament qualities. However, after making the second model this proved to be quite difficult especially when dealing with a model at a larger scale. Much of the movement/dynamism and positive/negative space experienced in the first model was lost or lacking in the second model. Also, we restricted the design development by preventing lines from overlapping. Later on in our final design proposal we look to rectify this. Firstly, we chose to focus on movement and dynamism which we believe is the most relevant to Wyndham with the Gateway project highlighting the dynamic growth of this flourishing community. Also, by focusing on one quality we hope to better encapsulate it into our final design. Secondly, by allowing the lines to overlap it will be possible to produce more generative outcome. 28 1.2.4 Matrices
Development of the First Model After much persistance with grasshopper we come up with our first conceptual model (refer to fig. 42). It was during this process that we discovered an unexpected outcome which we believe 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 City Gateway project.
Fig. 42 Model Development 1.2.5 Design Development 29
First Model
Fig. 43 Top Views of the First Model
Fig. 44 Perspective View of the First 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 (refer to fig. 43). However, considering that this was our first fabricating attempt using Grasshopper, Rhino and a laser cutter, I think the final outcome was quite successful
We found the top view to be aesthetically pleasing to look, but the other views lacked the same visual power (refer to fig. 44). Possible solutions we considered were to use a curved surface or allow the lines to extrude either side. The undulating surface produced by the plastic pieces of various heights was somewhat lacking. This could perhaps be more exaggerated to create more intrigue. Potential ways to resolve this include altering the height of the extrusions, or changing the placement of attractor points. It may also be possible to further enhance the visual aspects of the model by implementing other materials such as clear perspex.
30 1.2.5 Design Development
Second Model
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 (refer to fig. 45). 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.
Fig. 45 Top View of the Second Model
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.
1.2.5 Design Development 31
Second Model Render
The purpose of this render is to show the extrusion offsets and how these influence the form of the design (refer to fig. 46). Whilst we did do this with the fabricated model much of the intended effect was lost due to not being able to use clear perspex for the base.
Fig. 46 Render of the Second Model
32 1.2.5 Design Development
Research Project Conclusion
During this period our group used Grasshopper extensively. We were able to reproduce the Hills Place case study using the Gills definition. However, due to the nature of our project our main priorty was to produce as many matrices as possible. This was a time consuming process, but as a group we were extremely happy with final outcome. Furthermore, we selected one matrix to develop further, and these explorations were expressed in the form of two models. We also carried out a thorough anaylsis of generative precedents. This provided me with a better understanding of my new architectural discourse, but more importantly the analysis produced an interesting set of generative qualities which go on to inform our matrices, design ideas and our final Gateway proposal.
1.2.6 Research Project Conclusion 33
EOI Summary
As a group we chose to focus on the architectural discourse of generative ornament. With its strong visual language and practical applications becoming more widely understood this emerging field will become more recognised as a design approach in the future. Thus, the unexpeced and highly decorative outcomes associated with generative design is extremely relevant to the Gateway Project. Wyndham City Council is after a contemporary design which is eye catching, innovative and representative of the community. Our design achieves this. It is generative, dynamic, linear, organic and innovative. The optical illusion created by the high degree of curvature makes this design concept ideal for a site that is being moved past at speed. It is also reflective of the dynamic and exciting community that makes up Wyndham. Thus, our design concept is highly appropriate to this project.
References All Posters. Notre Dame Cathedral at Dusk. 2012. <http://www.allposters.com/-sp/Notre-Dame-Cathedral-at-Dusk-Posters_ i7897909_.htm> BBC News. Destroying Art for Artâ&#x20AC;&#x2122;s Sake, 2012. <http://news.bbc.co.uk/2/hi/entertainment/8325665.stm> Biothing. Fabware. 2012. <http://www.biothing.org/?cat=15> Designboom. Kokkugia Fibrous Tower. 2012. <http://www.designboom.com/weblog/cat/9/view/9257/kokkugia-fibrous-tower.html> E-architect. The Cube Milano. 2012. <http://www.e-architect.co.uk/images/jpgs/milan/the_cube_milan_p231211_a10.jpg> Field. Kokkugia Swarm Matter. 2012. <http://www.field.io/process/research/design/kokkugia> LMS, Architecture Design Studio: Air, Research Project: Cut. Hills Place. 2012. <http://app.lms.unimelb.edu.au/bbcswebdav/pid3493375-dt-content-rid-10433602_2/courses/ABPL30048_2012_SM1/Case%20Studies/Amanda%20Levette%20Architects%20 -%20Hills%20Place%20%28Miscellaneous%20Images%29.pdf> Neri Oxman. Monocoque 2. 2011. <http://web.media.mit.edu/~neri/site/projects/monocoque2/monocoque2.html> Visualize. Marble. 2012. <http://vi.sualize.us/view/73429003fdb97d79c98b44d4413693c3/> Wikipedia. Villa Savoye. 2008. <http://en.wikipedia.org/wiki/File:VillaSavoye.jpg> Word Press. Aaron 2. 2011. <http://j3ssi.files.wordpress.com/2011/05/aaron2.jpg>
GENERATIVE ORNAMENT GENERATIVE ORNAMENT
34 1.3 Expression of Interest Conclusion
Learning Objectives & Outcomes: Intrim
I now feel that I am more competent using Grasshopper. This can be largely attributed to my persistance with the program, and getting help from my tutors and internet resources such as the Grasshopper forum. However, there is still a great deal to be learnt. In particular, I would like to improve my understanding of the function components so that I can utilise them more in my designs. It was also during this time that I became familiar with fablab and their file setup procedures. This will be useful in other projects later on especially when dealing with more complex designs or unusual materials. Through the fabrication process we considered using various materials. Ideally we would have used perspex for the base of the second model. Had we been successful other qualities such as transparency would have been produced. This would have changed the overall experience of the model especially now that the polypropylene segments extend through the base. After some experimentation we found that polypropylene was best suited to many of our designs which often required a degree of flexibility and firmness. At this time we also started to learn how to produce good line drawings, renders and layouts. Key aspects learnt by our group at this time was to limit the number of pictures to one or two per page, use the same coloured font throughout and leave a reasonable amount of white space. Overall, I believe we were relatively successful with applying what we learnt to our EOI presentation. Furthermore, we had a well articulated EOI argument, supported by generative ornament precedents. It is important to point out that our argument at this stage did need further refinement as we lacked some direction in terms of what makes our design generative ornament.
1.4 Learning Objective and Outcomes: Intrim 35 REBECCA WARREN, DANIEL HAZMY, SAMANTHA MOFFLIN
Part 2. PROJECT PROPOSAL 2.1 Project Interpretation 2.2 Project Delivery 2.3 Project Presentation 2.4 Project Proposal Conclusion
36
Design Development Movement and dynamism is best conveyed by a higher degree of curvature and overlapping (refer to fig. 47). LINEARITY
POSITIVE AND NEGATIVE
Fig. 47 Diagrams Showing Dynamism and Movement
2.1 Project Interpretation 37
Concept Model A high degree of curvature, overlapping and dynamism can be seen in our concept model (refer to fig. 48). This lead on to the development of our final model (refer to fig. 49).
Fig. 48 Selected Photographs from the ConceptuaModel
Fig. 49 Design Progression 38 2.1 Project Interpretation
2.1 Project Interpretation 39
Site Context PROPOSED EXPANSION
CITY CENTRE
MAIN ROAD AGRICULTURE
SITE
In order to make our design site specific key features of Wyndhamâ&#x20AC;&#x2122;s growth pattern were identified. This provided the locations for our attractor points. By focusing on Wyndhamâ&#x20AC;&#x2122;s growth we were able to pick points that were representative of our concept of dynamism and movement. In addition to this, the proposed site area provided us with the trapezium surface on which to apply our design (refer to fig. 50). The form that we initially came up with was organic, sinuous and beautiful. However, we felt that the concept of dynamism could be pushed further. To achieve this we allowed the orient tool in Grasshopper to flip some of the components. Also, during the fabrication process we did not strictly abide to the layout produced in the digital model. This resulted in a much more complex looking form (refer to fig. 50). However, in both the digital model and fabricated model one important aspect was retained. As cars approach Wyndham the degree of curvature and the density of the overlapping lines increases. This is significant as it symbolises the cultural and social movement towards Wyndham as a place of importance. In the final model we also noticed some of the other qualities coming through including positive and negative space (refer to fig. 51).
Fig. 50 Line Drawings Showing the Design in Relation to the Site 40 2.2 Project Delivery
Final Outcome
Fig. 51 Selected Photographs from the Final Model 2.3 Project Presentation 41
Final Outcome
Fig. 52 Drawing of BMW Pavilion Joints
Due to the speculative nature of our project the shear cost of it and constructability of such a design has many limitations. Whilst this may be the case it does encapsulate several of the qualities that we outlined in our generative design criteria. In terms of construction we are proposing that welded aluminium tubing be used. The joints will be put together in a similar manner as done in the Brandscape BMW Pavilion (refer to fig. 52). By using this construction method it will be possible to remove the need for structural columns, thus, enable a continuous structure to be produced. We believe that as computer fabrication techniques become more sophisticated such construction feats will be made possible in the near distant future. Fig. 53 Selected Photographs from the Final Model 42 2.3 Project Presentation
Project Proposal Conclusion
The large scale nature of our proposed Gateway design will enable drivers to fully experience it whilst moving through at fast speeds (refer to fig. 54). The lattice-like structure is dynamic, sinuous and elegant (refer to fig. 53). The design itself in my opinion is ornamental and it will be viewed by drivers in this context. Whilst it also functions in a structural capacity, for most drivers this will be an afterthought. From an ornamental point of view our design will be captivating and symbolic of Wyndhamâ&#x20AC;&#x2122;s values. It embodies the idea of dynamism and movement which is reflective of Wyndhamâ&#x20AC;&#x2122;s thriving society. Generative ornamentation is a relatively new venture which marks the future for contemporary design. Thus, its application in the Gateway Project will create a design that is convergent with modern culture. Fig. 54 Render Showing how the Gateway will be Used 2.4 Project Proposal Conclusion 43
Part 3. LEARNING OBJECTIVES & OUTCOMES: FINAL
3.1 Personal Background and Learning Objectives 3.2 Learning Progress 3.3 Learning Outcomes 3.4 Future Work
44 44
Personal Background & Learning Objectives
Prior to this course I had done little in the way of parametric design. Much of my 3D digital modelling exposure came from Virtual Environments. Whilst Sketch-up is not nearly as refined as Rhino and Grasshopper, it did provide me with a good starting point into the world of digital design. As I am a very practical person I have a tendency to build models during the design process to determine the outcomes produced, but also to test the viability of the design. Up to this point much of this was done from hand drawings. In this particular project all of our models for fabrication were derived from digital files, cut in fablab and then assembled by hand. For me learning this procedure was an important aspect as I believe this will be a useful skill to have in the future. Through the duration of this semester I have actively set about achieving certain goals. I wanted to become relatively competent in using Grasshopper. I also wanted to further develop my layout techniques and produce good quality line drawings, renders and photographs.
3.1 Personal Background and Learning Objectives
45
Learning Progress
Throughout the semester I feel that I have improved in numerous areas. Whilst I did struggle with Grasshopper at times, I was able to overcome many of the obstacles that arose. The concept of generative design was relatively foreign to me at the beginning but by the end I felt I had attained a relatively good understanding of what it entailed. This is largely due to our group corresponding with our tutors on a regularly basis and carrying out an in depth analysis of our selected precedents. Personally, this is why I think our group was able to effectively address our topic throughout our final presentation, as by this stage we had developed a strong understanding of it. This was paramount to our EOI argument and our final design outcome. Part of the learning came from the models themselves. During fabrication I was able to explore new materials which I had previously not used before including polypropylene sheets, plastic tubing and perspex. It was interesting to note how these materials interacted with one another and the particular properties each one had. I found the studioâ&#x20AC;&#x2122;s to be very useful, help was readily available. Another aspect that greatly assisted my learning were the Ex:Bend Lab tutorials, I found these to be a useful tool especially when I first started out with Grasshopper. However, I did find the quizzes to be inconsequential, if anything they were more of a nuisance.
46 3.2 Learning Progress
Learning Outcomes
I have learnt a great deal in a relatively short space of time. I now feel more confident using Grasshopper, Rhino and Adobe Illustrator. I still have a long way to go with these programs, but with time and practice these skills will improve. As a group we have worked consistently throughout the semester. A simple but effective layout was used in our A1 panels. The logical progression of our design process was clearly explained through diagrams, line drawings and well resolved photographs. Furthermore, advice and research lead to the development of a well structured argument. Whilst our project did generate a lot of debate I feel that as a group we were able to justify our final design. I think the success of our project can largely be attributed to the fact that we able able to incorporate much of what we had learnt throughout the course into our final presentation.
3.3 Learning Outcomes 47
Future Work
Given more time I would have liked to have pushed our design further. In particular, I would have looked at reverse engineering this precedent which as a group we had considering doing. I feel that it really embodies the idea of movement and dynamism, thus it would be interesting to see how it might be integrated into our design. Ideally we would have built another model showing the original form prior Grasshopper flipping the components. This would have enabled us to better anaylse both outcomes. This studio has been an intensive learning period with a relatively high workload. However, I feel that I have taken away many invaluable skills that I will be able to utilise in both my University studies and career. Ever since Virtual Environments I have had a keen interest in digital 3D modelling. For this reason I have thoroughly enjoyed this studio. Parametric design is an area I am very interested and this studio has provided me with a strong basis in which to pursue this. For future projects I can see myself focusing more on organic designs which convey a sense of fluidity much like Kokkugiaâ&#x20AC;&#x2122;s work. This will require me to substantially improve my knowledge of scripting programs such as Grasshopper but given time and perseverance I will hopefully achieve this goal.
Reference Hermann, Christoph. Barotic Interiors 1, Emergent Design 2. 2012. <http://www.christoph-hermann.com/generative-design/emergentdesign-barotic-interiors-l/>
48 3.4 Future Work
Fig. 55 Emergent Design 2 (Hermann, 2012)