Architecture Design Studio: air
Benjamin John
Galea 1
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Table of Contents Case for Innovation
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Architectural Computation
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Parametric Modelling 18 Algorithmic Exploration
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Expression of Interest
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Design Focus 25 Case Study 1.0 29 Case Study 2.0 31 Technique Matrix 37 Prototyping 41 Technique Proposal 44 Form Development 45
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*Previous work using digital tools
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A bit about myself I grew up in Melbourne building Lego cities with my brother. The satisfaction of creating, designing and building must have stuck because here I am studying my third year of architecture. My current experience with digital design tools extends as far as Google Sketchup and stops there. I have never used Rhino, Grasshopper, Photoshop, InDesign or even Illustrator and this course looks to be a steep learning curve for me as I attempt to get my head around these various programs. Parametric Design intrigues me, particularly the way in which forms can be so easily created and altered. The use of computer aided design opens a whole new world of possibilities in spatial creation and experimental design outcomes.
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Case For Innovation
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s digital architecture continues to grow in prominence in our cities, so do the questions about reliance on digital tools and what real capacity we as humans have to create, when so much is reliant on computer programs. Innovation in architectural form has been largely digitised in the new millennium due to the ability to expedite experiments. This is because of digital models and their capacity to be altered at the click of a button. The ease with which a model can be redesigned, reinspected and eventually replaced creates a need for the digital environment to encourage continued innovation. However, form is only one cog in the architectural machine. It is the responsibility of architects to ensure the final designs remain relevant to the target audience and do not ostracise themselves due experiment for experiment’s sake. Although difficult to define, architecture is essentially the creation of space for people to inhabit and this should not be lost. When buildings are built as a means to themselves, this human aspect and social relevance of architecture is lost and the structures risk becoming large, ineffective sculptures awaiting demolishing.1
Contrasting these potential pitfalls in over-experimentation, digital modelling tools create the environment to enhance the social significance already prominent in architecture. Redefining space to maximise efficiency and quality of life can be achieved through intuitive use of computer aided design. Effective data analysis alongside continued discourse between the architectural profession and public needs are requirements to achieve this. The Gateway Design Proposal asks for cohesion between architectural design and public interface. Creating ‘forward-looking’ symbolism that is both stimulating and relevant relies not only the specifics of the design but how well they are aimed at the target audience, predominantly visitors. ______________________________________________________ 1 Kostas Terzidis, Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley, 2009), p. xx
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This journal will focus on the partition of space, specifically, the relationship between internal and external spaces and the differing techniques to separate these spaces. Following this is the forms that are created through the use of sectional partition and contouring. Using precedents to highlight differing aspects, this discourse will aim to inform the future direction of the design approach to the Gateway Design Proposal. Defining form and space through sectional contouring is being used more frequently in architecture due to the increased ability to construct larger forms through the division and compartmentalisation of parts. By both implicitly and explicitly implying sectional abstraction and contouring, perceptions around form and the space it creates can be altered. Computation as innovation will be the main driver to influence mainstream change as complex and diverse architectural forms begin to increase in number. This, along with the discourse will make up the body of this section of the journal with a scope to inform the design approach in later sections.
‘Defining form and space through sectional contouring...’
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Sectioning as Form Finding The Versailles Pavilion by Exploration Architects utilises sectional contours as the basic form of the pavilion with everything else following this lead. The portal frame is made up completely of straight lines but through employing the section cuts, the structure is perceived to be curving throughout its length. The nature of the project means that light is allowed to flood in during the day, and filter out at night, whilst utilising glass to protect individuals from the weather outside. Although a temporary structure (it was removed in 2011)2, the value in this project is in its alternative placemaking, juxtaposing the Palace of Versailles just metres away. The Versailles Pavilion expresses an ability to divide space whilst also allowing individuals to understand their surroundings. Using sectional cuts and vertical contouring, what could easily be a solid, opaque structure, allows views and interaction through the light partitions. This expresses the strength and potential in which sectional architecture holds. Redefining spatial partition by altering conventional architectural practice can be employed in any number of ways to create a new kind of wall. Dividing spaces but still allowing them to remain open is the concept that drives this idea ______________________________________________________
2 dezeen magazine, Versailles Pavilion by Explorations Architects, (online website) <http://www.dezeen.com/2008/12/18/versailles-pavilion-by-explorations-architecture/>
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Creating the ‘whole’ through scaled cohesion Eisenman’s Memorial to the Murdered Jews of Europe in Berlin is a distinctive piece of place-making architecture. It was commissioned to symbolise the Jewish victims of WWII but uses no symbols or signage. Space is divided by concrete stelae creating the feeling of isolation and dizzying disorientation. However what is particularly interesting to this studio is the use of dual sets of statistical data to create the contoured effect of both ground level and the tops of the concrete stelae. Through manipulation of meaningful input data relating to statistical evidence during WWII3, the design was able to take shape by creating a flowing undulation from the edges of the memorial site. Similar to Libeskind’s Jewish Museum, also in Berlin, the use of undulation can create signs of physical nausea through the manipulation of gradient on site and disorientation of the senses. Although the topography taken as a whole seems to be a flowing undulation of curves, each independent stelae is essentially static and unmoving. Creating a ‘contour’ effect through the intelligent distribution of these concrete prisms, one overall structure is composed of many smaller elements. Although not exactly ‘contoured’ or ‘sectional’ architecture, this project provides scope to synthesising a whole design by analysing the small scale details relative with the larger form. __________________________________________________
3 Hanno Rauterberg, Talking Architecture, (ed. Prestel Publishing, 2009)
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Architectural Computation Man and Machine Computation in architecture has altered architectural process by giving the designer a multitude of independant choices existing at the same time. A large breadth and depth of options is now available to be explored alongside each other to aid the search for the ‘right’ design solution to the ‘right’ problem. Through the use of manoeuvrable data, instead of a committed line or point, design space can be altered to achieve a plethora of options before evaluating the possible outcomes.4 Kalay claims however, that computation can only provide the rational side of architecture, for example algorithms and analysis, and that the irrational understanding of human behaviour, aesthetics and ‘feel’ of a building must come from the designer.5 The trend of computation in architecture will go on to create a codependance between machine and human to create architecture that fits the contemporary mould. Whether this is progress or regress remains a widely debated issue in the global architectural community. __________________________________________________
4 Robert F. Woodbury and Andrew L. Burrow ‘Whither design space?’, Artificial Intelligence for Engineering Design, (Analysis and Manufacturing, 2003)
5 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)
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Possibilities and Limitations of Computation As well as altering architectural process and design techniques, computation also has enabled projects to be created that used to be close to impossible. Computation allows the design space to visually reflect almost any form the designer has in mind through the mathematical simplification of extremely complex forms. Documentation and visual representation is no longer restricted to what can be hand drawn through the mass digitization of architecture. New forms such as radical three-dimensional undulating curves (right) can be represented just as easily as straight lines can. This, in turn widens the possibilities as to what can realistically be designed and constructed. However, we must ensure that the foundations of architectural representation is not lost. There is still much value in drawings and sketching with architecture. Computation is simply a tool to help develop the ideas that the designer has. Computation can be used to generate form but should still be considered as just a tool in the design process. Mitchell proposes a ten-point checklist of ‘retired and rewired’ architectural terms.6 But, replacing Parti with Genome and Tectonics with Electronics, for example, provides a limiting scope to design and cannot fully encompass contemporary architecture. Although architecture is ever-changing, it is essential the techniques of the past are used to inform intelligent design, not replaced. __________________________________________________
6 William J. Mitchell, ‘Antitectonics: The poetics of virtuality’, in The Virtual Dimension: Architecture, Representation, and crash culture, ed. by John Beckmann (New York: princeton Architectural Press, 1998) pp. 204-217
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Large Scale Contouring Galaxy Soho in Beijing (pictured), by Zaha Hadid Architects uses
contoured sectional curves to create a three-dimensional undulating structure consisting of five volumetric spaces. Computational techniques and the easy visual explorations it creates, allowed each volume to gently flow into the other through progressively increased radial curves. The project has aesthetic similarities to Frank Lloyd Wrightâ&#x20AC;&#x2122;s Guggenheim (1936) but shows how computation allows the designer to alter and expand forms with relative ease.
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“It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination.”7 -Kostas Terzidis
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Parametric Modelling ‘Parametric’ by definition relates to parameters and involves working within given constraints, usually mathematical. By that loose definition, all architectural projects are parametric in nature, for example, a building cannot have a bigger footprint than its’ site or some kind of height restriction imposed on the building. However, this journal is primarily involved with computational parametric design, specifically projects designed using Catia, Generative Components or Grasshopper. Parametric design tools enable the exploration of new forms, material performance and overall structural techniques. Globally, the architectural trend seems to be moving toward ‘parametricism’ due to the speed at which experimentation can be carried out and alterations made. Using the computer to quickly perform algorithmic equations and data alteration, architects have been able to create unprecedented forms. Parametric design is also creating a global forum specifically linking mathematics and design, which allows a literal abstraction of ideas and algorithmic uses into new projects and uses.8 The shortcomings with parametric design, however, lie within the specific functions programmed into the current and future design tools. Like all mediums used for design space, we are restricted by what we can do with them. If a function is envisioned by the architect but not programmed into software, then the design is limited and the designer needs to turn to other design mediums. __________________________________________________
7 Kostas Terzidis, Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley, 2009), p. xx
8 Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010) pp. 7-48
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Contours as form and spatial manipulators One Main Street, a project by dECOi Architects, is defined by its sectional undulating ceiling and only made possible through the use of parametric design tools. Evident in the pictures below, the construction is incredibly complex as each wooden section is unique in size and shape. There is a specific relationship between the dips in the ceiling in the rise in the flooring system and this is due to the possibilities of parametric design techniques. Constructing both the hung ceiling structure (below left) and undulating floor system out of ply sections was a decision based on form and function. dECOi claims that it was more suitable for the fabrication machine to cut the section pieces in long curving lines, rather than straight interlocking shapes. The material is relatively light and the parametric process allowed for the manipulation of form, which was able to optimise the use of the plywood and its structural performance around the columns.9 _________________________________________________________
9 dECOi, One Main Street (online website) < http://www.decoi-architects. org/2011/10/onemain/>
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Repetition and Sectional Abstraction Continuing the theme of sectional design using parametric tools, the Webb Bridge in Melbourne by DCM spans across the Yarra River in a snake-like layout. The parametric design tools allowed the repeating rib design on the southern end of the bridge to extend around the apex and onto the main span. Many iterations of the steel latticework were generated almost simultaneously, creating a wide breadth of options before developing the possible outcomes.10 The snakeskin rib pattern required parametric modelling to expedite the design process and enable the pattern to continue throughout the latticework area.11 This project and its’ use of parametric tools show how they can be applied to any project, no matter how big or small the effect. _________________________________________________________
10 Australian Institute of Architects, Webb Bridge by Denton Corker Marshall, (online website) <www.architecture.com.au/awards_search?option=showaward&ent ryno=20053006> 11 Sarah Hart, Architects discover bridge design can be the perfect union of art and science, ‘Architectural Record’, (2013) < http://archrecord.construction.com/resources/conteduc/archives/0406edit-4.asp>
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Algorithmic Exploration With algorithmic exploration, the possibilities are literally infinite. From the first data inputs to the final design outcomes, there are a plethora of options for the designer to produce the forms which he/she wishes (or doesnâ&#x20AC;&#x2122;t wish) to create. The algorithmic exploration to the right is a simple example of what is possible through parametric design. By continually altering and reusing shapes, the â&#x20AC;&#x2DC;blobbedâ&#x20AC;&#x2122; section rows on the bottom right were extrapolated from the simple DNA-like curve at the top left. Although not overly complex, the final shape is a radically different and unexpected use of the curved surface. This example is used to show that breadth and depth can literally come from any arbitrary basic form in parametric design. The possibilities are limitless and express the major reasons for the increased use of algorithm in architecture.
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basic starting surface
triangulation of surface points
contouring of resulting surface
surface removed from contouring
perpendicular contouring
blob effect through data manipulation
Conclusion To design parametrically is to continually innovate by creating new formal structures and influencing perceptions of architecture. Through analysis of the precedents used in this journal, specific design techniques relating to contours and sectioning can be utilised and expanded in the Gateway Design Project. This is the major design approach that will be sought after through manipulation of spatial partition through sectional and contoured form design. The precedents used show an array of different styles in which sectioning can be utilised from the obvious large scale in Zaha Hadid’s Galaxy Soho to the smaller scale, One Main Street by dECOi Architects. Computation and parametric design will be the most effective way of completing this task due to the rapid model alterations that can take place. This speeding up of experimentation coupled with the rational form finding means that the use of parametric techniques will allow for the ‘best possible’ design by creating a large breadth of initial options and an increased depth of formal manipulations. Furthermore, as parametric design moves towards the forefront of architectural practice, it is the appropriate process to use to design an “exciting and eye catching installation”, that “inspires and enriches the municipality” of Wyndam City.
Learning Observations After four weeks of studying architectural computation, it seems that as with any architectural movement of the past, it is highly contested and debated as to where it really sits in architectural practice. Just as the modernist movement was divided, it seems that so to is the computational movement. Using the parametric design tool ‘grasshopper’, it has become apparent to me that so many more options are quickly available by tweaking data inputs. Using this tool for other projects would have helped to produce a much wider breadth of options to individually and quickly analyse. This, in turn, would have possibly altered some of my previous designs and also helped me to better utilise space allocations within the various briefs. 22
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Expression of Interest
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Gateway Design Focus Sectioning and Subtraction As the previous precedents highlight, sectioning will be the main theme that dominates the design process of the Wyndham City Gateway project. This overarching technique offers possibilities to create a large form divided and created by many smaller elements, much like the city of Melbourne. Wyndham is one such part of Melbourne and the relationship between the two can be emphasised through this idea of creating the ‘whole’ through smaller ‘parts’. Doug Brock, Roxanne Dowling and myself, Ben Galea, intend to create a parametrically controlled design that: • highlights the relationship between Wyndham and Melbourne • emphasises the relationship between form and landscape • creates a memorable gateway form and contributes to computational discourse Sectioning will create an overall means to represent these relationships outlined above with the aid of subtractive architectural techniques. Using subtraction at macro and micro scales will aid our team to develop the overall formal properties of the design and create significantly varied results. using this technique parametrically will encourage a wide breadth of iterations and overall design options to create different opportunities and enhance the design performance within the confines of our design intent. Following my personal choice of architectural partitioning, the design parameters in place will aim to create architecture that encloses ‘internal’ space but establishes a connetion to ‘external’ spaces. By highlighting the interconnectedness between form and landscape, it is intended that the final design will create a notion of ‘separation without isolation’. By encouraging this idea, there needs to be a focus on location and establishing a relationship with the city, common elements of any gateway project. 25
Design Intent 1. Express relationship between Wyndham and Melbourne. 2. Foster cohesion between form and landscape 3. Develop a memorable gateway form 4. Contribute to parametric architectural discourse
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Subtractive Design Letterbox House Previous precedents have focused heavily on sectioning and contouring to guide the design process. The Letterbox House by McBride Charles Ryan introduces subtractive techniques into this journal to express the way in which form can be created by removing whole sections from it. The form of the house was based on the idea of a wave with a â&#x20AC;&#x2DC;tunnelâ&#x20AC;&#x2122; extruded through its length.12 Creating the overall mass of the structure and then subtracting certain spaces from it was the overriding design process here. In doing this, the house was transformed into a flowing curve made up of straight edges and faces. This technique has been used to create the form and in doing so, added to to effect and encapsulated the growing undulation of a wave. Over the coming weeks, our team will ook to develop this technique in case studies and general algorithmic experimentation. We aim to use subtraction as means (with sectionig and contouring) to developing forms and realising our design intent. This is where it all begins. _______________________________________________________________
12 DesignBoom, McBride Charles Ryan: Letterbox House, November 8 2010. [accessed 8 May 2013] < http://www.designboom.com/architecture/mcbride-charlesryan-letterbox-house/>
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Case Study 1.0 Project Alteration Banq Restaurant (below) by Office dA utilises parametric algorithmic processes to create curved contours throughout the interior of the building. Similar in form to One Main Street, the undulating curves are made up of separate wooden components turning column gradually into ceiling.13 This project was used for Case Study 1.0 to further understand the parametric mechanics of the design and use these to develop the techniques used. Parametric modifications of the design are shown to the right to detail the differences that data alteration can create. Using grasshopper, data input was constantly altered and baked into rhino to show the continued changes to the original shape. Following the themes of sectioning and geometry alteration, the highlighted results show examples of techniques that can be realistically taken further to be used in the Gateway Design Project. Case Study 2.0 follows directly on from the results to the right and utilises the subtraction technique with a scope to eventuating meaningful results for the Gateway Design Project. _______________________________________________________________
13 Yatzer, Banq restaurant by Office dA, 17 February 2009 [accessed April 11 2013] <http://www.yatzer.com/BANQ-restaurant-by-Office-dA>
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contour to mesh extended surface
altered surface wafflegrid
subtracted spheres from surface
3d wafflegrid on altered surface
simplification of extended curves 30
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Case Study 2.0 Project Re-Engineering Case Study 2.0 allowed our team to reverse engineer a project and learn about the parametric design process more in-depth. Using little known, Outdoor Sculpture by Washington University School of Architecture, the subtraction technique learnt in Case Study 1.0 can be combined with overall sectioning to create a workable result. This project was created by students to recreate giraffe and python skin and project them into a three dimensional environment.14 The project doesnâ&#x20AC;&#x2122;t fully encapsulate this idea but does create some interesting intersections and forms. Of special interest to our team is the torsion of the original shape and subsequent subtractions from it. Following are the steps taken to recreate this project and some possible directions that the techniques can be taken. ___________________________________________________________________________ 14 ArcH2o, Parametric Explorations for an Outdoor Sculpture, 16 December 2012, [accessed April 11 2013] <http://www.arch2o.com/parametric-explorations-foran-outdoor-sculpture/#prettyPhoto>
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Case Study 2.0 Process
Sphere This project began with a simple sphere and shows how parametric techniques and alterations can take a well known, simple form and create completely different outcomes.
Ellipsoid Scaling the sphere into and ellipsoid begins to show how the overall form will be created. However at this stage, it is still much to equilateral and simple in shape.
Twisted Ellipsoid
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After using a box morph command in Grasshopper, the ellipsoid is now twisted in two different dimensions and is very malleable. Although it would be very difficult to re-create exactly the forms of the precedent project, this is very similar and is very workable.
Ellipsoid Generation Generating spheres and ellipsoids from the surface of the twisted ellipsoid. These will be the ‘giraffe’s spots’ and the surfaces to be subtracted from the original form.
Subtraction Surfaces are subtracted from original form to create a ‘cratered’ shape. This form follows the techniques used in Case Study 1.0 and applies it to a form generating situation rather than a simple algorithmic exploration.
Sectioning After the subtraction has taken place, contouring the result reveals a form similar to that of Outdoor Sculpture.
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Case Study 2.0 Outcomes
To the right is the resulting geometry after attempting recreate the project in Grasshopper and Rhino. The similarities between the two projects are in the overall shape and contoured subtraction of that shape. The subtracted spaces in our teams model are more regular in shape than the original design which seems to have further parametric relationships between these spaces. Curving the edges of the section elements create a more flowing geometry and is apparent in both models. Overall, the Outdoor Sculpture is more detailed, especially in its’ connections, due mostly to the fact that this shape was actually fabricated compared to the computerised Rhino model that we created. The subtraction and sectioning techniques learnt in this exercise are applicable to a range of opportunities in the Gateway Design Project to create a patterned surface and parsing sections and viewpoints through them. Furthermore, this technique can be used at a macro scale to not only create patterns on the surface but to create the physical space held within the surface. By extruding large trimmed geometry through an outer ‘shell’, the patterning can become the actual structure that is viewed and utilised. This is an exciting development in our Gateway Design Proposal and is the direction that we will endeavor to take forward and use with algorithmic sketching, prototyping and overall form finding.
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Technique Matrix
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Technique Matrix
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These various sketches depict three dimensional formal manipulations and project them into a two dimensional plane. Doing this allowed our team to better understand the massing relationships between different elements and understand how these could be altered. Taken at face value, these algorithmic sketches look over simple and non-directional but they were a necessary part of technique development. Gaining tighter control over the Grasshopper environment was the aim of this technique matrix and utilising this new control, the long-term goal. Forming these results into meaningful physical prototypes will further our understanding of how sectioning, contouring and subtraction will respond to the real-world environment.
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Prototyping After completing further algorithmic exercises and gaining further control over the computation progress, our team began fabricating cardboard protoypes. The aim was to gain a more physical understanding of the design tectonics and how the fabrication could be optimised to create our design intent. Working to create spatial partition through sectioned and contoured models, views within and through the sectioned elements were of paramount importance. This aided us to gain a further understanding of how depth and scale of materials affects the manipulation of light, views and an overall site response. Following, are our physical models which were each individually fabricated to analyse a different aspect in relation to our idea of â&#x20AC;&#x2DC;separation without isolationâ&#x20AC;&#x2122;.
Shape
This prototype produced an interesting example of a curve where no actual curving edges were used during fabrication. Using only straight lines, sectional elements allowed an overall curving form to exist.
Dynamism
The contradiction here is with a completely static model, a dynamic configuration of sectioned shapes is created. Views of and through this model are all altered through drastic changes in depth and height and show potential for walls to not only divide space, but create it. 41
Subtraction
Following the idea of subtraction from the previous case studies, this model furthered the idea of dynamism through sectional subtraction of elements. This model illustrates the effect proximity of elements to eachother and how this can alter the overall desired effect.
Progression
This model expresses the different vantage points available as the viewer prgresses along the section elements. Lateral position also proves to alter the shadow depth creating the notion of progression in two planes.
Perspective
When these opposite, unbalanced elements line up, they create a formally balanced whole. This shows how important perspective will prove in this design process in not only framing ‘views’ but in framing ‘form’ also.
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Technique Proposal Site Prototyping Developing a workable form was the next step in the design process and grew mostly from the site boundaries by using topography as the form shaping parameter. Site specific prototyping allowed our team to understand the scale of the separate sectioning elements and how they work in relation to the road, which is to be the primary viewing platform for users of the gateway. The use of sectioning and making a whole form from individual parts reflects Melbourne and its relationship to Wyndham. In essence, this gateway is a metaphor for the ‘separated connectivity’ that Melbourne shares with its outer areas. In addition, a ‘satellite’ arc furthers this metaphor by interlocking the larger form but with the contouring oriented in a different direction to enhance the ‘detached connectedness’ between the two areas. ‘Separation without isolation’ is the driving motto behind this design process to ensure that not only does the gateway enhance the physical space, but adds to the architectural discourse in parametric design. Creating partitioned space, that directs views and connects people inside the structure to the outside environment is the focus of this journal and is present in our design. Further manipulation and alteration of the design offers opportunites to enhance this idea further through depth management and material variation. Understanding this model as a prototype to furthering the design and achieving the design intent will encourage exploration and foster a continued improvement in site specificity and diversity within the design itself. The nature of subtraction and sectioning, another theme of this project and journal, means that breadth of design space is widened due to the many options available. Geometries are easily and quickly defined and redefined to create many different, yet related iterations and possible design outcomes. It is the nature of any designer to want to improve a design to find the ‘best’ or ‘most appropriate’ solution to the problem. The way this project has been defined allows the continued experimentation and development without losing sight of the intended focus and performance criteria. 44
Form Development Process-oriented manipulation Form
Subtraction
Sectioning
Alteration 45
Creating this developable form allows our team to move forward from here and create a design that is even more site specific. Orienting certian viewpoints, changing element depths and creating a stronger relationship between the offset sectioned panels will all be useful to drive this continued change and improvement. Furthering the idea of â&#x20AC;&#x2DC;separation without isolationâ&#x20AC;&#x2122;, it is imperative that the spatial qualities within the gateway represent our design intent by creating a strong connection between the inside of the gateway and the surrounding environment and Wyndham City. Developing optimal parametric techniques is crucial to fostering positive change to the design, the site and the related architectural discourse.
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Learning Objectives and Outcomes Since the beginning of this subject, computation as a form finding technique has proven extremely useful and architecturally engaging. By firstly creating some quick and simple geometries to now creating architectural forms from scratch, parametric techniques aid the designer to develop a wider scope of possibilities and formal understandings. The relationships between certain elements of a design are now more apparent as minor alterations to one element can have much larger implications to the overall design. As this section has been more hands-on it is has allowed my team and I to develop a better understanding of technique usage and proposal. By developing a strong design intent, I was able to engage more thoroughly with the architectural discourse rather than be a simple spectator. Technique development and proposal has been made much more relavent when placed in the context of an actual project, like the Gateway Design Proposal. Understanding each site as unique means that a range of options must be developed, in this case, through algorithmic sketches and developmental prototype modeling. Utilising a range of digital media increases the designerâ&#x20AC;&#x2122;s capacity to communicate ideas and further understand the relationships between design intent and design tectonics. Aiming to add to the architectural computation discourse, these media tools are crucial in furthering an argument for innovation and an argument for technique and design proposal. Moving forward, structural buildability will need to carry a heavier focus of the project along with adding more site specificity and diversity wihin the design. This is where the studio gets really interesting as our team aims to develop more meaningful and direct results with our experimentation. The design process will now become generally more focussed and specified with a view to developing buildable forms ground in reality and with a scope to implement successful design experimentation. 47
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Bibliography 1 Kostas Terzidis, Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley,) 2 dezeen magazine, Versailles Pavilion by Explorations Architects, (online website) <http://www.dezeen.com/2008/12/18/versailles-pavilion-by-explorations-architecture/> 3 Hanno Rauterberg, Talking Architecture, (ed. Prestel Publishing, 2009) 4 Robert F. Woodbury and Andrew L. Burrow ‘Whither design space?’, Artificial Intelligence for Engineering Design, (Analysis and Manufacturing, 2003) 5 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004) 6 William J. Mitchell, ‘Antitectonics: The poetics of virtuality’, in The Virtual Dimension: Architecture, Representation, and crash culture, ed. by John Beckmann (New York: princeton Architectural Press, 1998) pp. 204-217 7 Kostas Terzidis, Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley, 2009), p. xx 8 Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010) pp. 7-48 9 dECOi, One Main Street (online website) < http://www.decoiarchitects.org/2011/10/onemain/> 10 Australian Institute of Architects, Webb Bridge by Denton Corker Marshall, (online website) <www.architecture.com.au/ awards_search?option=showaward&entryno=20053006> 11 Sarah Hart, Architects discover bridge design can eb the perfect union of art and science, ‘Architectural Record’, (2013) < http://archrecord.construction.com/resources/conteduc/ archives/0406edit-4.asp> 49
12 DesignBoom, McBride Charles Ryan: Letterbox House, November 8 2010. [accessed 8 May 2013] < http://www.designboom.com/architecture/mcbride-charles-ryan-letterbox-house/> 13 Yatzer, Banq restaurant by Office dA, 17 February 2009 [accessed April 11 2013] <http://www.yatzer.com/BANQ-restaurant-byOffice-dA> 14 ArcH2o, Parametric Explorations for an Outdoor Sculpture, 16 December 2012, [accessed April 11 2013] <http://www.arch2o.com/ parametric-explorations-for-an-outdoor-sculpture/#prettyPhoto>
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