Architecture Design Studio: Air
2013
Benjamin John Galea 1
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Architecture Design Studio: Air Benjamin John Galea Semester 1, 2013 David Lister Michael Wu
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Table of Contents Case for Innovation 6 Architectural Computation 13 Parametric Modelling 18 Algorithmic Exploration 21 Expression of Interest 24 Design Focus 25 Case Study 1.0 29 Case Study 2.0 31 Technique Matrix 37 Prototyping 43 Technique Proposal 46 Form Development 47 PROJECT PROPOSAL 52 Concept Development 55 Design Development 57 Tectonic Elements 65 Model Fabrication 67 Final Model 71 Studio: Air 77 Generating a Discourse 79 Further Exploration 81 Learning Objectives 83
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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 codependence 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.construc-
tion.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 Wyndham 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.
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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 connection 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. Generate 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 the effect and encapsulated the growing undulation of a wave. Over the coming weeks, our team will look to develop this technique in case studies and general algorithmic experimentation. We aim to use subtraction as means (with sectioning 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 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. 33
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
These iterations utilise two curved surfaces in close proximity to each other but erodes physical contact between the spaces created. Two separate areas are developed but no real relationship between the two can be perceived.
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Using the same two curved subtracted surfaces from the previous iterations, contact between the separate spaces is exaggerated and creates a workable form and space.
One curved surface is now subtracted to create two distinct forms with mirrored aspects to one another.
Juxtaposing curves with straight edges creates a form which enhances dynamic qualities but lessens the readability of the forms through a jarring fragmentation of the whole.
Using less contours and a curved surface, the graphic is more readable but the overall form is shattered due to discontinuity of the subtracted spaces.
Offsetting curves and altering their shape changes a simple standalone form to be part of a patterned makeup.
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Technique Matrix
Removing specific subtracted surfaces from this iteration allows for the development of clarity and depth. From chaotic unreadability, two distinct mirrored forms are created.
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This iteration shows the possible pitfalls with sectioning as unrelated offsets destroy any patterning and readability through randomisation. It is important that control is maintained throughout the process to avoid these problems.
Again, creating depth through controlled subtraction. This iteration is not symmetrical and engages the viewer slightly more.
Fragmentation in form is still evident but the purity of simple starting geometry lends itself to create calmness amongst the chaos.
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. These algorithmic sketches were a necessary part of technique development to extend our control over the parametric process. 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. The following page details the most important and useful discoveries that arise from this technique matrix.
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Technique Development
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open
closed
readability
discontinuity
calm
Fragmented
Using ‘separation without isolation’ as the key driving force behind our design intent, our team intends to eventually develop a design that creates a ‘whole’ comprised of ‘parts’. Creating an individual space that remains linked to the surrounding environment will be the best way to convey this idea and extend our technique development into the Wyndham Gateway Project. The iterations to the left were important discoveries for our team during the technique development stage. These two dimensional graphics represent a range of outcomes for possible implementation by understanding how small manipulations can alter the final outcome of a form. Some of these techniques were more successful than others in developing workable forms and developments, however it is still important to express the failures and understand why it is they have been decided against. By partially subtracting forms, space within them can be created and developed but over-subtracting can ruin and initial form or idea by demolishing any remnants of what was. Thus, in this instance, creating an open and cohesive space requires two forms to work in unison. Understressing or overstressing the relationship between the elements undermines the original design intent. Due to the nature of sectioning and one form being made of many, readability of an edge, point or face is to be heavily scrutinised. Jarring shapes create discontinuity and the relationship between each individual element can be lost due to this. Fragmentation almost completely removes any readability of curves or surfaces, something that we as a group wish to avoid in an architectural sculpture viewed at high speed.
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Technique Prototypes After completing further algorithmic exercises and gaining further control over the computation progress, our team began fabricating cardboard prototypes. 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. 43
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 each other and how this can alter the overall desired effect.
Progression
This model expresses the different vantage points available as the viewer progresses 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 opportunities 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. 46
Form Development Process-oriented manipulation Form
Subtraction
Sectioning
Alteration 47
Creating this developable form allows our team to move forward from here and create a design that is even more site specific. Orienting certain 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 relevant 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 within 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. 49
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Project Proposal
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Moving Forward The Expression of Interest in the previous section gave our team a chance to display our work to date and gain some feedback on how our project can be improved. The project, which was still in its early stages of development, aimed to make best use of the site by using all of the available space. Site A (the major site) and Site B each had standalone structures with different section planes to highlight the differences between them. The feedback was to create a more suitable and believable relationship between the two sites to reinforce our concept of developing a link and relationship between the two cities. This was the paramount idea that resulted in a technical and physical change in the design and will be discussed later in this journal. Furthermore, it was argued that more attention be given to the â&#x20AC;&#x2DC;experienceâ&#x20AC;&#x2122; aspect of the design and develop more site specificity and element diversity. Doing this would aid us to better utilise the advantages of the approximately 500 metre long site and create a from readable at 100km/h. Finally, the issue of scale, specifically height, was to be addressed. Due to miscalculations, it was understood that our initial design was 60 metres tall, an enormously oversized scale and one that needed to remedied. Buildability and materiality also came to the fore in the ensuing scale alterations and this will also be discussed further in a later section. However, the positives of the project were encouraging and showed we had a strong workable form that could be expanded to encompass the new ideas put forward to us. Understanding our Expression of Interest proposal as a work in progress meant that we still had lots of work to do if the design was to change and progress.
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SERVICE STATION TO WERRIBEE
SITE B
SITE A TO MELBOURNE
Reviewing the Site
TO GEELONG
1:2500 Existing Site Plan
This 1:2500 scale image of the site shows Site A linearly stretching from Melbourne to Geelong and Site B moving away towards Werribee. Developing a conceptual relationship between Wyndham (Werribee) and Melbourne in the design can be physically produced by stressing the relationship between the two sites. Our original model began this process but feedback from the jury suggested more should be done to make the two form integral to each other and create a co-dependence between them to establish the link between Melbourne and Wyndham in the Gateway Project 54
Concept Development Continued development of a design is inevitable in the architectural discipline as we strive to further engage the brief, the users and technology. Our team has continued to evolve our design process and outcomes to ensure we are able to create an engaging and stimulating architectural installation. This section will detail the continued concept and design developments in the most linear way possible to accurately express the design process from conception to fabrication and delivery. Responding to certain criticisms, our team aimed to create stronger links between the Gateway Project and our original design intent. Returning to the brief, we extracted what was important to the council, the community and the design itself to properly engage in what was required and what was desired by the panel. Below, our ‘mind map’ of the key factors of the brief depicts these ideas and goals. These factors became the new driving forces behind our design, however, our design intent (which was originally based upon the brief and studio guidelines) remains the same. Synthesising our original design intent with the renewed conceptual framework was the challenge for our team as we continued to improve our physical outcomes and aimed to satisfy the brief in its entirety. SITE
READABILITY
CONCEPTUAL
ARRIVAL
GATEWAY DESIGN PROJECT
INNOVATIVE
‘AIR’
MATERIALITY
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ICONIC
Separation without Isolation ‘Separation without isolation’ was a motto that our team developed early in the design process to represent our main aims of linking Melbourne and Wyndham together through an iconic structural sculpture. It is both conceptual and physical in meaning. Conceptually, a relationship should be established through our design by becoming an iconic marker on the landscape. A memorable experience needs to be created to develop a connection between the structure and the two cities. This was yet another driving force behind the design process to establish a relatable connection and forge a ‘sense of pride’ through the sculpture. Physically, we aimed for our design to develop a separate interior space that is connected to the wider landscape. Using sectioning as a technique furthered this concept in a physical manner to convey the forming of a whole through individual parts and elements.
WYNDHAM CITY
WESTERN GATEWAY
MELBOURNE CITY
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Design Development Re-experimentation Using the newly developed conceptual framework, our team began altering our previous work in a relatively radical way. The previously integral technique of subtraction was rewired to be a conceptual development of space, rather than a technical computational component. Different types of curves and vectors take its place to gain more control and readability in the form. Using this new technique required some further experimentation to understand the capabilities and limitations of what could be achieved through this different method of form creation. The results of these experiments (right) expressed an exponential relationship between frequency and amplitude of a sine curve and demonstrated the delicacy and precision required to develop a readable form. The parameters used were a vector-influenced base-curve (red) and site setback boundaries to ensure that any useful results could be directly utilised in the Gateway Project.
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Low Amplitude : Low Frequency
Low Amplitude : High Frequency
High Amplitude : Low Frequency
High Amplitude : High Frequency
Tweaking Inputs As none of the initial end-ofthe-scale experimentation delivered directly usable results, fine-tuning was required to develop a usable form that could be read at high speeds. Finding a suitable iteration of frequency, amplitude and base curve vectors eventually depicts a relationship between the two separate forms and creates a co-dependence on each to create a flowing topographical curve (below).
Developing Curve
Developed Curve
Finalised curve on site boundary
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Design Development Form and Sectioning Using the curves to develop an overall shape, the massed form is far too bulky and doesnâ&#x20AC;&#x2122;t engage with the brief or design intent. Sectioning, the main theme of this journal allows the form to be broken down in to individual elements. These individual contoured sections are made completely of straight lines but because of their gradual change over the site, curves can be perceived and understood. Site A and Site B sections are all in line with each other and in the same orientation to pronounce the coexistence of each overall shape. The sectioning runs perpendicular to the site to increase readability and ensure uniformity of space-size between each section.
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Responding to Site The new design based on sine curve geometry again uses the whole site but establishes a self evident relationship between structures on Site A and Site B. The large iconic scale of this design is 25 metres high at its highest and has cantilevers on 51 of the 70 sectioned elements. In total the design is 540 metres long with gaps of nine metres in between the one metre-wide sections.
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Computation process Mathematical Process
SITE BOUNDARY
VECTOR UNITS
AMPLITUDE
BEZIER CURVE
SINE CURVE
SPLIT
FREQUENCY
SITE BOUNDARY
Physical Process
SITE BOUNDARY AND POINTS
Site Boundary is referenced into Grasshopper along with the intersecting end points of the boundary.
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A Bezier Curve is referenced from the end points of the site and vectors used to alter shape, intensity of curve and height dimensions.
A Sine Curve is referenced through the Bezier Curve and altered its Amplitude and Frequency are altered to develop a suitable and usable topographical form.
The Sine Curve and both Site Boundaries are split into x number of points. More points will result in a higher degree of accuracy in the next stage.
INTERPOLATE CURVE
INTERPOLATE CURVE
VECTOR UNITS
LOFT
CONTOUR
OFFSET SURFACES
INTERPOLATE CURVE
Separate curves are Interpolated through the points resulting in 3 workable curves unaffected by Vector, Amplitude or Frequency alterations.
Three curves are lofted together creating an undulating form consisting of three curved faces.
This solid form is contoured and altered using vectors to orientate sectioned elements into desired direction. This design used perpendicular sections from the original Boundary Points
Surfaces are created from contours and then Offset one metre in Rhino to create the solid 3 dimensional elements required for fabrication
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Construction process
PREFABRICATION OF COMPONENTS
Prefabrication of steel I-beams and truss plate component begins off-site. Mass customisation required due to angular variations of each element in design.
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EXCAVATION
FOUNDATIONS AND FOOTINGS
ONGOING
ONGOING
ONGOING
TRANSPORT TO SITE
Excavation for foundations and pad footings begins on-site. Factory prefabrication of components continues off-site.
Foundations are sourced and pad footing systems are laid to prepare for component delivery and assembly. Offsite prefabrication continues.
Footings are left to cure whilst factory components are delivered to site and arranged in relation to location on site.
TRUSS PLACEMENT AND CONNECTION
Prefabricated truss components are assembled on site using bolted I-beam connections and truss plates fixed to footings.
CORTEN CLADDING
LANDSCAPING
Unweathered Corten cladding system is fixed to structural system using battens in a conventional cladding process.
Landscaping is completed and drought-resistant grass is replaced between elements to finish construction process.
NATURAL WEATHERING
Over time, Corten cladding system weathers naturally and develops desired design intent.
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Tectonic Elements Design Buildability is a key factor in any design and must be considered to ensure the feasibility of any architectural design. Our team utilised 10 metre long segments of steel I-beams with bolted connections as the main structural framework of the design. Connecting them to corner plates where truss members intersect removes the need to â&#x20AC;&#x2DC;over fabricateâ&#x20AC;&#x2122; the ends of each I-beam. The images to the right show the three main points of tectonic detailing required. Connecting the truss plate to the footings requires a high degree of rigidity to avoid any unwanted stresses an eventual failing of the structure. Bolted connections have been used at the ends of the prefabricated I-beam members to further remove the need for needlessly complicating the prefabrication process. This means that most of the beams can be interchanged with each other due to scaled mass production and uniformity of length. The corner truss plates provide the intersection points for the I-beams and are located at all corners of each member and intersecting truss members within the structure. Because of the continued changing angles and shapes within the design, these truss plates require mass customisation to accurately deal with the altered angles. 65
Corner Plate System
Pad Footing and Corner Plate
I-beam bolted connections
Modelling Fabricating a tectonic model allowed our team to physically test our structural design and make alterations accordingly. The implementation, of corner plates was based on the idea of simplifying construction and fabrication processes. Removing the need to cut I-beams at acute angles was the purpose of corner plates as they created a new joint and allowed each truss member to avoid direct contact with each other. Modelling at a 1:50 scale also gave our team the first look at cladding and how the different panels would eventually work together on the design. By aligning the panels in a â&#x20AC;&#x2DC;landscape patternâ&#x20AC;&#x2122; the most effective use of material was allowed and sufficiently hid the structural components.
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Model Fabrication Methodology As well as design issues, the Expression of Interest presentation model also exposed fabrication flaws. Gluing the main sectioned elements to the base was problematic as this method lacked precision and was less aesthetically accurate to the design. Devising a ‘slot’ system where 3mm deep slots were lasercut into the base and matched to 3mm lasercut tabs added to the bottom of the elements allowed the pieces to be placed with precision. Furthermore, this kept glue use to a minimum, which removed unprofessional ‘mess’ on the model and cleaned the straight edges and faces. Reduction of laser scarring and burn marks was also an issue. Firstly sanding the mdf elements removed most of the laser scars and roughened the material slightly to prepare it for painting. Painting further removed the burn marks and also doubled as representative of the Corten material used for cladding.
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Building Cutting each of the 70 sectioned elements was based on the laser etch and a simple enough process. Getting the tabs to fit gracefully into the slots was another story. It had seemed that the mdf board had warped during the laser cutting process, it was only slight but enough to require the chamfering of approximately 90 percent of the tab elements. Further, some slots also had to be sanded down to accommodate the inaccuracy of the laser cut. Due to the human element introduced into the preparation of slots and pieces, there was a resulting non-uniformity in the across the model. This meant that each placement required different amounts of force and technique to accurately plant the 70 sections in to the base.
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Model Fabrication
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Final Model Design The final model is at a scale of 1:500 and encompasses the whole of Site A and Site B. Each form leans into the other and creates a harmonic relationship as they curve together above the road. This curve emphasises the design intent on developing a relationship at an iconic scale, 25 metres above ground level. The sectioned elements are all parallel to each other and are in direct line with the elements on the opposing site. This idea lends itself to the notion of simplicity and forges a readable curve to appear from individual straight-edged forms. Sectioning, as a tool has allowed what would otherwise be an oversized ‘Gehry-like’ fish structure to integrate the idea of ‘separation without isolation’ into a parametrically designed gateway. There is a repetition of element positioning and orientation and viewed together and at high speeds, each element is crucial in creating the overall twisting curve.
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Night At night, the design is up lit along the length of each sectioned structure to continue to allow curve readability in the dark. Images to the left show the light when facing west towards Geelong and the image to the right shows the light when facing east toward Melbourne. Both lighting effects are different to each other based on the close positioning of up lighting to each element. Moving west, the lights shine directly upon the sections creating stronger visibility of elements but also one that does not light the entire section. Moving west, the light is reflected and fills up the space in between the sections rather than the sections themselves. This results in a less intense light but shows more of each element and the overall form. Changing the effects between night and day is aimed to create a memorable and varied experience when driving through the Gateway. This, a key demand of the brief and design intent of our team.
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Day The design behaves very differently during the day when compared to night. Rather than being the major part of the road lit up, it casts strong shadows that continually change throughout the day. The sharp shadows are a result of the straight edges of the design and because of the twisting pattern of the curve, these sharp shadows are cast in different angles throughout the 18 seconds it takes to drive through the gateway.
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Studio: Air Temporal Change Corten is a weathering steel and was chosen because it is able to aesthetically change over time. By oxidising and reacting to the atmosphere around it, Corten changes from a bright orange colour to a dark purple black over the space of forty years. In doing this the structure is allowed to continually evolve and foster cohesion with the landscape, another of our teamâ&#x20AC;&#x2122;s core goals. The use of this material and its purpose to develop sensitivity with the surrounding environment engages with the studio theme of air. Furthermore it allows the architectural installation to engage in the design discourse through a temporally changing architecture.
0.5 months
1.5 months
6 months
2 years
5 years
22 years
40 years
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Sections after 6 months
Sections after 40 years
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Generating Discourse Critique Presenting our redeveloped project to a new panel of critics, the results were quite varied and very exciting. The simplicity of the form was the greatest generator for discussion as certain members of the panel were critical of what they believed was an oversimplification of the overall twisting shape. They argued extra curves or ‘spines’ should have been placed throughout the site to add different directions and orientations. Countering this however, some critics believed the simplicity of the form was the very strength of the design. It was argued that adding extra shapes to the overall form would have detracted from the ‘clean’ lines and linear relationships between the elements.
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Our team stands by our design and found it exciting that such stark contrasts could be drawn from one design. The simplicity is what allows the curve to be understood at 100km/h. By being able to avoid over-complication (which would have been easy given the grasshopper environment) we have been able to maintain our original design intent and develop cohesion with the landscape, create a memorable gateway through a readable form and establish a relationship architecturally between Wyndham and Melbourne.
Innovation Innovation is theme of this studio and a key component when discussing parametric architecture. Speaking explicitly about our gateway in relation to innovative concepts, we have been able to utilise design techniques in Grasshopper to produce a form that isnâ&#x20AC;&#x2122;t commonly associated with parametric design. Moving away from the repeated patterns or â&#x20AC;&#x2DC;blobâ&#x20AC;&#x2122; designs that often come hand-in-hand with parametric design we have been able manufacture a distinctively alternative design using a range of parametric tools and components. As the weathering steel on the exterior of the design changes temporally, it is our hope that this design also continues to evolve in the context of parametric architecture. Aiming to become a part of the parametric discourse, our design shows potential to move away from the standard conceptions mentioned earlier and develop parametric design into a more open and publicly accessible form of architecture.
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Further Exploration Responding Responding to the criticisms received from the critics, previous experimentation must be shown to understand why a design is the best of its possible iterations. It is also important to take on new ideas and continually develop and review any design and to gain scope for why a project is successful or not. Although our team believe we have the best possible design from our skills and knowledge, it is still necessary to explore any alterations to the design. These algorithmic sketches are based in the Grasshopper environment and are directly linked to our design proposal and the critique it received. The sketches on these two pages depict subtle and not so subtle alterations of shape, curve, section distances and section orientation.
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Section Distances
Altering Shape
Results Number of sections and the complexity of starting geometry influence who the shape is read and understood. The proposal iteration of 10 metre spacing develops a curve that is understandable, unline most of this algorithmic sketches. There is a correlated relationship between number of sections and level of readability. more sections that are present, the tighter they are, the more solid the form appears. Less sections results in an excess of space and and percieved discontinuity between the elements. Adding a separate â&#x20AC;&#x2DC;spineâ&#x20AC;&#x2122; also creates unwanted confusion in the form and ruins the overall shape and qualities of the starting geometry. Simplicity, it seems, is not easy to create. Fine-tuning to exacting standards and a recognition of the desired outcome are essential when so many factors can be changed at the slip of a number slider. Using parametric design tools, experimentation is the most effective way to understand the physical possibilities and limitations of any technique. 82
Learning Objectives Objective 1
Interrogating a brief and understanding certain aspects such as site, client needs and possible design solutions is an integral part of the architectural profession. Throughout the semester I have been able to continually evolve a design and ensure it remains relevant to the brief and the people who will use/view the installation. Keeping the design â&#x20AC;&#x2DC;in checkâ&#x20AC;&#x2122; when it begins to drift from the brief demands and design intent has been very important throughout the semester. The design responds appropriately to the clientâ&#x20AC;&#x2122;s brief and makes efficient use of a transitional site with people moving through at high speeds.
Objective 2
As stated above, the design was routinely altered based on new possibilities and discoveries throughout the studio. Generating a variety of design opportunities allowed it to develop from each iteration to the next. Algorithmic techniques were constantly used, evaluated and either kept or discarded. One example being the technique of subtraction. Initially it was integral to the design development and manipulation and as new skills were learnt it was replaced. It has remained in this journal to highlight the continued development and growing understanding of parametric design tools. Parametric techniques were also used to develop a high standard final model with a slot system that delivered a high level of accuracy that represented the digital model. Prototyping this model proved invaluable to gain further understanding of how the materials and pieces themselves work together.
Objective 3
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Coming from having no experience with Rhino (and grasshopper), InDesign, Illustrator, Photoshop or FabLab, this studio has been a very steep learning curve but the final product is expressive of how these programs and skills have been learnt. Using photography has been the main method of form exploration as photographing a physical model delivers measurable and believable results. Understanding a model as both digital and physical allows the continued checking of progress and real-world understanding of the digital design space.
Objective 4
Architecture and air are intrinsically linked in the fact that architecture must be exposed to atmosphere and elements. This idea has been included integrally into the design to use air and oxidisation as a factor that will continue to change the gateway and engage the viewers in new ways.
Objective 5
Using precedents to understand architecture, specifically sectioning for this journal has allowed for a scope of contemporary design. Producing an innovative piece of design is key to any successful architectural proposal. The project successfully engages in the parametric discourse and steps away from the regular preconceptions of algorithmic architecture. Using text to elucidate ideas and images to express them, this journal aims to communicate the ideas within the project as accurately as possible.
Objective 6
Analysing precedent projects and projects unrelated to the discourse has aided the design to grow and allowed critical thinking to occur. Continued revising of the project has been aided by analysing it in the context of other projects in the related discipline.
Objective 7
This course has fostered a basic understanding of computational processes and has provided the means and tools to continue development. Computation has provided a range of possible iterations but at times has been frustrating when attempting a simple function but not having the skill set to achieve it. The Grasshopper community has been extremely useful to develop said skill set when a function is required.
Objective 8
Over the duration of the studio, a personal repetoire of computational skills has been developed. These include subtractive tools, mathematical relationships in curves, data manipulation and general algorithmic components essential in the Grasshopper environment. The advantages and limitations of tools has been understood. Subtraction is again an appropriate example in that it could only move the design so far before it needed to be replaced with a mathematical curve controlled by vectors and data inputs.
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Learning Objectives Final Word Using parametric design has shown me a new way of looking at problems and a new way of solving them. Developing quick iterations and possibilites has allowed me to develop a better understanding of breadth in the the intial phases of design. Radical forms are relatively quick to create but can be extremely frustrating when a working with new components to develop something that could be easily hand-drawn. Architecture is a continually evolving field and the same way pencil and paper were the traditional tools, a computer is now the major tool for an architect. My viewpoint on that has gradually changed since the start of this studio as I continued to work with the tools and develop more of a feel for them. As architecture continues to develop and diversify, it is likely that parametric design will grow in mainstream prominence. Whether or not this is a positive or not remains to be seen and relies heavily on the way in which architects use these tools. Through personal experience of simply viewing and analysing contemporary architecture, It does seem that parametric architecture â&#x20AC;&#x2DC;feels the needâ&#x20AC;&#x2122; to fit in with the trend of extravagant curves and overzealous patterning. With our project, myself, Doug and Roxanne set out to avoid these repetitious patterns and develop a simple, yet exciting form. This being the first time I have worked in a team during studio, the experience was at times difficult and at others, motivating. The three of us worked well together and each brought our own experiences forward to steer the design process in a direction that each could be happy with. Working in a team offered an immediate second and third opinion to any design idea thrown about. Quickly quashing the poor ones and developing the better ones was made easier with three people due to the subjectivity that is inherent to all designers. As a team we were able to produce an exciting piece of parametrically designed architecture and engage the discourse, eventually generating our own.
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The End
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