Studio Air, Semester 2, 2013 - Bhargav Sridhar

5 8 5 5 9 1

B H A R G A V

S R I D H A R

AIR S T U D I O

Semester 2, 2013

Acknowledgements Tutor: David Lister Groupmates: Rovi Lau and Xiaofan Wang

Contact Me Email: bhargav.sridhar.2010@gmail.com

C O N T E N T S 1

Introduction

3

Past Experience

5

Part A - Expression of Interest I : A Case for Innovation

7

A.1: Architecture as a Discourse

11

Source of Identification

13

Precedent Project: Barcaldine Tree of Knowledge

15

Precedent Project: Metropol Parasol

17

A.2: Computation in Architecture

21

Precedent Project: Smithsonian Institution

23

Precedent Project: ICD/ITKE Research Pavilion 2010

25

A.3: Parametric Modelling

29

Precedent Project: People’s Meeting Dome

31

Precedent Project: The Almond Pavilion, SG2012 Gridshell

35

A.4: Conclusion

36

A.5: Learning Outcomes

37

A.6: Appendix - Algorithmic Explorations

39

Part B - Expression of Interest II : An Approach to Design

41

B.1.1: Design Focus

45

B.1.2: Design Approach

49

B.2: Case Study 1.0

59

B.3.1: Case Study 2.0: Hexigloo Pavilion

61

B.3.2: Reverse Engineering

69

B.3.3: Prototyping

73

B.4.1: Technique: Development

77

B.4.2: Technique: Form Finding

79

B.4.3: Technique: Final Outcome

83

B.5: Technique: Tectonic Prototyping

87

B.6: Technique Proposal

91

B.7: Learning Outcomes

93

B.8: Appendix - Technique Algorithm

95

Part C - Project Proposal: Establishing Wyndham’s Identity

97

C.1: Design Concept

107

C.2.1: Tectonic Elements - Kerfing

111

C2.2: Construction Documentation and Model

119

C.3.1: Final Model: Assembly

123

C.3.2: Final Model: Result

133

C.3.3: Project Conclusion

139

C.4: Learning Objectives

141

C.5: Algorithmic Sketches

143

Images

145

Notes

1

I

ntroduction

Approaching 20 years of age, I am an undergraduate student working on completing my second year of the Bachelor of Environments at the University of Melbourne.

2

P

re v i o u s

E

xplorations

In 2012, I opted to take the subject, Virtual Environments during my first semester of the Environments Degree.

The subject introduced a new method of approaching design, which featured a prominent inspiration derived from natural processes which is then developed further using modelling tools such as Rhinoceros and reproduced in the physical form of a paper lantern. The challenging experiences undergone as a result of this project pushed me to reach past my limitations as I was made aware of how to conceptualise design ideas beyond the literal expressions extracted from nature in order to obtain a totally unique outcome of design; one that depicts the rationale through the immateriality rather than the physical features.

3

Above: Wearable paper lantern project, Virtual Environments 2012.

Over the course of the 12 weeks, I received valuable knowledge as I took my first steps into the world of parametric architecture and modern fabrication technology. The introduction of Rhinoceros 3D and the Paneling tools plugin formed the basis of the design of the wearable paper lantern. Due to the challenging technical obstacles, I progressed through a grueling experience of going back and forth in the design process adjusting and simplifying the design to achieve a realistic outcome by the given deadline. This undertaking provided me with a significant understanding of how a designer in modern days is only limited by his/her own knowledge and their skills in applying their ideas efficiently using the available technology.

The

introduction

to

fabrication

techniques

using machinery such as laser and card cutters created a new awareness in my mind for the possibilities of producing physical forms of complex geometry

with

great

accuracy.

Presentation

skills were also emphasised due to its importance in

the

design

process.

I

found

my

graphical

skills improve rapidly through the course of the subject which is a crucial feature of any designer.

4

Part A - Expression of Interest I : A Case for Innovation

5

“

“

Good Design Is a Renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.

- Paola Antonelli

6

A

A.1

rchitecture as a

D

iscourse

For a significantly large period of time the understanding of architecture was primarily focused upon physical elements of building design and construction. From the time of Vitruvius’ De Architectura, which classified architecture with fixed boundaries, through the vast classical era, across the Baroque and the time of Renaissance, there existed a universal understanding that architecture referred to that of the built world and the architect performs the role of a master builder or craftsman 1. Even today, a similar perception of architecture as a collection of solid, tangible, constructed objects in the public realm is considered by some 2.

However, according to Richard Williams, the last couple of decades has seen the growing desire of government authoritative figures to commission the reformation of the public realm by implementing the use of architecture 3. This I believe has caused a great sense of attraction to Architecture as a topic of debate. Furthermore, the notion of architecture as that which only exists in a physical state has been set aside to make room for the conception of architecture as a formless phenomenon 4.

It is important to note that we shouldn’t, in architectural discourse, completely abandon the nature of the material, but as Hill suggests, we must witness architecture as the “perceived absence of matter rather than the actual absence” 5. This statement enriches the concept of discourse in architecture by adding a sense of ambiguity. Architecture cannot be singularised to any particular set of ideals by the author as the ambiguous must be left to the interpretation of the differing opinions and perceptions that exist among members of the society.

Patrick Schumaker depicts the phenomenon of architecture “as an autonomous network of communications” 6. This is another interesting description implying that architecture is a form of expression that takes place amongst the social and cultural systems and that architecture is part of a wider collective intelligence; sui generis 7.

The combination of these proposed characteristics of architecture as a discourse promotes forward thinking leading to the notion of innovation which, is a prominent goal of the Wyndham Gateway project that I aim to achieve as we progress through the course of the coming weeks.

8

A series of architectural identities trancending across centuries. 1

Without an architecture of our own, we have no soul of our own civilization.

“

“

- Frank Lloyd Wright

11

S

ource of

I

dentification

A particular area of architectural discourse that is of significance to this project, is the notion that architecture symbolises the qualities of identity, one which is perceived by the public. Architecture that represents the heritage and culture of the multitude, is generally associated with public monuments and landmarks 8.

Just as people from a certain nation share common characteristics that make them sui generis, structures of a particular populous share common attributes that together, form a unique architectural identity 9. Therefore, a successful piece of architecture must make connections to its surrounding context, culture and by enlarge, the society.

While this is true, the notion seems unbalanced in that it again relies on physical representations of history being fixed in time and that architecture represents a single defined identity 10.

This cannot be the case. Social, cultural and political statuses evolve through the course of time and so does the perception of how people identify themselves through architecture 11.

Therefore, architectural identifications with historical and cultural conceptions of society must have the potential to grow and change with the advancement of the modern world.

One can assume that a successful designer caters for the changes of society’s unique traits that influence how they identify themselves with architecture which in return, define the society. The integration of simplistic formal characteristics in combination along with the broad cultural context of the site is a possible means by which one may achieve this.

The aim of the Western Gateway Design Project is to undoubtedly aspire to “establish [an] innovative and prominent indicator to provide a focus� 12 that enriches the image of Wyndham City. In further research, I will pursue a method by which my design proposal celebrates a key facet of Wyndham that has attracted a large influx of people. A potential character of Wyndham is its close connection to the Werribee river, a piece of natural heritage to both the colonial Australians as well as our indeginous predecessors. As a designer, I aim to further enhance such contextual and cultural qualities as a means of developing a suitable proposal that acts as an accurate architectural identity, unique to the municipality of Wyndham.

12

Precedent Project:

Barcaldine Designed

by

m3architecture

in

of

characteristics

of

Knowledge

this

This engages with the notions that I aim

collaboration with Brian Hooper

piece of architecture not only

to explore in relation to architecture

architects, the tree of knowledge

pays homage to a historical

as an identity which is essential to

has been classified as a memorial

significance of the Australian

the establishment of Wyndham as an

to the birthplace of the Australian

political scene, but as architect

attractive destination for the public.

Labor Party in 1891, which today, is

Michael

Furthermore, the presence of this

a prominent political institution of

“The

by

building on the side of a major

Australia. The tree which symbolised

the way people create and

highway is intended to create a

the historical and political event is

relive

jury

gateway into the city of Barcaldine,

now enveloped by the 18 foot cube

of

Architects

from which it acts as a signpost

shaped structure that not only

Awards

of

and as a lantern at night attracting

preserves its remains but intends

architecture to have bestowed

passers-by. This directly relates to the

to mimic the living nature of the

a sense of “great civic pride

case of the Western Gateway Project,

tree’s canopy as it was in 1891 .

to the town ... [due to the]

where the proposed design performs

The repetitive timber elements are

preservation of a historic icon

as a beacon highlighting the local

a simplistic solution which subtly

of

ambience of the City of Wyndham.

13

The

Tree

Lavery

design

mentions,

was

inspired

memories” .

The

14

the

National present

national

the

significance” 15.

recreates the historical symbolism that

existed

in

Barcaldine.

Below: 3600 hanging timber slats, Barcaldine Tree of Knowledge 2.

13

work

Barcaldine Tree of Knowledge, m3architecture and Brian Hooper, 2009 3

Precedent Project:

Metropol

Parasol

Part of the Redevelopment project of Plaza de

As the intentions of the architects dictate, the

la Encarnacion, the Metropol Parasol, designed

purpose of the work is to serve as “a place of

by

an

identification and to articulate Seville’s role as one of

landscape

the world’s most fascinating cultural destinations” 17.

of Seville’s historic medieval sector. As it looms

The building’s iconic nature is achieved through

over archaeological ruins, the building serves to

the

act as a significant example of the notion that

‘waffling’; aesthetically, is a complete contrast

architecture, is ever changing and evolves along

when compared with the surrounding landscape.

with the rest of society’s cultural characteristics

Such

as opposed to a fixed historical remnant of time.

architecture as an emblematic identity is essential

Architectural critic, Michael Webb characterises

for a project such as the Western Gateway Project

the work by Jurgen as to have captured the

for the purpose of “inspiring” locals and visitors alike.

Jurgen

interesting

Mayer formal

H.

architects,

addition

to

provides

the

assimilation

unique

timber

characteristics

essence of Seville’s culture by implementing the technique of juxtaposing the old and the new “with a grace and boldness, lacking in other countries” 16.

Below: An interesting addition to the landscape of Seville, The Metropol Parasol 4.

15

of

sections,

which

through

represent

Metropol Parasol, J. Mayer H., 2011 5

omputation in

“

A

rchitecture

“

C

Computational designers are more than just creators of complex 3D models ...

- Brady Peters

A.2

The advancement of the information age has undoubtedly constituted for a rise in popularity of computers and have become a necessity in our lifestyle. Computerisation is a process commonly used by most, to digitise information for the benefit of precision while reducing time and effort 18. In the case of designers, the birth of computer aided design software (CAD) has greatly increased the efficiency and productivity.

However, are mainly tools that involve the digital processing of information that is predefined in the mind of the designer and does not further enhance the design process 19.

Computation, on the other hand, as defined by Terzidis, “aims at emulating or extending the human intellect� 20. In the case of design, the integration of computation has enabled architects to reach beyond their abilities to confront challenges of high complexity during the course of the design process as well as during the fabrication or construction stage 21.

Computational design methods involve the use of a series of explicit instructions, known as an algorithm, which are composed using mathematical or logical reasoning, to be calculated by a computer in order to generate form and space that otherwise, cannot be easily determinable by the human mind 22. The implementation of such methods is growing tremendously in popularity as we approach an era where software is being created by architects as opposed to the other way round 23. Computational design has created a paradigm in architecture strengthening the ability to construct complex forms and obtain detailed performance feedback 24 through further digital programming or computer aided prototyping.

This greatly benefits the designer in improving the accuracy of his or her design choices.

The use of software tools such as Grasshopper as an integral part of the design process, along with advanced fabrication technologies, enables the designer to expand the boundaries of architectural innovation. Therefore, I will attempt to utilise computational methodology to drive my process in regards to obtaining a suitable solution for the Western Gateway Project.

18

The integration of computational design in Architecture 6

Precedent Project:

The

Smithsonian

Institution

To further enhance my focus on architecture as a means

This is an ideal process of computational design which

of defining society’s evolving identity, the methods of

utilizes the usefulness of parametric modelling (a

computational design will be a key concept of with

concept that will be explored in further detail later in

regards to pursuing innovation. An example of this,

this section) to achieve a suitable outcome through

would be the redesigned courtyard of Washington’s

the testing of various possible solutions. The analysis

largest event space by renowned architects, Foster

of structural, acoustic and building performance were

and Partners. A source of cultural significance, the

also generated using computational methodology

renovation

to produce additional information required for the

of

the

roof

employed

computational

methods to generate its lattice-like structural form.

process of fabrication 26.

Designed to “do the most

with the least” , the work implements computational 27

A computer program written by architect Brady

methods

Peters, formed the software basis by which the

This project exemplifies the impact of computational

geometry of the roof was created. The computed

means

algorithm allowed the exploration of a variety of

Peters, I will be attempting to implement algorithmic

iterations from which a final solution was achieved .

operations to compose geometry and applying

25

digital of

also

regards

fabrication

prototyping

Below: The renewed courtyard enclosure, the Smithsonian Institution 7.

21

in

to

to

achieve

to

material

architectural

technology achieve

for similar

efficiency.

design.

the

Like

process

outcomes.

The Smithsonian Institution, Foster and Partners, 2007 8

Precedent Project:

ICD/ITKE

Research

Pavilion

2010

Forming part of a research collaboration at the

The integration of materiality through computation

University of Stuttgart, this particular installations focus

produces data which can be analysed using advanced

on the use of computational methods to broaden the

simulations and also in the robotic fabrication process.

scope of materiality in architecture; primarily wood, and its perfomative qualities, both structural and

This

behavioral. The pavilion is a product of an approach

computational

through which Achim Mengis and his colleagues

tool

present their research on the relationship between

innovation. I will be engaging with timber in my

computational

fabrication

explorations in the Gateway Project and hope to

technologies and how they “expand the design space

pursue a similar approach in generating the form

towards hitherto unsought architectural possibilities” .

of the design by the potential of the materiality.

design

and

advanced

28

project

to

The intentions during the course of this project focused

upon embedding

the elastic bending

potential of thin plywood within the computational design the

process

to

create

generation

of

form,

an

“active

structure

and

driver

in

space” 29.

Below: Behavioural capabilities of timber, ICD/ITKE Research Pavillion 9.

23

depicts

the

technology

extend

the

as

characteristics a

boundaries

powerful of

of

design

architectural

Research Pavillion, ICD / ITKE University of Sttutgart, 2010 10

arametric

“

M

odeling

Many people have misgivings about the term parametric.

“

P

- Neil Leach

A.3

On the forefront of technological advancements enriching the field of architectural discourse, lies parametric modeling. Originally defined in mathematics, the term ‘parametric’ refers to a “set of equations that express a set of quantities as explicit functions of a number of independent variables, known as ‘parameters’” 30. However, due to the recent growth in popularity in regards to parametrics in architecture, the definition in relation to design has become obscure. It is a common notion that parametric modeling has always existed in the field of design. The constraints and requirements of the brief are the implied parameters of the design process which if manipulated directly changes the outcome. However, in accordance to the mathematical approach to parametrics, a series of explicit functions must exist in between the parameters and the outcome for it to be defined as a parametric function.

Daniel Davis, in his lecture on parametric modeling presents two key advantages of parametrics in design: Control and Efficiency 31. Modeling using parameters, enables the designer to define elements of his/her intended form with a high level of precision and accuracy. Alterations can be made to the minute details with great fluency through the manipulation of set parameters. Parametric modeling also creates design possibilities in a relatively short period of time that are almost impossible to achieve using alternate modes of computation. The integration of parametrics has revolutionised the design process where the assumptions in regards to the performance of a design can be engaged with and perhaps resolved within the initial stages as opposed to the construction stage.

However, the technique of parametric modeling presents potential risks that must be taken into consideration 32. One such example to note: Major changes to the model during the latter stages of the design process are challenging to execute as it focuses on removing/replacing specific instructions that may inadvertedly impact the final outcome of the process. It is therefore crucial that one must define his/her intended design intentions clearly before proceeding into parametric modeling to avoid confusion later on. Another case may potentially exist where a second designer may not possess the knowledge of the initial design intentions which defined the parametric model, preventing them from being able to modify the design 33. These issues directly relate to this design project and must be carefully considered during the process with the rest of my team.

The use of parametric modelling in the Western Gateway Project will primarily enable me to achieve a variety of potential outcomes which can be further analysed in order to obtain a more refined result in a short period of time through a process that involves a high level of accuracy, integrates the use of modern fabrication technology and ultimately strives towards innovation.

26

The Geodesic Dome, Buckminster Fuller 11.

Precedent Project:

People’s

Meeting

Dome

Commissioned by BL, Denmark Public

The advantages in regards to the use

The

Housing

of parametrics is evident in this project

form

Meeting, an event conducted to

due

geodesic geometry, involves the

generate

surrounding

that is achieved when “unlocking”

implementation

the future of housing, this project

a mathematically fused form. The

modeling to engage with complex

regenerates

geometrical

complex lattice like structural system is

mathematical

nature of the geodesic dome by

designed in a unique way such that the

presents an ability to produce an

implementing parametric modeling.

overall skeleton can be varied. It can

adaptable

While respecting the properties of

be configured according to a specific

that responds to the site features

the sacred dome and its invaluable

set

is

contribution to architecture across

and constructed in a new layout,

innovation.

history, the architects attempt to

with new parameters . This poses a

become a key focus of my design

deconstruct the shape in order to

distinct prospect for design innovation

intentions, during the course of

allow the form to be manipulated

where the boundaries of a defined

exploring a suitable proposal for

by

shape

the

the

for

this

year’s

discourse

the

existing

site

People’s

conditions 34.

to

of

the

increasing

parameters,

complexity

disassembled

35

can

be

manipulated

and

adjusted to optimize the design to be efficient in utilizing the site’s features.

29

Above: Deconstructing the geodesic dome, People’s Meeting Dome 12.

technique

a

and

key

of

space

developing from

of

parametric

operations.

architectural

facet This

Western

base

of will

This

solution

achieving essentially,

Gateway

Project.

People’s Meeting Dome, Kristoffer Tejlgaard & Benny Jepsen, 2012 13

Precedent Project:

The

Almond

SG2012

Pavilion

Gridshell

The following couple of projects pertain to a

The experiments were conducted by integrating

particular

some

material and geometric parameters utilizing proficient

The

modeling software programs such as Grasshopper 37,

generate

which will be utilised in my own explorations with

design.

parametric modelling in the forthcoming weeks.

of

the

technique previous

use

of

a

the

structural

similar

to

that

precedents

gridshell

discussed:

arrangement

characteristic

of

of

to the

Both pavilions, focus on the utilization of parametric

Integration

tools to integrate the active-bending performance

tools to analyse physical properties of materials

of lightweight timber in a geodesic lattice form

such as timber is important in achieving efficiency in

to

with

terms of minimising waste as dictated by these two

Pavilion

precedent projects. The technique of assembling

effectively

elements to form a geodesic gridshell produces a

explain the advantages of parametric modeling

result that appears to complement the material

in achieving a sustainable outcome, given the

properties of timber creating a sense of openness

relatively low budget of 1500 euros for the project .

within the space that immediately connects with the

The Gridshell, a product of the SG2012 workshop,

surrounding context, therefore will be explored in

focused on similar intentions of achieving material

further detail during the development of my design

efficiency through the use of parametric modeling.

proposal for the Western Gateway Design Project.

produce

minimal was

a

highly

material

designed

waste.

and

efficient The

structure

Almond

constructed

to

36

of

Below: Parametrics implementing geodesic curves to form a gridshell, The Almond Pavilion 14, SG2012 Gridshell 15

31

generative,

parametric

modeling

The Almond Pavilion, CODA, 2012 17

SG2012 Gridshell, Gridshell Digital Tectonics, 2012 16

The site for the Western Gateway Design Project, City of Wyndham 18

C

onclusion

The primary focus of my design intentions are to produce a piece of architecture which represent certain qualities which are unique to Wyndham. My proposal will aim to engage both the surrounding context of the site as well as the cultural atmosphere in order to present architecture as a source of inspiration through identification with the society. The outcome will integrate the material properties of timber, one of the oldest construction materials, the use of which has evolved along with the advancement of technology in architecture. Extending the potential of materiality in architectural design, further enhances my case for the future of Wyndham in regards to designing a suitable proposal that defines architecture as that which evolves along with the rest of the world.

The process of design will push the boundaries of innovation through the use of computational design techniques to generate form and space while implementing advanced fabrication technologies for the purpose of prototyping possible design solutions. As discussed previously, an important facet of the computational design methodology will involve the use of parametric modeling to drive the developmental stage of my design process. This results in increased productivity through design optimisation.

As I discovered, in my analyses of precedent projects, the technique of implementing lattice geometry complements the properties of timber. This results in relatively lightweight structures in which the user is subject to the open spatial qualities that can be observed in the surrounding site context. I aim to achieve a design solution that may potentially evoke a sense of reflection, thereby allowing a certain connection to form between the audience, the architecture and the surrounding context.

A.4

L

earning

O

utcomes

As expected, the first few weeks of the subject initiated, what I believe to be, a crucial learning curve in my study of architectural design. In this relatively short time span, I was immediately forced to broaden my critical thinking in regards to architecture. I was surprised to have not come across the term ‘discourse’ in previous studio environments, therefore it was a definite matter of urgency that influenced me to enlighten myself into the field of architectural literature. As someone who would have, not long ago, presented architecture as a mere physical representation of an idea, I find my perspectives on the built environment to have undergone a complete transformation in 3 weeks.

Addressing a piece of architecture

beyond its mere aesthetical qualities became important to me during my research.

The technical component in regards to the weekly challenges enlarged my curiosity in learning about the usefulness of parametric modeling tools such as grasshopper and the ease by which one can obtain numerous trials in a matter of minutes by adjusting parameters producing instant feedback. I found myself spending hours on the program in an attempt to progress beyond what was required of me thereby enhancing my knowledge of Grasshopper components and their respective functions.

Though, the nature of this project, right from the very beginning, involves being thrown into the deep end, I found it very refreshing to be able to learn new skills as I was being introduced to scripting as a valuable tool for parametric modeling. In retrospect, I feel that these skills would have proved quite useful during the course of Virtual Environments as I would have been able to produce results of higher complexity in a shorter time period.

A.5

A

ppendix:

A

E

lgorithmic

xplorations

Above: Grasshopper definition of the geodesic gridshell lattice, Algorithmic Exercises

As I

part was

of

my

quite

research

curious

into

about

parametric

how

I

modeling,

might

go

about

replicating some of the characteristics of such projects.

The weekly algorithmic exercises enhanced my understanding of

scripting

order

to

using

proceed

grasshopper forward

and

with

my

were

essential

design

in

intentions.

The process of learning such complex software programs revealed to

the

broadening

importance the

of

prospects

computation of

as

architectural

a

key

design.

One such attempt involved modeling the geodesic form, similar to that of SG2012 Gridshell project. I was able to efficiently

generate

geometry

using

Grasshopper

with

help from the video tutorials. While it was a slow process to start with, the results overall, were satisfying and proved

A.6

to be a very productive learning exercise as it would form the basis of my design process in the coming few weeks.

Below: Explorations using Grasshopper to generate the geodesic gridshell form, Algorithmic Exercises

38

Part B - Expression of Interest II : An Approach to Design

39

“

“

Our objective is not to know the answers before we do the work. It’s to know them after we do it.

- Bruce Mau

40

D

esign

F

ocus

The Werribee River

“

Whether you have lived in Wyndham for five days or 50 years, everybody has an experience or a memory of the Werribee River 38.

“

- Peter Maynard, Iramoo Ward Councillor

B.1.1

Following the research conducted on precedent works to examine the architectural techniques utilised to demonstrate the sense of identity and belonging, we decided to explore the cultural significance of Wyndham City. Over the years, the city has experienced a high influx of population and is expected to grow quite significantly over the next few years. There are multiple reasons that could be assumed to have caused this attraction away from the city. One in particular that was observed, is Wyndham’s connection with the Werribee River, a significant body of water that has been of great significance for generations dating back to its traditional owners. The river is considered to be a place of solitude and holds a certain sense of reverence amongst the residents 38. The natural feature has presided over expansive development of Indeginous communities in the past such as the Watharung, Wundjeri and Boonerwrung tribes in the same way as it overlooks the growth of Wyndham’s municipality today.

In pursuing a suitable solution that represents Wyndham, our team aims to focus on celebrating the iconic significance of the Werribee River by presenting its experiential qualities that hold a strong sense of identity, both with the people of Wyndham as well as its traditional owners. The final outcome must create a sense of stillness, a contrast from the surrounding fast paced scene of the highway.

Chaffey Wurundjeri

W

Harrison We

e

R i ve

R i ve r

bee

e

rri

r

Wathaurong

rri

b

e

Boonerwrung

Iramoo

T H E

K U L I N

N A T I O N

W Y N D H A M

C I T Y

W A R D S

Above: Maps revealing the community development around the banks of the Werribee River.

42

The Werribee River 19.

P A T T E R N

D E V E L O P M E N T

Case Study

Reverse Engineer

Technique development

2.0

Integrate

Desired System Division of

Form Sketching

Wyndham City

F O R M

F I N D I N G

B.1.2

Form Development

Refine

After the initial algorithmic experiments conducted during our explorations in Part A, we proceeded to develop a design technique. The process will be split in two facets which will occur simultaneously: Pattern Development and Form Finding. This is done in order to implement a combination of design concepts to achieve the intended final outcome.

Though my initial research into pattern development led into using techniques such as implementing geodesic curves, as a team, we had arrived at a conclusion that while there are benefits to such methods of generating geometry, it was difficult to achieve further development beyond what has already been done before. The resulting dilemma forced us to rethink and revise our design intentions with what it is we want to achieve in this project, before exploring a new technique or combination of techniques. The primary focus was to produce architecture that recreates a similar experience that is encourages the audience to reflect, creating a sense of identification with Wyndham, a similar function present in the serene environment presented by the Werribee River. We envisioned that the use of sunlight available in the vast, open space on site, could be utilised to achieve such qualities. The design must consist of openings, varied in size, thereby manipulating the light

Design Proposal

forming patterns on the ground. This had led us to implement a combination of techniques such lattices as well as tessllation. In our case study explorations, we aim to focus our experiments on deriving a technique that is unique to our design proposal. Prototyping suitable outcomes will lead to refinement phase of this process.

To explore form finding which initially occurs independent of the pattern generation phase, we aim to focus upon the importance of further emphasising our over arching focus in representing Wyndham City. The form development will also be extensively explored using grasshopper to generate a variety of outcomes as we aim to achieve a suitable solution which can then be integrated with the generated pattern as we move towards the final stages of the design process.

46

Gridshell Pavilion for Naples School of Architecture Courtyard 20.

C

B.2

ase

S

tudy

1.0

In the absence of a supplied definition for the ‘grids and lattices’ material system, we chose to create our own script using the knowledge gained in the previous weeks. The main purpose of this case study is to experiment with Grasshopper to generate a large variety of outcomes that could be analysed to form the basis by which we may be able to make suitable design decisions in the future.

The algorithm includes components which generate a base surface which can be distorted using attractor points. Using the Lunchbox plugin, a suitable hexagon grid was chosen and applied with ease on the surface. The polylines obtained were then extruded to obtain a level of thickness. The definition consisted of various parameters that could be adjusted to influence both the form and the arrangement of the pattern of hexagons on the surface.

This process enables us to gain more depth in our understanding of scripting techniques approach

which to

will

create

be a

highly suitable

valuable outcome

through for

the

the

course

Gateway

of

our

Design

design Project.

50

The following pages contain the results of our algorithmic experiments using Grasshopper and LunchBox. The matrix to the right shows an overview of the variety of parameters that were manipulated to influence the nature of the resulting geometry.

Changes were applied to parameters one at a time and the outcomes were ‘baked’ and recorded. The parameters which were manipulated were the following:

Divisions of hexagonal cells in the grid (A) Changes to the graph which influence the distortion of the surface (B) Manipulation of the Attractor points influencing the overall vector field (C) Adjustments to the charge and rate of decay values (D) Culling pattern implemented to vary the arrangement of hexagonal cells (E)

Outcomes 1A - E were deemed unsatisfactory due the lack of definition in the form which was

a result of the low UV cell division on the surface. Outcomes

from the D row described an extreme variation of form and was thereby useful in understanding the effects of adjusting the values of the charge and decay rates. The culling pattern implemented to vary the arrangement of hexagonal cells (row E) produced interesting outcomes and gave an understanding of potential patterning ideas for our future explorations with elements of lattices.

Through this rigorous experimental process of obtaining numerous alternatives using the same algorithm, we obtained a variety of potential solutions. However, we weren’t completely convinced and felt it was necessary to explore further into geodesic geometry in the next case study. The implemetation of Kangaroo Physics was also deemed necessary in embedding material properties of timber to generate our form.

*

We decided that this particular pattern of hexagonal cells was a desirable

outcome in our detailed explorations as we felt that it consisted of suitable density of cells without being overly cluttered while providing sufficient definition to our geometry.

51

1

No. of UV Divisions

3

2

3

4

6

12

30

*

5

50

A

B

C

D

E

M A T R I X

1 52

Culling Pattern

53

A

False True

B

False True True

C

False False True

D

True True False

E

True True False True

F

True True False False

1

*

2

Matrix 2 focuses on the pattern of the hexagonal cells on the surface. The use of a component that is able to effectively ‘cull’ certain elements of a list of data enables a variety of outcomes to be obtained. While column 1 consists of the original hexagonal pattern, column 2 implements an alternative hexagonal layout which is diagonal. Culling series of cells in a pattern produced larger openings on the surface.

This had the potential to be used to manipulate the entry of light within the space to futher enhance the experiential qualities of the gateway. It was interesting to note that the culling occured differently in the outcomes in column 2 due to the variation in the order of data in the geometry.

Therefore it was not possible to produce a hexagonal arrangement rather than a sequence of branching curves.

* Therefore, the outcomes from column 1 were preferred to be more successful.

M A T R I X

2 54

1

A

B

C

D

E

F 55

*

2

Charge = 0.70 Rate of Decay = 0.36

Matrix 3 focuses on the form of the surface as we attempt Charge = 0.40 Rate of Decay = 0.36

to obtain results that depict a variety of possibilities that might be useful in future explorations. Column 1 presents results of manually adjusting the attractor point locations, thus manipulating the field of attraction which distorts the geometry. Column 2 is a series of results produced by further manipulation of point charge and its rate of decay,

Charge = 0.40 Rate of Decay = 0.50

potentially enhancing or in some cases degrades the field allowing for a distinct collection of iterations. Outcome 2 D was observed to be the most extreme condition, which was interesting as we considered its potential in our design process.

* However, Charge = 0.12 Rate of Decay = 0.05

Outcome 1 B was prefered as it consisted of

a different variations which were not too extreme. The potential of this outcome could be implemented on a roof like structure similar to that of the Smithsonian Institution.

Charge = 0.12 Rate of Decay = 0.70

Charge = 0.80 Rate of Decay = 0.60

M A T R I X

3 56

Tesellated Assemblies, Chrysallis (III), Matsys Design 21.

C

ase

S

tudy

2.0

Hexigloo Pavilion

B.3.1

A product of a seven day workshop in Bucharest, the Hexigloo Pavilion, was designed using parametric tools. A hexagonal grid lattice forms the basis of the design. These cells are mapped out on a pre-modeled surface and extruded to create a series of funnels that filter light into the interior space. This produces a sense of contrast between the exterior features and the complex interior instigating a moment of surprise. The fabrication process was conducted using laser cutters and assembled out of 6mm cardboard.

This is an interesting work of architecture that employs the use of patterning tessellated elements based on a defined hexagonal grid layout, enabling the manipulation of light in the interior space. The resulting pattern of light within the space produces an evocative experience for the audience.

Below, Right: The Hexigloo Pavilion 22.

60

R E V E R S E

B.3.2

E N G I N E E R I N G

The process of reverse engineering the Hexigloo pavilion was relatively straight forward.

During this exercise, we primarily focused on obtaining the pattern as opposed to mimicking the entire form. The algorithm consisted of hexagonal cells which were generated using the LunchBox plugin once more. These cells were then offset to create smaller hexagonal geometry which formed the openings on the surface. The curves were then extruded in the Z axis to generate the funnels. The degree of offset and extrusion were determined as a result of a series of values generated using attractor points.

Compared fewer

variables

suitable further

The

variety

our

attempt was

parametric

explorations

this of

developed

pavilion of

to

time

round

offsets

and

in

at

later

in as

regenerating useful

tools

as

we

we

funnel

stages

very

Case

in

to

Study

1.0,

were

more

lengths.

The

form

the

a

pattern

further

decided

interested result

technique

enhancing progress

we

of

the in

in

in

team’s our

focus

achieving

which

unique

utilised

to

to

could our

the

on a be

design.

hexigloo

understanding design

process.

62

1 Domain Adjustments

63

A

Minimum : 0.1 Maximum : 0.9

B

Minimum : 0.1 Maximum : 0.6

C

Minimum : 0.1 Maximum : 0.4

D

Minimum : 0.1 Maximum : 0.2

2

Matrix 1 consists of the results of manipulating the values set in the domain which restrict the size of the openings.

Two different hexagonal arrangements were tested.

Column 1 shows the results of a linear arrangement where there is a gradual increase in the diameter of the cell openings. Column 2 presents a radial spread where the centermost cell consists of the smallest opening. This was achieved by manually adjusting the position of the attractor point on or away from the center of the surface.

We decided to proceed with neither of the sets of outcomes as we desired to obtain a rigid and static variation of funnel openings as opposed a gradual increase and decrease. This will be explored as we progress further in our technique developmental stage. Our intentions are to achieve a sense of stillness in the pattern of light which focuses the audience attention away from the contrasting, fast-paced highway scene that forms the basis of the site.

M A T R I X

1 64

Domain Adjustments

65

A

Minimum : -0.5 Maximum : -0.1

B

Minimum : -1.0 Maximum : -0.5

C

Minimum : -5.0 Maximum : -1.0

D

Minimum : -10.0 Maximum : -1.0

E

Minimum : -15.0 Maximum : -1.0

Matrix 2 on the left focuses on the level of funneling that is achievable, once again by manipulating certain values of a set domain. This directly affects both the pattern of light that penetrates the interior of the design as well as its intensity.

Outcomes A and B were suitable for further explorations as

we

progressed

parametric

design

appeared

to

be

into

developing

technique. rather

our

own

Outcomes

impractical

D

and

unique and

E

unrealistic

as the funnel lengths were too large that it would hinder

the

interior

spatial

qualities

that

we

desired.

The next step was to further test the rationality of some of these outcomes by producing physical prototypes.

The results of this phase would better inform us on how we

may

which

will

further form

develop the

basis

and of

refine our

this

technique

design

M A T R I X

proposal.

2 66

Technique Prototyping, Case Study 2.0.

P R O T O T Y P I N G

B.3.3

Below: Testing Light Pattern formations, Case Study 2.0.

After producing an algorithm that accurately generates the funneling geometry of the hexigloo pavilion design, We proceeded to test the funneling pattern by fabricating a physical prototype. For the purpose of this experiment, we decided to use black card as the primary material.

Overall the prototype was a success in enabling us to view the resulting pattern of light that forms through the funnels and we were quite satisfied with the outcome.

Above: Funnels, Case Study 2.0.

70

Moving forwards, we decided that we would like to focus on a more controlled pattern that did not consist of a variety of funnel openings but a strict contrast between small and large openings. As stated

previously,

this

would

allow

a

certain degree of staticity providing the desired sense of stillness within the space.

Technique Prototyping, Case Study 2.0.

72

T

B.4.1

echnique:

D

evelopment

*

In

pursuing

decided

to

innovative explore

patterning

our

own

techniques,

pattern

that

we

we may

implement to the funneling definition produced in our previous algorithmic experiments. Utilising the paneling tools components within grasshopper, We were able to generate a variety of patterns with ease from which we could once again select one from a series of iterations.

* This its

particular

symmetrical

tessellated nature

of

pattern

was

elements.

chosen

We

for

decided

that the octagonal shapes would be regions which are

‘funneled’,

panels of

the

forming design

while

the

pentagons

part

of

the

as

observed

would

structural from

be

flat

component the

exterior.

74

The next step was to further develop the pattern to extract the octagonal shapes to generate the funneling geometry. The pattern had to be culled in a specific way in order to obtain the alternating sizes of funnel openings in the “big, small, big, small� arrangement that we desired.

The team reached a point in our development process where we noticed that the pentagonal panel geometry were not planar. This is one of the few flaws of patterning complex geometry using grasshopper as one must always test if the resulting panels are flat or doubly curved as this may lead to extensive complications in the unrolling and fabrication process. To resolve this, we had to triangulate the geometry towards the center to obtain planar surfaces while maintaining the curvature of the surface. This meant that each triangle was to be its own panel and must be connected seperately. This increased the complexity of our patterning solution which we found to be a desirable outcome.

Above: Triangulation of surfaces

75

Below: Alternating sizes of funnel openings.

Above: paneling the geometry onto a curved surface

76

T

echnique:

B.4.2

F

orm

F

inding

The

initial

involved

stages basic

Grasshopper

of

the

form

explorations

to

brainstorm

finding

using

process

Rhino

potenital

and

solutions.

We were unsatisfied with majority of the outcomes where the design was open at multiple areas. This would directly impact how people move across the space. To ensure that visitors experience the depth in the reflective experience that we intended, we had to ensure that they remain within the space as opposed to walking across from one end to the other.

The benefits of integrating parametric tools was that we were able to quickly produce a set of iterations by manipulating control points of loft curves in rhino, while still obtaining direct feedback through the grasshopper algorithm. In combining both pattern and form, we anticipate

that

this

will

be

very

helpful,

particularly

in the refinement stages of the design when we can adjust small details such length of span and height.

78

T

echnique:

F

orm

F

inding

The development of the form for the gateway design

As we refined this further, we considered the idea of

focused on the circulation pattern of visitors within the

having multiple structures to accomodate a larger

structure. We do not intend for the users to pass through

number of visitors into the site. This seemed a better option

a large span of the structure, rather move in and settle

when compared to increasing the span of the structure,

down into the space, experiencing the stillness we hope

which could potentially lead to a congested space

to initiate with the light patterns projected on the ground .

within the enclosure. Going back to the compositional

As we refined this further, we considered the idea of

arrangement of Wyndham City, we observed a similar

having multiple structures to accomodate a larger

composition when compared to the development of

number of visitors into the site. This seemed a better option

the Kulin nation surrounding the Werribee River. This

when compared to increasing the span of the structure,

fact was able to be directly translated into our design

which could potentially lead to a congested space

as we decided to produce 3 pavilions of different

within the enclosure. Going back to the compositional

scales aligned in a radial arrangement, mimicking the

arrangement of Wyndham City, we observed a similar

socio-political

composition when compared to the development of the Kulin nation surrounding the Werribee River. This fact was able to be directly translated into our design as we decided to produce 3 pavilions of different scales aligned in a radial arrangement, mimicking the divisions

of

the

community

of

Wyndham

City.

divisions

of

Wyndham

City.

The Kulin Nation

Wyndham City Wards

Overall, the generation of ideas for the form and arrangement of the gateway design relied

upon

a

comination

of

elements

resulting in what we perceive to be a well considered form, which will be ideal for attracting

both

locals

and

visitors

alike.

Above: Form Finding

T

echnique:

B.4.3

F

inal

O

utcome

To the right is the result of integrating both our developed pattern and our ideas for form for our design. In our final refinements, we decided to restrict the amount of funneled openings to just the top region. This is to further isolate the audience to the boundaries of the structure by concealing the views of the highway, thereby focusing the attention within the space.

Right: Combining pattern with form.

80

Tectonic Prototyping

To obtain a more informed understanding in regards to the buildability of our design, we chose to explore potential joint details that could be implemented to connect adjacent panels together. Since our teams explorations in our design development phase consisted of implementing planar surfaces, we decided that sheet materials would be an ideal pathway to take. In our research, we did observe that steel would be a better course of option in terms of achieving structural integrity and durability. However, this would intefere with the notion of contrast between a natural setting within an urban condition, that we intend on recreating with our gateway design. Therefore, we returned back to implementing timber to maintain the experiential qualities in regards to the natural conditions of the Werribee River.

82

T

B.5

echnique:

P

T

ectonic

rototyping

Our

first

connection

prototype

consisted

of

the

implementation of H-clips to join adjacent panels of the funnel. The results of this test proved to be unsucessful in achieving what we had originally intended for it. The joints created gaps between each panel which would undoubtedly diffuse the light penetrating through, greatly impacting the effectiveness of the pattern projected on the ground. We did however gain a valuable understanding in regards the structural feasability of these joints as they were able to hold the overall shape together without the need for additional reinforcement. In an architectural scale however, these connections may not possess the same integrity. In moving forwards, we decided to pursue further research into how we may efficiently produce joinery elements that could also be considered at an architectural scale.

Above: Series of Images showing the H-clip connection system.

84

Above: Prototype of steel bracket connection system.

85

In our research into joining systems pertaining to timber

In progressing forwards, we chose to consider steel as

surfaces, we explored a more generic approach of

a potential material that could form an underlaying

implementing steel brackets to connect adjacent

lattice structure upon which we can attach the panels

panels together. For the purposes of testing at the scale

and funneling components. However more testing was

of a model, we used card as opposed to plywood. The

required to better inform our design intentions for the

brackets were aligned and attached using a pin and

connection details.

key connection. In the actual scale, these brackets would ideally be bolted into the plywood panels.

While the system worked quite efficiently, We felt that we werent pushing for an innovative method of

generating

implementing

connections standard

parametrically, construction

rather,

methods

which are common in most architectural projects which deal primarily with joining timber elements.

Above: Construction detail of steel bracket connection system.

86

T

echnique

P

roposal

Above: Perspective View of the proposed gateway design.

B.6

The brief for the Western Gateway

Our

Project,

nature of solitude and serenity within

natural setting within the interiors of

that

the enclosure, primarily involves the

the gateway design, we hoped to

enhances the image of Wyndham,

manipulation of the ample sunlight

consider sound as another factor

while

aspects

available on a flat open site to create

along with light. In pursuing further

and qualities of placemaking. This

a specific pattern on the ground

in

presents an opportunity for us as

potentially

technique, we would have ideally

designers, to further contribute to the

of

discourse of architecture as a source

the

of

for

a

states piece

a

of

requirement

architecture

depicting

abstract

technique

for

recreating

insinuating

our

attempts

research

to

to

recreate

develop

a

our

The

the noise coming from the highway.

development of funneling geometry

However, in the interest of time

to help focus the light within the

constraints we were unable to better

Our intentions focus on celebrating

space to create a static pattern

inform our understanding of how we

Wyndham’s

forms

proposed

may create a technique that achieves

to

technique. In the stages of refining

a high level of noise reduction.

prominent

and form finding, we came to the

in the

regards

the

social to

Werribee

heritage

for

its

significance connection

River,

feature,

society.

a

basis

of

audience.

our

conclusion that the installation itself

In moving forward with refining our

local community as well as the pre-

would take the form of a series of 3

chosen technique in developing a

existing tribes of the Kulin nation.

pavilions within which the audience

coherent project proposal, we aim

Our proposed design recreates the

is invited to participate in the stillness

to resolve the structural feasability

symbolism

the

created by the pattern of light as well

and buildability of our design by

river through its experiential qualities

as the overall enclosure that isolates

testing and prototyping connection

within an enclosed space, sheltered

visitors from the dynamic, fast-paced

systems

away from the urban environment.

highway scene that surrounds them.

and laid out for fabrication using

interacting

by

the

the

of

revered

the

of

identification

our

liked to have been able to restrict

minds

and

thoughts

In

in

identification

reflection

the

with

We believe that this experience is

which

parametric

are

generated

modelling

tools.

sought after by many who reside

The nature of our design is more suited

within the locality Wyndham and has

to Site B situated near the Caltex

Our interest in this project is primarily

been an underlying cause for the

establishment. This is primarily due our

focused upon producing a piece of

large influx of population which lead

expectations of interactivity within the

architecture that presents a sense

to the growth and development of

space as being focused at a certain

of pride for the people of Wyndham

the Wyndham over the recent years.

level of depth that cannot ideally be

and displays their ability to identify

experienced by motorists travelling at

with the Werribee River, enhancing

over a 100 km/hr. That being said, we

a

do anticipate a significant amount

Wyndham in the minds of the external

of people to be attracted, simply

community. We believe that our

by the addition of our design mainly

proposed system will achieve this and

due to the expected curiosity of

should therefore be considered as a

visitors to explore the interior qualities

potential candidate for innovation.

hidden from view from the outside.

88

culturally

attractive

image

of

B.7

L

earning

O

utcomes

As with the initial few weeks of the subject, I was confronted with challenges arising from different facets of the process of design, be it presenting a strong, convincing arguement, or the consideration of different scales through which I must focus my design refinements on, both in terms of construction details as well as the overall structural integrity of the design. Prototyping and testing our Case study explorations proved to be a strong driver of our progress through the course of the last few weeks. The importance of physical tests was stressed by our tutor in the studio sessions. Gaining valuable feedback from the tutor was of high priority to me as I made it a point to deliver my progress each week. This gave myself and my fellow team-mates a sense of direction and a goal that we can work towards each week. In leading up to the mid semester presentation, there was a strong emphasis on establishing an overarching idea that forms a coherent arguement for our design proposal.

In terms of software, my skills have significantly developed since the start of the semester, particularly with the use of grasshopper to generate complex forms by manipulating data structures. I noticed an improvement in the speed and efficiency at which I was able to analyse data trees and come up with list manipulation techniques to achieve the intended outcome.

The feedback from the presentation panel, was relatively mixed as we recieved both positive comments along with certain flaws that were exposed to our attention. Our concept overall was received quite well, however our lack of clarity in presentation was critiqued heavily. Moving on from this point, our team has a strong goal that we want to achieve with our design within the remaining few weeks. One of the major focus will be to resolve the key elements of our design and test its feasability by producing more prototypes.

We also hope to improve the clarity of our presentation skills in remaining consistent to the allotted time limit while clearly informing the audience of our design intentions.

92

A

ppendix -

T

echnique

A

lgorithm

A significant amount of time and effort was spent working on producing a working definition of our chosen technique exploration. The major components of grasshopper that are used in this algorithm pertain to manipulating lists and organising them to extract certain pieces of data that was required to be able to parametrically model the design intentions of my team.

The ‘list item’ component was the go-to method of analysing the composition of a

specific data structure. The use of the series component enabled me to

reorganise elements in the list that could be extracted seperately. The experience of engaging with these tasks in regards to data matching and manipulating was very useful in enhancing my knowledge of how computational coding performs and broadened my perspectives on what could and couldn’t be achieved.

Certain repetitive pieces of code within the algorthm were ‘clustered’ to

B.8

improve computing efficiency by simplifying the congestion on the canvas.

This gave me an understanding of how the original grasshopper components may have been ‘clustered’ from

even smaller pieces of algorithmic functions.

Below: Grasshopper algorithm to generate the proposed technique.

94

Part C - Project Proposal : Establishing Wyndham’s Identity

95

96

D

C.1

Gateway Project esign

C

oncept

Concept Review Following on from the feedback received from various design consultations, there were several areas within our proposed technique that required further refinement.

One of the major concerns was to address the issue of triangulation and the resulting clarity in our originally intended pattern upon the surface. Triangulating to maintain curvature upon the patterned surface is a crucial step in rationalising geometry in order for it to be feasible. A potential alternative was to re-develop the form into planar sections, however, we felt that this would not accurately represent our intentions. Our intentions with the form were to produce a sheltered enclosure that could house the reflective experiential qualities that result from the funneled openings.

Therefore, we pursued another pathway whereby we may explore the potential of utilising these triangulated panels to further enhance the experience within the space.

Another important area that we needed to focus upon was the construction and assembly of the enclosure. There were suggestions raised during our consultations, that the composition of timber panels would not be sufficient enough structurally and would therefore require additional support for the design to be buildable. A possible solution that may address this issue was to implement a framing system, which consisted of members with a level of depth sufficient to add structural integrity to the enclosure. The timber panels would then be ideally laid upon the frame.

Our refinement stage of the proposed technique needed to include a more focused integration of materiality within the design. As a team we were encouraged to specify a specific type of timber that may intensify the aesthetic qualities of the gateway design while address the issues of longevity and maintenance requirements that arise from using timber that is exposed to potentially strenuous weather conditions.

Lastly,

the

positioning

of

the

considered.

The

orientation

across

day

was

the

an

gateway

with

enclosure

respect

important

factor

to

the

that

on

site

changing would

was

also

level

undoubtedly

of

to

be

sunlight have

an

impact on the amount of sunlight that may penetrate through into the space.

98

C.1.2 95

Aerial view showing the position of the enclosure in Site B.

Revised Concept In the process of establishing the proposed gateway enclosure on site B, our main considerations primarily focused on the convenience in accessibility. We had to ensure that the entrance appropriately faced the Caltex Station from which we expected visitors would stop and approach the structure.

Secondly, in consideration of the point of view of motorists on the highway, we positioned the pavilion closer to the road directing travelers towards Wyndham. We felt that this would be highly appropriate as motorists would presumably be curious as they approach the enclosure and are immediately given the opportunity to turn into the Caltex Service Station, encouraging them to stop and explore the interior of the gateway pavilion.

While the pavilion is relatively small in scale, spanning 20 metres across and 6 meters in height, the flat topography of the site enables a significantly large depth of view from a far.

The position of the openings for the funnels were also shifted to the side facing the north, to optimise the use of the sunlight that penetrates the interiors of the enclosure space as much as possible.

Above: The revised design proposal.

100

101

Above: Spotted Gum (Corymbia Maculata) 23.

Materiality In our considerations in regards to material selection, we focused on achieving a certain level of durability and sustainability, which are two key factors mentioned in the brief. In our analyses of timber databases online, we came across several potential timbers suitable for the gateway proposal. Ultimately, we selected the Spotted Gum (Corymbia Maculata). The approximate life cycle of the timber is 40 years, in conditions above ground 39, which in our assumptions, achieves a good durability standard sufficient for the proposal. Being a native, plantation hardwood, the Spotted Gum also satisfies a suitable standard of sustainability in regards to its environmental impacts.

Another notable feature of the Spotted Gum is its gradual colour change over its life time, when directly exposed to sunlight.

From an aesthetical point of view, we felt that the exterior of the enclosure could exhibit these resulting changes symbolising the slow deviations that occur that may be observed in a natural setting. This presented another layer of depth in our ability to recreate the experiential qualities of the Werribee River.

< 1 0

Y e a r s

E S T I M A T E D

3 0 +

C O L O U R

C H A N G E

S P O T T E D

O V E R

Y e a r s

T I M E

G U M

102

103

Proposed Structural System..

Structure As stated previously, the surface of the enclosure required a level depth to be able to be structurally feasible. After several discussions amongst the members of the design team, we decided to implement a steel framing system to function as the structural element of the design. The initial sketch models as seen on the left, describes our process of arriving at the proposed structural solution. Utilising parametric tools, we were able to achieve the desired size and depth of the steel members and also enabled us to organise them into separate components ready for fabrication.

Though

we

had

initially

intended

for

the

design

of

the

gateway to be composed of timber by itself, we felt that a compromise had to be made in order to achieve an optimal structural solution. The frame would consist of steel members welded together with horizontal platforms upon which the timber panels and funnel components could be attached to (refer to C.2.2 for more information on specific joint details).

From the view of the exterior , we aimed for this steel frame to produce Above: Sketch Models exploring structural elements.

a outline around the timber elements, emphasising the unique

Below: Partial steel frame derived using Grasshopper.

patterning scheme designed for the proposed gateway enclosure.

104

Structural Frame

Base Geometry

Pattern + Form

Base Surface

Flooring

105

Organising Lists

Pentagons + Non-Funnels

Triangulation

Final Outcome Big Opening Funnels Small Opening

A L G O R I T H M I C

W O R K F L O W

106

T

Gateway Project ectonic

E

lements:

Precedent Project:

Kerf Pavilion

C.2.1

K

erfing

While exploring innovative techniques of timber that could be potentially implemented in the connection of the various timber and steel elements, we stumbled upon this particular technique

of

bending

timber

without

the

requirement

of steam or heat. Kerfing is a process of creating small incisions in sheet timber creating specific points of weakness allowing

a

certain

degree

of

curvature

to

be

obtained.

As observed in the images to the right, the Kerf pavilion the result of combining the material logic of kerfing with the flexibility of parametric modeling and modern day digital fabrication.

The

pavilion structure is diverse in use from generating seating and shading all at the same time of supporting the structure.

Our explorations with regards to prototyping this technique involved a similar approach of utilising parametric algorithm (Refer to Section C.5) to adjust the spacing and amount of Left and Below: Kerf Pavilion 24.

cuts to achieve a variety of different degrees of bending.

108

P

rototyping In further research, we came across the potential of implementing a variety of different patterns when kerfing timber and obtain different outcomes. We proceeded to generate prototypes to test the varying degrees of deflection that we could achieve.

Firstly, our results indicated that the pattern of lines cut against the grain of timber, performed as intended as compared to the other patterns we applied. We were able to bend the material to a significant degree and we came to the conclusion that the amount of cuts and their spacing directly determined the performance of this technique. The less the spacing, the greater the degree of deflection.

Above and Right: Kerfing technique prototyping.

109

Our intentions were to apply this technique to the components that composed the funnels.

Essentially, surfaces of the funnel were extended in the vertical direction. Kerfing is applied at the point of extension. This enables the component to be bolted onto the steel frame, positioned together with adjacent pieces, would form the funnel. Initially, the fabricated components did not function as intended and snapped. This was mainly due to the spacing being too large. The solution was to increase the amount of cuts as well as reduce the spacing to obtain more flexibility as observed in our previous explorations.

Making use of the aesthetical look of the kerf pattern, we decided to use this technique to design the furniture to be placed within the

interiors

would

of

feature

the

enclosure.

The

space

timber

flooring

upon

which

elements of seating would be fixed onto.

Above: Trial and error within the fabrication process of the funnel components.

110

Funnel Extension Triangulated Panels

Steel Frame Bolt Connection

Kerfing Incisions

Pin and Cam System

Above: Construction Detail Documentation.

Scale 1:5

C.2.2

The fabrication and assembly of a 1:10 scale model was completed in order to gain a better understanding of the feasibility of the proposed steel structural system integrated with the timber panels and funnels. Due to fabrication limitations, black card was used in place of composite steel. 2.7mm thick luan plywood was used to denote the timber elements. Rivets of 2mm in diameter were used in place of bolts. Overall, the model was successful in conveying our intentions and functioned as expected. An important aspect that we overlooked during the fabrication process was to allow for the tolerance factor. This affected the process of assembly greatly as there was little room for error.

Below: Construction Detail Model. Scale 1:10.

102 112

Above: Triangulated Panels, Construction Detail Model. Scale 1:10.

113

As stated previously (Section C.1.1), we intended on utilising the triangulated panels to further enhance the experience within the enclosure. The gaps between individual panels were left intentionally exposed to allow light to penetrate through. This created small outlines of light that could be viewed from the interiors, adding into the light which passes through the funnels. The result overall could be denoted as symbolising the fragments of light that penetrate through the gaps of leaves of the trees situated along the river bank.

Below: Light Penetrating the gaps through triangulated panels, Construction Detail Model. Scale 1:10.

114

Steel Frame

Pin

Funnel Component

Cam

Above: Sectional Drawing of the Pin and Cam System

115

To indicate the connection detail of the components that form the funnel, A 1:1 scale model was assembled, utilising a Pin and Cam System.

1. The cam is essentially a hinge joint that can be adjust to any angle as desired.

1

2. Holes are drilled on the side of the panels and the pins are inserted.

3. The cam joint is inserted and positioned as desired.

4. The pins can to be rotated to pull and position the two components together.

5. Two sets of joints are used on each of the intersections of funnel components.

2

Left and Below: Process of Assembly, Pin and Cam System.

Scale 1:1

3

4

5116

Fabrication of Timber Panels and Funnels

+

M A N U F A C T U R E D

117

Welding of Steel Frame into Small Sections

O F F - S I T E

Transported onto site

Panels and Assembly of Funnels + installed + Frame simultaneously

W O R K F L O W

O F

T H E

Flooring and Furnishing

C O N S T R U C T I O N

P R O C E S S

118

C.3.1

Gateway Project

F

inal

A

M

odel:

ssembly

120

We

decided

1:20

While it did seem unlikely at the start of the model

design:

assembly process, we were able to observe

1. An architectural model describing form, structure

the curvature of the design taking shape as

and the effectiveness of the unique pattern as

we progressed. The intended patterns of light

viewed from the outside. The materials used

produced by the funnels could were also observed.

scaled

to

versions

of

produce our

two

enclosure

were 1mm Mountboard and 300GSM Black Card.

2.

A

section

materiality,

The furniture to be placed within the enclosure,

interiors, as well as the experiential qualities.

composed of a large sheet of timber that could be

Once again, we used 300GSM Black Card to

deflected to form the seating element. The pieces

represent the steel frame, along with 1.5mm

of furniture were placed on the timber flooring

premium

fabrication

and the resulting outcome was quite successful

process was conducted using the laser cutting

in describing our intentions for the interior layout.

facilities available at the Melbourne University,

This process was completed both for both models.

laser

model,

describing

plywood.

The

faculty of Architecture, Building and Planning Both

were

quite

successful

in

its

The layout of the triangulated elements of

completion and in regards to its accuracy

the enclosure was initially unrolled as strips, to

in

enable accuracy without having to label each

characteristics that was represented by the digital

individual panel. Each strip was then carefully

model generated using parametric software.

divided and the strips of the steel frame were wrapped along the edges and glued in place.

The funnels were assembled in the assigned spacing between adjacent strips of triangulated panels.

121

models

describing

the

formal

and

structural

Process of Assembly, Scaled Architectural Models. Scale 1:20.

122

The Final Models: A Successful Result.

C.3.2

124

Gateway Project

F

125

inal

R

M

odel:

esult

The Final Models: Showing Formal Characteristics.

126

127

The Final Models: Mountboard and Black Card.

128

Section Model: Laser Plywood and Black Card.

129

130

Section Model: Flooring and Furniture Layout.

131

132

P

roject

C

onclusion

Our proposed gateway design for this project, outlines the characteristics that make the City of Wyndham unique to the broader community. By implementing architectural design to recreate the experiential setting of the Werribee River and depicting its significance, reinforce some of the comments made in the previous sections of this document, in regards to the aspect of architecture being a successful medium to express a sense of identification for the community.

The integration of computational design through the use of parametric modelling techniques and digital fabrication, along with exploration of

material

performance,

successfully

achieves the level of innovation set out by the project brief and is evident throughout the process of achieving the proposed design.

Finally, in contributing to the overall architectural discourse, our enclosure design aims to add a new perspective to the concept of a gateway, through

the

creation

of

a

reflective

and

provocative experience at a personal level, inviting motorists as they drive past, adding depth to the overall engagement of the audience.

C.3.3

The experience within the enclosure.

134

Gateway Proposal: View from the motoristâ&#x20AC;&#x2122;s point of view.

135

136

Gateway Proposal: View from the Caltex Service Station.

137

138

Presentation Feedback: Our final proposal for the gateway project was well received by the panel of critiques. The proposed pattern, designed to be unique to Wyndham Cityâ&#x20AC;&#x2122;s gateway, was largely appreciated and was deemed a success through our models.

The form was a primary area of concern as there

were

questions

raised

in

regards

to

alternative solutions for the entrance that could be

potentially

explored.

In

retrospect,

the

considerable amount of time focused on resolving the structural composition of the proposed design, presented us with little or no time to approach alternatives to formal characteristics.

From the positive comments we gathered that we were effective in communicating our design intentions was a welcome improvement from that of the mid-semester presentation. The scaled architectural models formed the prominent feature as we aimed to deliver a convincing argument and received positive remarks from the panel.

C.4

L

earning

O

bjectives and

O

utcomes

At the culmination of my efforts in Studio: Air, there has been an extensive amount of knowledge that I have gained in a variety of different facets of Architectural design. The ability to selectively apply knowledge gained was tested throughout the design process. The results presented in this document communicate my understandings of the process of design in regards to design through computation and parametric modelling, resolving complex problems in regards to achieving design feasibility and addressing the issues of translating digital representations to

physical

models

through

modern

fabrication

techniques.

In my progression through this semester, I have been largely successful in achieving the outcomes set by the subject. In engaging with architecture as a discourse, I have been able to identify the potential ideals that are established through architecture, beyond that of a buildingâ&#x20AC;&#x2122;s aesthetical qualities. I have gained a significant insight into parametric modelling techniques and have been able to efficiently produce working design algorithms that accurately represent my design intentions. In regards to exploring an extensive range of possible design solutions, I feel that I have only partially achieved the desired standards, mainly due to lack of formal development in my design process. While the restricted time constraints may have impacted the development of the design, I feel that I could have potentially pushed the formal characteristics a little further, particularly employing parametric tools to a greater effect. In gaining important presentation skills, I feel confident in my ability to communicate a convincing argument that is cohesive and relevant to the design brief.

Overall, the significant amount of experience and technical skills that I have procured over the course of the semester would undoubtedly influence my future endeavours in the field of architectural study and practice.

140

A

ppendix -

C.5

A

lgorithmic

S

ketches

Above: Construction Detail Algorithm.

Below: Kerfing Technique Algorithm.

142

I M A G E S 1

Pyramids of Giza. <http://loopele.com/wp-content/uploads/2013/07/Egypt-Pyramids-HD-Photo-Wallpaper1.jpg> The Pantheon. <http://www.travelsrome.com/wp-content/uploads/2012/09/roman_pantheon.jpg> The Cathedral of St. John. <http://connorboals.files.wordpress.com/2009/09/cathedral1.jpg> The Taj Mahal. <http://media1.santabanta.com/full1/Architecture/TajMahal/tajmahal-28a.jpg> Walt Disney Concert Hall. <http://pleasurephoto.files.wordpress.com/2012/10/disney-hall-los-angeles-frank-gehry-architect-julius-shulman-and-juergen-nogai-b.jpeg> Burj Al Arab. <http://upload.wikimedia.org/wikipedia/en/archive/2/2a/20120813060112!Burj_Al_Arab,_Dubai,_by_Joi_ Ito_Dec2007.jpg> The Birdâ&#x20AC;&#x2122;s Nest. <http://beijingbirdsnest.files.wordpress.com/2010/09/birds_nest_stadium_beijing_china-hd.jpg> Museo Parc Alesia. <http://www.cotedor-tourisme.com/sites/default/files/recadree_MuseoParc_Alesia_Claire_Jachymiak_SEM-Al%C3%A9sia.jpg>

2

<http://www.dezeen.com/2009/11/13/memorial-for-tree-of-knowledge-by-m3architecture/>

3

<http://www.prc-magazine.com/wp-content/uploads/2011/10/2010-04-3969-00-BarcaldineTreeofKnowledge-BrianHooper.jpg>

4

<http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects>

5

<http://upload.wikimedia.org/wikipedia/commons/4/46/Metropol_Parasol_Sevilla_2.JPG>

6

<http://projectsreview2011.aaschool.ac.uk/submission/uploaded_files/EMERGENT-TECHNOLOGIES/Core%20Studio%20 1-20101215_1400_DSC_0227.jpg>

7

<http://www.fosterandpartners.com/projects/smithsonian-institution/>

8

<http://www.fosterandpartners.com/projects/smithsonian-institution/>

9

<http://www.oliverdavid.de/wp-content/uploads/2011/11/1005_11.jpg>

10

<http://www.digitalcrafting.dk/wp-content/uploads/2011/11/HDRPanorama_julian-Lienhard.jpg>

11

<http://www.dexigner.com/news/image/22008/sfmoma_Fuller_Geodesic_Dome>

12

<http://www.sinbadesign.com/wp-content/uploads/2012/09/Peoples-Meeting-Dome-Drawing-top-view.jpg>

13

<http://api.ning.com/files/wr*6D7ZUFRrI39BCu5b80Z5nIO8Dbtl5S2duWkKhmZTqIp26ZcMtVPtEB3j8pm9sCBqXL7hubxVn-O6a zx-nGk95NLwjwFE5/11.jpg>

14

<http://www.designboom.com/architecture/coda-barcelonatech-jukbuin-pavilion/>

15

<http://matsysdesign.com/wp-content/uploads/2012/04/IMG_9422.jpg>

16

<http://matsysdesign.com/wp-content/uploads/2012/04/IMG_9469.jpg>

17

<http://www.designboom.com/architecture/coda-barcelonatech-jukbuin-pavilion/>

18

Retrieved from the LMS.

19

<http://farm4.staticflickr.com/3127/2723775145_a897bab970_o.jpg>

20

<http://www.gridshell.it/blog/wp-content/uploads/2012/11/gridshell_napoli_010.jpg>

143

I M A G E S 21

<http://matsysdesign.com/2012/04/13/chrysalis-iii/>

22

<http://www.arch2o.com/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-raducanu/>

23

<http://www.topveneer.com.au/content/images/thumbs/0000141_spotted-gum-flat-cut.jpeg>

24

<http://futuresplus.net/2012/07/18/kerf-pavilion-mit/>

144

N O T E S 1

Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly (2006), 10, 1, p. 51.

2

Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), p. 1.

3

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102.

4

Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly (2006), 10, 1, p. 54.

5

Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly (2006), 10, 1, p. 54.

6

Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), p. 1.

7

Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), p. 2.

8

Antoine L. Lahoud, ‘The role of cultural (architecture) factors in forging identity’, National Identities (Taylor and Francis Group, 2008), 10, 4, p. 390.

9

Antoine L. Lahoud, ‘The role of cultural (architecture) factors in forging identity’, National Identities (Taylor and Francis Group, 2008), 10, 4, p. 389.

10

Jennifer Tran, ‘Static Illusions: Architectural Identity, Meaning and History’, (Curtin University), p. 2.

11

Jennifer Tran, ‘Static Illusions: Architectural Identity, Meaning and History’, (Curtin University), p. 3.

12

Wyndham City Council, ‘Western Gateway Design Project v02’, Retrieved from the LMS, p. 4.

13

M3architecture, ‘Bacarldine Tree of Knowledge’, (2009), <http://www.m3architecture.com/> [Accessed on 8th August, 2013]

14

Dezeen Magazine, ‘Memorial for Tree of Knowledge by m3architecture and Brian Hooper’, (2009), <http://www.dezeen. com/2009/11/13/memorial-for-tree-of-knowledge-by-m3architecture/> [Accessed on 8th August, 2013]

15

National Architecture Awards Jury 2010, ‘Heritage Architecture Awards 2010’, in Architecture Australia (Australia: Architecture media Pty Ltd., 2010), 99, 6,

16

Michael Webb, ‘Metropol Parasol by Jürgen Mayer H.’, in Architectural Review, (2011), <http://www.architectural-review.com/metropol-parasol-by-jrgen-mayer-h-architekten-seville-spain/8615207.article> [Accessed on 9th August, 2013]

17

J. Mayer H., ‘Metropol Parasol’, (2011), <http://www.jmayerh.de/19-0-Metropol-Parasol.html> [Accessed on 9th August, 2013]

18

Kostas Terzidis, ‘Algorithmic Architecture’, (Oxford: Architectural Press, 2006), p XI.

19

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p. 4.

20

Kostas Terzidis, ‘Algorithmic Architecture’, (Oxford: Architectural Press, 2006), p XI.

21

Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. in Architectural Design (Chichester: John Wiley & Sons, 2013), 83, 2, pp. 59.

145

N O T E S 22

Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking, (Chichester: John Wiley & Sons, 2011), p. 2.

23

Mark Burry, Scripting Cultures, (Chichester: John Wiley & Sons, 2010), p. 8.

24

Branko Kolarevic and Ali Malkawi (eds), ‘Performative Architecture: Beyond Instrumentality’, (New York: Routledge, 2004).

25

Brady Peters, Smithsonian Institution, (2007), <http://www.bradypeters.com/smithsonian.html> [Accessed on 9th August, 2013]

26

Brady Peters, ‘Computation Works - The building of Agorithmic Thought’, in Architectural Design (Chichester: John Wiley & Sons, 2013), 83, 2, p. 13.

27

Foster and Partners, ‘Smithsonian Institution’, (2007), <http://www.fosterandpartners.com/projects/smithsonian-institution/> [Accessed on 9th August, 2013]

28

Achim Mengis, ‘Material Computation: Higher Integration in Morphogenetic Design’, in Architectural Design (Chichester: John Wiley & Sons, 2012), 82, 2, p. 17.

29

Achim Mengis, M. Fleischmann, J. Knippers, J. Leinhard and Simon Schleicher, ‘Material Behaviour’, in Architectural Design (Chichester: John Wiley & Sons, 2012), 82, 2, p. 45.

30

Eric Weisstein, ‘CRC Concise Encyclopedia of Mathematics’, (Florida: Chapman & Hall, 2003).

31

Daniel Davis, ‘Introduction to Parametric Modeling’, in Architecture Design Studio: Air, Lecture 3 (2013).

32

Rick Smith, ‘Technical Notes from Experiences and Studies in Using Parametric and BIM Architectural Software’, (2007), <http://www.vbtllc.com/images/VBTTechnicalNotes.pdf> [Accessed on 15th August, 2013]

33

Parametric Technology Corporation, ‘Explicit Modelling: What do you do when your 3D CAD productivity isn’t what you expected’, (2008), <http://www.vbtllc.com/images/PTCProductivityWhitePaper.pdf> [Accessed on 15th August, 2013]

34

I.D. Magazine, ‘People’s Meeting Dome, a deconstructed geodesic dome’, (2012), <http://www.id-mag.com/gallery/ Peoples-Meeting-Dome/5228001> [Accessed on 10th August, 2013]

35

I.D. Magazine, ‘People’s Meeting Dome, a deconstructed geodesic dome’, (2012), <http://www.id-mag.com/gallery/ Peoples-Meeting-Dome/5228001> [Accessed on 10th August, 2013]

36

Design Boom, ‘CODA barcelonatech: jukbuin pavilion’, (2012), <http://www.designboom.com/architecture/codabarcelonatech-jukbuin-pavilion/> [Accessed on 15th August, 2013]

37

SG2012, ‘Gridshell Digital Tectonics’, (2012), <http://smartgeometry.org/index.php?option=com_content&view=articl e&id=134%3Agridshell-digital-tectonics&catid=44&Itemid=131> [Accessed on 15th August, 2013]

38

Wyndham City Council, ‘Share Your Werribee River Stories’, (2013), <http://www.wyndham.vic.gov.au/aboutwyndham/pubmedia/media/2013/july/werribee_river_stories> [Accessed on August 28th, 2013]

39

Wood Solutions, ‘Spotted Gum / Corymbia maculata’, <http://www.woodsolutions.com.au/Wood-Species/spottedgum> [Accessed on September 1st, 2013]

146

T H E

U N I V E R S I T Y

O F

M E L B O U R N E