STUDIO AIR Journal
LIM BENG HEE, 376062
CONTENT
JOURNAL partII
WYNDHAM GATEWAY PROJECT
PART II: DESIGN PROPOSALS
1.) Design Brief & Response to Seeds of Change 2.) Project Overview & Summary 3.) EOI Finalisation: Towards Ornaments Materiality & Pattern 4.) Site’s specification & Site Analysis 5.) Conceptual developments 6.) Forms Developments 7.) Physical Prototypes 8.) Grasshopper Problem Solving 9.) Construction Design 10.) Fabrication 11.) Model Making (Final Models) 12.) Details, Texture, Materiality, Experience 13.) Photomontage
PART II: LEARNING OBJECTIVE AND OUTCOME 1.) Personal Background and Objective
2.) Learning Progress 3.) Learning Outcome 4.) Future Learning and Utilization of Acquired Competencies
a eyecatching e d s i HIGHWAY t s h c e o t u municipality i r c WYNDHAM CITY s exciting e
sculpture
iconic
speed
visual arts
DESIGN target! Responding to Brief - ‘exiciting and eye catching installation’ - ‘inspires and enriches the municipality of Wyndham city’ - ‘upgrade the condition and aesthetic of the streetscape on site’ - ‘enhance the physical environment through the introduction of a visual arts components’ - the design has to be iconic and has to become a discussion as an architectural discourse in future architecture works. Responding to brief’s requirement, the primary objective in designing Wyndham City Gateway Project is to create an architecture that shapes interesting visual experience while driving through it in a high-speed movement. With this attempt of experiencing, we believe in making our design exciting, iconic and eye catching that would improve the visual appearance of the site. Besides, The installment of the design aims to create a new atmosphere depicting high cultural value that reflects the identity and unique character of the site and Wyndham city. Considering the scale of the project, we target to give our design a gigantic scale that is still not yet exist in Wyndham city that suit the site. With the use of digital and computing tool to design- contemporary grasshopper scripting, we believe that it will be create an exciting experience for both drivers and passengers travelling through it.
PART II: DESIGN PROPOSALS EOI FINALISATION: responding to Brief
PART II: DESIGN PROPOSALS Wyndham Western Gateway “ABOUT & OVERVIEW ” The Wyndham city is always changing in a continuous succession of phases and the past is often wiped off in the exercise of growth. This project growth of ‘Seeds of Yesterday’s Tomorrow’ is an attempt to use and embrace an accelerated transition of Wyndham’s past instead of rejecting it and the existing contexts to sculpt a new environment, which serve as a platform to allow for the collective and simultaneous presence of past, present and future in a single rapid context. In this, we propose an architectural solution, modern interacting sculptural art, through adoption of analogous theme of growing seeds, to evocate of the site’s memory and respectful of existing immediate context for the future of Wyndham’s urban fabric and collective society.
SEEDS OF YESTERDAYS’ TOMORROW WYNDHAM GATEWAY PROJECT PART II: DESIGN PROPOSALS EOI FINALISATION: TOWARDS ORNAMENT “A purposefully designed monuments, in built form will never separated from ornamentation because a building itself is essentially a careful and deliberate assembly of chosen materials.” (Massavi and Kubo, 2006) Therefore, it can be argued that all buildings are ornaments in a city in this article. In exploring the purpose of ornamentation in contributing towards this western gateway project, we believe that ornaments in sculptural form, built in site as part that defines Wyndham city, is meaningful mechanism that allow architecture becoming a bridge that connect culture and the city. Besides, we do believe ornamentation is the future of architecture, an art form that is beyond the ideal postmodernism that connect nature, built form and humans. In this Gateway project, we are aiming to finalize our design in the direction of using current techniques we have to create a sculptural art, symbolic ornaments rather than a building or a landscape that incorporate site speciWhy ornamentation? Why sculpture? Why picturesque approach? Why not Mimetic Ornamentation? In the discourse of seeing sculptural ornament as architecture and a system of communication, the main challenge in creating this ornamental art for Wyndham western gateway project is how to justify the intended meaning of sophisticated design to public and community of Wyndham city. In this project, we strongly believe that linking the idea of forming modernist and past architecture in one context as ornamentation to the wide, flat views of the chosen sites in a picturesque approach under the influence of natural light is significantly more important. It is because we are concern the visual experience and perception of the sculptural art imposed in the landscape of along the journey towards Wyndham city, rather than function, in relation to the nature and the city’s heritage value. Thus, in this project, the ornamentation proposed is of mimetic nature characterized with symbolic significance towards the community and the city(Jonathan Hill, 2006).
PAST
Symbolism of materiality and surfaces- why BRICKS ? “Materials and surfaces have a language depicting the narration of a built form, informing its durability, inherent symbolism, existences which informs the designers’ intent and thinking through the public general impressions and experiences.”(Branko Kolarevic & Kevin R. Klinger, 2004) “Bricks make ones think of earth and fire, and ageless traditions of construction”, particularly in the context of Victorian region. Not only in the past, use of red brick in erection of buildings and residential houses is substantial and common in nowadays’ architectural practice in this region due to vast availability of this material. This has not only reflected the locality of the site and neighborhood, but also built up a sense of local community. However, in relevance of deliver our idea of transition of past (old) towards future (new) in one context, ‘bricky’ pattern is deployed in dynamic form of lightweight metal clad surfaces that informs of effects of how old and conventional localized materials pattern coexist collectively with new modern age materials on perception of space and design meanings.
NOW
MATERIAL
TEXTURE
Symbolism of materiality and surfaces-why LIGHTWEIGHT METAL? “New ages materials are offering unparalleled thinness, dynamically changing properties and functionally gradient compositions(Branko Kolarevic & Kevin R. Klinger, 2004).”
Coupled with the means of digital technology, we have decided to use lightweight metal cladding (stainless steel) on surface and overall ornamentation of the model as we believe the hierarchical focus of perception will first be the colors, the materials and then the texture and dynamic forms of the sculptural model that give view of change. This hierarchical effect is directly parallel with the design criteria of imposing change of the past towards the present in rapid architecture through visual perception of drivers. In response towards the idea of future, though weathering is a potent surface strategy, stainless steel is used so that the sculptural built form will not deteriorate easily and will always appear new and emergent in site.
TEXTURE To inform ideas of transition of past herritage of Wyndham city to presence leading to future, transition of past (bricky pattern) to future *()
MATERIAL The mapping diagrams of 18 public arts scattered around the area of Wyndham city Informs high use of new modern aged materials despite the simplicity and antique or modern fibre-like art ofrm. (Wyndhamcity, 2008) This has literally depicted the application of modernity in development of city culture and art appreciation while reflecting an effort of retaining past sculptural art and herritage. Thus, mapping with site’s specification, we decided to utilise modern age materials as a transformation of modernity while maintaining cultural value of the past mirroring the identity of Wyndham community
Traditional brick wall (FLAT)
Change brick’s orientation (giving sense of changing space, allowing changing amount of natural light passing through gaps)
Brick with different orientation to form dynamic flow of pattern (optical motion of static patern)
PART II: DESIGN PROPOSALS EOI FINALISATION: Materiality & Pattern (Ornaments)
PART II: DESIGN PROPOSALS EOI FINALISATION: SITE’S SPECIFICATIONS
SITE B
Key drivers of “change”
It only takes approximately 28seconds for the pass through the whole site A and B. Thus, as the design intent is to create an experience to the drivers, the sculpture has to scope the whole site as to give maximum effects to the drivers. In perceiving our design as a mimetic sculpture with experietial approach, we respond to this criterion by looking at the site which gives dynamic lines so that we could manipulate the site to our desire of forming sculpture with changing forms and orientation. Thus, the views travelling across from site A to B would be the most prominent site for our sculpture positioning
Migration flows and Residential Housing City of Wyndham The City of Wyndham is a residential and rural municipality on Melbourne’s southwestern fringe. The City is centred on the residential areas around Werribee. The former rural service centre of Werribee became the focus of significant residential growth from the 1960s. This growth was focused in areas to the north of the original township, principally in the Hoppers Crossing area(Wyndhamcity, 2012). .
SITES
SITE A
The City of Wyndham experienced a period of substantial residential expansion through the 1970s and 1980s. The primary housing market role that the City played over this period was to provide affordable home owning opportunities for families and prospective families from the western and south western suburbs of Melbourne. This period of expansion is set to be mirrored by a new phase of development focused in Point Cook, Tarneit, Truganina and Wyndham Vale. This is based predominantly on factor of declining amount of easily developable ‘greenfield’ and ‘wetlands’ land in the City (Wyndhamcity, 2012). This has showed the contradictary objectives of maintaining greenfield and wetland, while struggling to enrich cultural and city development into metropolitan, demonstrated in population and housing growth’s statistics, since 2006.
VIEW The natural curvy road shape on site A and B will guide the vision of the drivers while driving though the side. At different part of the road, different angle will be hiden while other will be on focus. Thus, with the observation from the view, we focus on the chosen three parts on the sites.
Approximately the site is 800 meter.
Mapping of Structural Curve Form (wetland and data)
To meet the conceptual idea of making dynamic, fluid form with interesting parametric modeling techniques, a set of data (shrinking area of wetland and growing net migration and population in Wyndham city), a splice curve is map for the ideal sculptural form along site A and B reflects the data itself is deploy to reflect the wyndham identity and characteristics.
Highway Speed = 100km/h (28m/s). Travel time = 28 seconds.
The size of grassland in Victoria region is decreasing gradually due to development since European Settlement in 1750s. Reflecting at the data, Wynham City is one of the few cities that still contain relatively large wetland in Victoria.
PART II: DESIGN PROPOSALS Conceptual Developments: Brainstorming
MELBOURNE
The Iconic Entrace of WYNDHAM WYNDHAM GATEWAY PROJECT- PUBLIC ART In studying Wyndham city herritage and goal of urban planning, the city aspires to escape of its past of urban sprawl of Melbourne city, to form its own identity as a metropolitanof culture by shaping its community and surroundings with progressive sculptural arts with specification of site or one’s memorial, education, etc; thus, creating sense of place and belonging. The urban setting of public art gives significant identity to the city. It improves the visual appearance of our environment; it offers the community access to art as part of daily life; and it creates a stronger sense of community. Wyndham City’s Art in Public Buildings and Places policy supports the development of a high quality art collection with regional significance. Our primary public art acquisition strategy is called the Per Cent for Art Scheme. This ensures that one percent of the budget for Council’s major capital works projects is set aside for a related public art component. Artworks have also been acquired as part of Council’s support of the Helen Lempriere National Sculpture Award between 2002 and 2008, as well as through Council’s Mayor’s Commission program which operated between 2001 and 2006. (Wyndhamcity, 2012) This effort of creating cultural city of high value in art appreciation becomes our drivers in finalising our EOI in creating rapid architecture of public art, signifcantly inform the identity of city, creating sense of fun , exciting place welcoming drivers towards the city.
GEELONG
WYNDHAM CITY GATEWAY SITE
DIAGRAMS SHOWING LOCATION OF 18 PUBLIC ARTS SCATTERED AROUND WYNDHAM CITY AND THE FORMS AND MATERIALITY OF THE SCULPTURAL ART
PART II: DESIGN PROPOSALS Conceptual Developments Concepts: The design proposed for the Wyndham Gateway Project combines the idea iof transition of past towards future as one context expressed in EOI finalisation. This transition of progression changes of time in wyndham city,is expressed through visual experience in driving through the sculpture.
Concepts: Expressed in analogous diagram, we are passionate to produce sculptural art that is dynamic and fluid (lively), just like a living growing seedlings into plants symbolise the adaptability of a life form of Wyndham in a harsh environment under strong and dry wind and hot under strong sunlight throughout the year. the grid line approach is used to decide the placing of dynamic forms of lively static sculpture that will demonstrate changes in driving experience. This could be done by manipulating the position of art, creating progression of changing views towards site and towards the sculpture
Concepts: In this design’s direction which is to create a memetic ornaments that focus primarily in the visual experience of drivers, we decided to place the focus in manipulating the space with changing heights, open and enclosing space and pattern along the surface. This will also improve the site’s appearance with different perspective seen and perceived by drivers, giving sense of place of dynamic change, signifying a sculpture as a growing life form. Besides, we also are interested in creating a welcoming posture like a palm of grips giving a friendly culture and sense to driver at the end of short but meaningful journey (like the Welcoming Hand of Singapore)
Concepts: In order to design a sculptural art specific to the site elements, parallel with the aim of creating flow, air movement is taken account into this sculpture design. the surface and forms are later explored with different orientation that changes progressively. Also, as demonstrated in EOI finalisation, we are keen on creating symbolic sculpture. Thus, we are interested in manipulating the natural light intake and provide artificial light experience throughout night to symbolise will of hope and brightness of local community
CONCEPTUAL DEVELOPMENT
PART II: DESIGN PROPOSALS Conceptual Design Developments & Design approaches
Significance of Growing Seeds- Analogous Representation Driving Apex-
creation of space of unseen and unexpected
The idea of growing seeds (iconic symbol of hope to Wyndham western gateway) The seed is metaphorically depicting potential of Wyndham city that is continuously growing from the past and is forecast to be developed into secondary metropolis after Melbourne City. The growing seed into spline leaf (bush or grass) of freedom that dance elegantly in the drive of wind in harsh environment, representational, is divided into few succession phases that culturally symbolize the continuous development of site and the surroundings from the past to the unknown potential future. From this idea of freedom and strength of survival of bush splice throughout the past history to the future in the harsh environment of Melbourne region, we are keen in develop this idea into forms development.
Functionality
Light as Structure
The proposition explores this sculptural art of ‘light as structure’: a simultaneous understanding that light defines space and space sculptures light. Essentially in this project, natural light and casting shadows is manipulated to define composition of space to sculpt a driving axial ritual toward Wyndham city, city of hope and light from dark, enclosed space towards open, bright space in a rapid architecture. Also, the transition of past to future is symbolized through the design of texture and patterns along the sculptural surface, height and overall built form accordingly, which has taken account of Wyndham rapid growth (population and residential housing)
Edge Apex-
creation of space of non-transparent blocks intended to enrich perception of drivers
The final model has indeed demonstrated our passion and idea of improving the visual appearance of the driving environment, particularly at this site- western gateway entry to Wyndham city. This unique, huge art form compared to other public art in the city, undoubtedly, offers the community and tourists access to art as part of daily driving culture, creating a stronger sense of belongings (identity) of Wyndham City. The dynamic, fluid texture along the surface, contoured with elegant movement of Growing plants driven by winds on site, not only give sight (visual experience) change of lines and pattern, but also provides exciting optical illusion of moving pattern of static ornamentation of the model. With successful and carefully thought in designing the axial ritual of driving experience towards wyndham city, the driver will undergo short, brief shade or tunnel like sculpture from dark region towards light, open space, giving a whole new level of experience of rapid travel, symbolize a journey towards better hope: “brighter tomorrow (future/ ?)”
PART II: DESIGN PROPOSALS Conceptual Design Developments & Design approaches
FORMS DEVELOPMENT PART II: DESIGN PROPOSALS Conceptual Design: Analogous Diagram & Forms Finding
FORMS DEVELOPMENT PART II: DESIGN PROPOSALS Design Developments: Forms Finding and explorations
Light+ Structure + Space + line = FORMS The surface trace of the site boundaries allow flexible simple geometry explorations experiental approach- Visual + light +volume (degree of enclosure and opening)
Development of undulating surface specific to site landscape and analogous diagram
Surface articulation Curve is added and manipulated according to design ambition of creating exciting experience, creating unexpected visual experience Form is further developed to fit our design narrative which is about past, present and future about wyndham city Past form: site memorial of the past where human civilisation is not seen in site Precent form: struggling stage of getting the balance in between urbanisation and nature Future form: though the future is uncertain, we wish to shape a positive culture of brighter future, with sculptural changing form gradually open up allowing more light and space which give an experience of hope and perception of brighter, positive expectation in reaching the city.
Forms & tectioncs drivers
Past-future transformation Fluidity & Dynamic outcome Constrast of city development and suburbsgreenfield
MATERIALITY MODELING experinment with thickness, materials and views under different light conditions Metal
Paper
A prototype model was created while waiting for laser cut printing. This model was a study for form and light effect prior making the real model.
cardboard
PART II: DESIGN PROPOSALS
PHYSICAL PROTOTYPES (EXPERINMENTING STAGE) & PHOTOGRAPHY I.) PAPER MODELING (JOINTS & STRUCTURAL ELEMENTS TESTING)
II.) CARD MODELING (THICKNESS & TEXTURE + PATTERN) III.) MATERIALITY STUDY (LIGHTWEIGHT METAL SHEET) IV.) EXPERIENCES DRIVERS (MANIPULATING ATMOSPHERE THROUGH LIGHT CONTROL- DAY & NIGHT)
PART II: DESIGN PROPOSALS cardboard
PHYSICAL PROTOTYPES (EXPERINMENTING STAGE) & PHOTOGRAPHY I.) PAPER MODELING (JOINTS & STRUCTURAL ELEMENTS TESTING)
II.) CARD MODELING (THICKNESS & TEXTURE + PATTERN) III.) MATERIALITY STUDY (LIGHTWEIGHT METAL SHEET) IV.) EXPERIENCES DRIVERS (MANIPULATING ATMOSPHERE THROUGH LIGHT CONTROL- DAY & NIGHT)
GRASSHOPPER
NUMBERS OF RECTANGLES PER PANEL
Technical Developments PART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving
ISSUE IMAGE SAMPLER
Adjustment difficulities for long surface
The V values of sub-divide component control the number of rectangle per panel. Difficult to apply one definiDivide the surface into different tion for whole surface; differpart and make a varied definient length of panel require tion with different V values. different number of rectangle
Surface is divided into 4 parts and use different image for each. PLAN
PLAN
Curve surface difficult to display 3D image
Slider replace image sampler. Slider is used to control the rotation of each vertical rectangel.
PERSPECTIVE Panels with different colour represent they are applied with different V values
PERSPECTIVE
Use a simple image with less colour change rather than using a complex one.
The shortest
Some rectangles are isolated from others due to the sharp rotation
Avoid use of white colour. The brighter image are, the greater value of rectangle rotation could be done.
The tallest
Set the V-value as 38 It can’t use the same V-values for the whole surface, since each panels get different height.
GRASSHOPPER
ISSUE REUNION
Join and combine all overlapped rectangle to a continuous surface. Reasons of Grasshopper cannot display the entire dynamic panel: 1. No intersection between rectangles. Change the size of rectangle. Rectangle size: 1000/300mm Rectangle size: 1600/600mm
PLAN
PLAN
20 rectangles per panel
Increase number rectangle per panel 40 rectangles per panel
PLAN
PLAN
2. The surface grid of the missing panels are not perpendicular to reference curve.
Rebuild the surface & its’ grid are perpendicular to the reference curve
REFERENCE CURVE SURFACE GRID 3. It doesn’t work when dividing the surface along y-axis.
Divide the surface along x- axis
Technical Developments
PART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving
ISSUE
SOLUTION
Solution: (feedback) Combine the panels manually by using ‘BOOLEAN’ component before putting it back to grasshopper to do fabrication model.
MISSING PANELS 1. Panels are missing when the starting or ending point of panels are not X=0.
Seperate the surface into two part
DESIGN DEVELOPMENT
Problem & Solution:
CONSTRUCTION
PART II: DESIGN PROPOSALS Case study for CONSTRUCTION
Construction issues:
Limited span of panel strips at 10m will collapse at their own loads Inappropriate structural system of case study applying steel at platform for connecting each strips doesn’t create sufficient supporting force to overcome the mass load of each panel strips. Thus, this issue will put drivers at risk as the panel sheet doesn’t have supporting elements to hold each other against the live loads of external environment, particularly wind loads or rainwaters
load
load
Wind load
Connection between sculpture & ground
The foundation of the “TREE” is exposed from the ground and steel angel is the joint that connect between it and ground.
1. 114.3mm Galvanized steel tube 8. 75/50/6mm Galvanized Steel Angle 9. 100/65/10mm Galvanized Steel Angle 10.1.65m Galvanized Steel plate 25mm thk. 11. 25mm Leveling Bed of Mortar 12. 4mm Steel Plate 13. 3.25m reinforced concrete slab 14. Threaded Bolt with 100/100/5mm anchor plate welded to 12
Singing Ringing Tree, Landcashire, 2006 Tonkin Liu
load
Suggestion on improving structural design:
Adding strips of Steel bar internally along each panel will reinforce the supporting elements against gravity load of the sculpture and wind load. This could be installed at every panel and extended to 8m underneath to create a large back supporting to versus self load.
Feedback: Foundation of our design shouldn’t be exposed from ground. It is quite strange that a huge visible platform underneath the sculpture and which is only work for small project, just like the case study.
DESIGN DEVELOPMENT CONSTRUCTION
PART II: DESIGN PROPOSALS CONSTRUCTION DETAILS
DESIGN DEVELOPMENT CONSTRUCTION
PART II: DESIGN PROPOSALS CONSTRUCTION IN REALITY
6 Fundamental stages of model installation in real life Construction: 1. Shovel the nature soil from site 2. In-suite reinforced concrete slab and pipe 3. Fill in the mortar to create a flat surface on concrete slab 4. Galvanized steel Plate place on top of the mortar and fixed with steel bolt 5. Install the steel bar and fixed on steel plate with steel bolt 6. Soil filled on top of the foundation 7. Install the panel following the step on the right picture
DESIGN DEVELOPMENT CONSTRUCTION
PART II: DESIGN PROPOSALS CONSTRUCTION IN REALITY
FABRICATION
PART II: DESIGN PROPOSALS Erecting Physical Models 1. FINAL MODELS
Techniques Developments
PART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving
3 steps Modellling Process for Physical prototype
1.) Joining each fabricated strips according to labels (reinforeced with hot glue gun) 2.) Scoring the site’s base (1:500 & 1:50) for correct positioning of models built. 3.)Setting up wiring in each strips for model lightning 6 LED lights in each strips
ISSUES & CHALLENGES WITH MODEL MAKING Difficulty in placing joints and welded bolts (Construction elements) into each interior compartment of model strips before sealing off the surface skin. Sum of model weight is exceedingly heavy in which there will be a need of vertical cardboards and beams built to support the base and thick amount of hot glue gun to ensure strips of model stick to base, however, all these don’t reflect the real practical construction process. 1:500 model was challenging to built up to form a continuous long model as each of them was fragile even was strengthened with hot glue gun Light and visual experience We were quite satisfied set up of LED light that demonstrates the lighting experience during the night driving in the warthm light emerge in darkness of the site Positioning The strip positioning on the site contour require careful attention to map each strips to the right position that effectively forms a smooth perpetual change of texture along the model surface
Huge gap between panels
ISSUE WITH GRASSHOPPER DEFINI- ISSUE WITH LAYOUT PREPARATION. TION OF FABRICATION TOOL. Due to the large number of panels (more than 300 panels), we were having trouble with the slow-response computer, when converting to fabrication model.
Solutions:
1. Set toggle to false when editing the surface. The fabrication model will not be shown when set toggle off. 2. Use Tag to preview whether the size or location of the number are right or not.
The fabricated panels are distributed along y-axis, which mean all the panel were overlapping. The arragement of the fabrication model on the panels was another problem we faced due to gaps created when using fabrication tool. Another problem was due to the size of individual panels. As there was a large number of variety of panels size, we have to rearrange the location of each piece of panel manually.
1:500 Models in Context Changing views
PART II: DESIGN PROPOSALS Erecting Physical Final Models 1. MODELS ON SITE
1:50 Models in Context
Changes in texture along surface treatment PART II: DESIGN PROPOSALS Erecting Physical Final Models. Shadow and light study- atmosphere & texture
DETAILS texture and changing pattern
Dynamic sensation and flow of light and shadow
shadow play
DETAILS changing pattern
DETAILS gaps DAY VIEW
As stated on our design EOI, we wanted to create a sculpture that enables the drivers to experience while driving thought it. With the design, we successfully achieve it by creating individual dynamic panels that continuously changing as one driving through it. The sculpture is divided into three main parts. entrance is the half-canopy like structure, middle part of model tunnel-like structure and exit part is the open sculpture.
DETAILS
In ENTRANCE part, the drivers experience shadow cast that created from the canopy. Drivers will experience the change of the panels to be more vibrant and intense as driving through it. In MID part, the panels became more intense and formed a tunnel. Direct experience from driving through the panels will be felt as each panel has each dynamic form that allows the viewers to experience the vigorous changes. The panels become less intense as progressing toward EXIT part towards Wyndham City, where the sculpture transforms into two separate elements in both side of the road. The transformation from tunnels to part C will allow the drivers to feel the openness. This part represents the welcome sculpture to the growing Wyndham city. As stated in the design proposal, we want to create a sculpture that represents the vibrancy of Wyndham city. Throught the intensity transformation of this sculpture, we have successfully captured the current momentum of the Wyndham city transformation.
Elevations
Changing shadows casted along highway at different time during day
1:50 Models in Context
Changing views (NIGHT & DAY) PART II: DESIGN PROPOSALS Erecting PhyFinal Models 2. MODELS ON SITE context
NIGHT VIEW Building light to manipulate night condition for driving inside our panels make the sculpture visible during both day and night time , creating a distinct view of the dynamic form of the panels. The lights are installed inside each panel in consideration of giving the glowing effect from the hollows of each panel. Moreover, installation of direct light (light poles) of the sculpture might not be necessary as the purpose of lighting is to give the sense of experience to the driver during night time. With direct lighting, it only will make the sculpture visible but no experience while one drive through it. With the internal lights installation, the dynamic form of each panel will be distinguished. Thus, we have successfully created a sculpture that works in any time of the day.
Lighting effect of each panel shines at the gaps of each stripsduring night time make the site bright and iconic
PART III: LEARNING OBJECTIVES & OUTCOMES
Personal Background & Objectives
Before this studio, I have not been exposed to any experience with parametric modeling. The closest experience I ever had with digital modeling and fabrication was by taking a subject called Virtual Environments in my first year, first semester. In this studio culture, I was required to comprehend the fundamental process of design, began with ideas explorations, client’s brief requirement, case precedents for concepts, physcial modeling (prototypes), contouring, translating drawings and ideas in sketchup, unfolding for fabrication, labelling and model making. Besides, from that studio, I have come to understand the importance of photography which will affect the impression made on models made particularly in depicting significant atmosphere according to design intent. However, having basic sketchup and fabrication skills is not even close to passing the basic requirement of this course. I have been facing a great architectual culture shock when I was exposed to new digital tool and new studio culture which is indeed very different from EARTH studio or WATER studio I took in my second year. With limited time, slow learning pace and adaptability in new architectural environment, I come to realise that I have to pick up the technical skills required to do sufficiently well in this studio. Besides expecting to pick up the basic technical skill such as Grasshoper Scripting and Rhino designing, I knew I need to acquire the skill of developing case for design proposals with academic arguments and criteria learned through case precedents. This was listed in the course outcome. Also, I knew my weakness in delivering ideas through verbal presentation and explaining printed presentation since my past struggling experience with design studios’ presentation. This studio would be another stage for me to practise to express thoughts and concepts in printed, verbal and digital presentation.
Learning Progress
Week 1-2: In truth, “what is architectural discourse” and “how to justify it with specific case studies” is indeed something new introduced to me. Though I clearly understand that in this course, I am supposed to understand the meanings and viewpoints by professionals in both related and non-related fields on the term of architecture and formulate my own critical viewpoint reflecting upon readings. Week 2-4: Architecture is an ever growing field. Design practice with computing- Grasshopper and Rhinoceros become more common in nowadays architecture. In this week, I was obsessed in exploring what these tools can perform for the first time and how these are going to contribute to studio experience. It was an interesting starting point for beginner like me to play with slider. In early stage of this semester, we were still heavily rely on the Ex.Lab training tutorials to learn the ways of grasshopper in providing definitions that direct and manipulate behaviour of lines and curves with data structure & flow. However, the ultimate aim of this studio wasnt just the training of grasshopper scripting and mechanism. Week5-6: Studying case of innovations and reformulate the same technique and further refining the technique in own design is indeed most useful learning process for me to start liking this studio. For example of BenQ restaurant, it could be done easily using contour rather than lofting many repeated curves using grasshopper definitions. and the contour of different outcomes that brings 3D sense is possible as well in the exploratory activities of techniques. As a beginner of Grasshopper, I am still rely on tutorial and grasshopper discussion board for aid or finding vb scripts available in board for further learning. So far till the end of semester, though there are many different plug-ins in Rhino, I have only exposed to vb script , v-ray for rendering only, while still trying to learn Lunchbox and Weaverbird for next stage of learning. Week 7-8:Another important aspect of the course is making arguments, particularly in these 2 week when we have to finalise our group eoi with few case precedent of different ideas and approaches. There in order make design and case precedent decision, we are meant to learn how to argue effectively and constructively to justify complex and interesting ways of architecture work in practical reality. Week 9-10:In lecture of week 9, I do think that architecture is a responsible career that not only handing with ideas but client;s budgets as well. It is because besides satisfying clients desire of a design brief, a good design process and outcome should be reflected too in the labour of architecture. Making animated videos of our models are exciting after watching some aspiring stop motion videos in lecture. Personally, I have experience using Sketch-up in making videos of my model in virtual environment in first year. However there was an amateur attempt and I am very keen and ambitious in making one for models set up that demonstrate the erection of each strips of model in real life construction practice. Week 11-12: in these week, we were occupied with preparation of final design model making and photography and solving solutions. It is beneficiary to involve in model making as it is helping to understand the scale of models, how construction of model will work in actual design
Learning Outcomes
III.) CASE ARGUMENTS Group EOI Finalisation
PART III: LEARNING OBJECTIVES & OUTCOMES Designing with computing
Learning Outcomes
As we have discussed in the lecture as well as in the readings, designing with computers requires two way integrations between digital tool and design concept. At first, due to inexperience and lack of arguments resulted of our own works or projects, we study and learn from case precedents for matrix combinations’ experiment to form different unique geometries. As we study and research through reverse engineering case of innovations besides exposing to lecture contents, we are able to explored more on our design with increasing complexity and rationality. Like vineyard case precedents, I started to learn how to script and design with similar grasshopper definitions of rotation, brick stacking and image sampler. Through journey of adjustment, tutorial advice and group mate helps, I am able to develop more sophisticated design like my group final model. Since then, I began to see digital tool and computing technology as a medium of integration with design idea and concepts that produce different interesting forms and structure of model.
Exploring numerous of experinments and researches, personally, we have seen the potential design outcomes of digital tools and computer aided design such as the use of Rhino, grasshopper, illustrator, photoshops and photography ourselves. At current stage, we are quite satisfied with the latest existing model which I would say have demonstrate all our ideas such as display of light and shadow through gaps between models (might have to consider to reduce distance between each curving poles), gradual change of rotation grips, density of nodes and height as symbolic representation of urban sprawl towards Wyndham city and dynamic and fluid form and appearance
EOI REFINALISATION “A purposefully designed monuments, in built form will never separated from ornamentation because a building itself is essentially a careful and deliberate assembly of chosen materials.” (Massavi and Kubo, 2006)
Vague Arguments with no support Arguments with direction
Therefore, it can be argued that all buildings are ornaments in a city in this article. In exploring the purpose of ornamentation in contributing towards this western gateway project, we believe that ornaments in sculptural form, built in site as part that defines Wyndham city, is meaningful mechanism that allow architecture becoming a bridge that connect culture and the city.
Communicating through visual diagramming Although I might not be good in producing visual diagrams that express my thoughts, in this stu- II.) DESIGN NARRATIVE (THINKING & EXPLORATORY) dio, I have acquired knowledge on expressing complicated ideas and unclear design narrative in simple and comprehensive ways like diagramming and structuring a design narrative with supDESIGN LAYOUT porting text and ideas by other professionals. Not only in this studio, in other studios as well, expressing one’s idea fluently in limited time period is extremely important in deliver a presentation effectively. Arguing constructively As stated out in these design studio outcomes, students need to learn how to argue ideas with researches on case precedents. Besides that, working in group, present some challenges among ourselves to argue our ways of ideas to make our ideas key drivers of design. Of course in this case, rational and critical analytical thinking is needed for oneself to analyse and argue effectively. In this studio, argue constructively is particularly important when coming to design decisions as this will inform the design background I.) PHOTOGRAPHY & Photomontage IN MID SEMESTER STUDIO
IN WEEK 12
IV.) DIAGRAMMING (REPRENTATION & COMPOSITION) Design Idea development
PART III: LEARNING OBJECTIVES & OUTCOMES
FUTURE PROJECT IMPROVEMENTS.
Future Learning & Utilization of Acquired Competencies:
1. Alternative construction might be necessary to be explored further as the panels need to be as light as possible. Steel truss construction might be one of the alternatives as it can form a much rigid and light weight structure.
To be honest, this studio has allowed myself to escape from my own zones of comfort in term of using different designing tools to express, explore, experiment and testing different studio cultures and design approaches. This studio is not just about skills learning, but it is more about preparing future “may-be” architects to accept and adapt to new and updated architectural enviromnment and discourse with critical exploratory and analytical thinking through making case for proposals, creative design documentation and logical and specified design narratives. Even though I might not continue to go after parametric modelling in the next studio or future architectural career, the skill I picked up such as basic grasshopper scripting to define and manipulate for complicated design behaviour or Rhinoceros (V-ray plugin) during this studio will definely comes to handy and perhaps more efficient rather than the antique way of architectural practice- hand drawing and rendering. For instances, it is more practical to produce a series of lines or curve with accurate positioning using Grasshopper definition rather than drawing one by one or inaccurate hand drawing. Besides, the thinking and manner of argue and research for case of innovations specifically to solidify arguments and concepts are undoubtedly practical. This experience and sets of thinking, I believe, will definitely useful and will not be outdated throughout my practice of architecture.
2. Instalment of the electricity on the site has not put into much consideration since the current site has no electricity connection. Fix amount of light in each panel need to be counted carefully, especially in the tunnel part; as to prevent the sculpture of being too bright at night (only glow effect that we want to achieve). 3. Rainwater might be a problem in actual sculpture, as there is no proper gutter and no waterproofing in the model. Currently the model just relying on ‘overlapping’ technique to prevent the rainwater from dripping into the road.
References:
Ben. P, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183
COMPETITIVE ADVANTAGE: GROUP EOI The Seeds’ Project has successfully satisfied the Wyndham City Gateway Project Brief. We believe it is an iconic and eye catching sculpture that let the viewers experience while viewing it in motions. Furthermore, with the grasshopper scripting, we are able to design dynamic panels that allows flow of change when one is driving through it. Thus, as contemporary design technique was used, it could be an architectural discourse in future discussion. Through the translation of Wyndham perpetual change in development, our design has the message to the viewers about Wyndham municipality. Unlike the ‘Seeds of Change’, our design allows viewers to experience the ‘message’ of growing city.
Burry.M (2011). “Scripting Cultures: Architectural Design and Programming (Chichester: J.Wiley). pp. 8-71 Hill, J (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 Kolarevic, B, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. Moussavi, F and Kubo,M. eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25